Jiyoung | Solo Music & Acting | KARA

The release pairs the vocal track with an instrumental. Its supplied notes credit Oh Se-wook for lyrics, composition and arrangement.

The single contains the song and instrumental. Bugs dates the music video December 15 and the audio release December 16; those are separate publication dates.

The audio arrived on December 16; contemporary reporting announced its use in that evening’s broadcast. The package contains the song and its instrumental.

The Korean run was November 12, 2011 to November 17, 2012. In the finale she also helped prepare food for residents.

Financial difficulties lead Yu-ri’s family to run a boarding house, bringing residents from different countries and cultures under one roof. TV Tokyo aired twelve episodes on Friday nights, April 13–June 29, 2012, with Erena Mizusawa, Lee Sang-yeob, Mina Fujii and Jung Sun-kyung among the cast.

At the April 3, 2012 press conference, she recalled learning from the director and senior actors. Playing the cheerful, singing-and-dancing Yu-ri stayed with her even at home: her mother noticed that she was more exuberant than usual.

TV Tokyo’s April 13 at 24:53 listing is April 14, 2012 at 00:53 by calendar date. The June 29 at 24:53 finale likewise falls on June 30. The Friday late-night convention is preserved alongside the calendar date.

Limited edition A (UMCK-9555) combines CD, DVD and a 28-page photobook. It also includes the song’s instrumental, music video and filming footage.

Bugs dates both Part 1 and its music video September 19. This entry follows the song’s own release rather than the later complete soundtrack.

Kim Do-hoon created the one-off project-unit song. The supplied notes describe four colour-based teams and a plan to donate proceeds to the SBS Hope TV children’s Dream Orchestra.

The opening concert of the first Asian tour combines group songs with individual solo stages. Live Viewing Japan distributed its theatrical release from July 13, 2013. It documents Jiyoung’s stage work as a KARA member before her Japanese acting filmography.

The story aired on Korea’s DRAMAcube on 27 June 2014. Its Korean broadcast order is kept distinct from volume numbering in Japanese releases.

After beginning Japanese acting activities in August 2014, she joined this October–December manga adaptation. Alongside Mirei Kiritani as Ritsuko Takahashi and Mocomichi Hayami as Kyosuke Tamamo, her Yukime forms part of the ensemble around the supernatural schoolteacher.

She used the manga and anime to develop Yukime’s affection and jealousy toward Nueno. For the freezing effects, she acted while imagining CG that would be added later; watching the broadcast let her see those gestures finally become the snow spirit’s powers.

The issue’s contents list both the joint opening feature and an introduction to Jiyoung. non-no released its making-of on October 18, before the magazine’s October 20 release.

A standalone 2014 television drama. The DVD includes a main feature of about 100 minutes and extras.

The book also contains making-of material, 100 questions and answers, and an interview. At its November 16, 2014 launch, she chose an image evoking the moment of falling in love as a favorite and said she wanted KARA’s members to see unfamiliar sides of her, reflecting the start of her Japanese acting career.

She also attended that day’s preview greeting at TOKYO DOME CITY HALL, joined by Kanna Hashimoto, Seika Taketomi, Miku Uehara, Masanobu Takashima, Seishiro Kato and others. Both appearances preceded the March 21 release.

For her theatrical film acting debut, she studied how to hold the guns, cross her legs and lower her voice, and increased her gym visits before shooting. She recalled more than ten takes of her entrance from a locker, aiming to make Irina convincing as a professional assassin as well as visually striking.

The film had its Korean premiere in World Fantastic Cinema at the 19th BIFAN in 2015 and received the EFFFF Asian Film Award.

On a stage decorated with 523 sunflowers, Conan and Kid competed over invitations to view cherry blossoms. Jiyoung spoke of her delight at joining the film and took part with Eikura in a playful kiss for Conan. The theatrical release followed on April 18.

HAL COMMUNICATION INC. handled planning and production. Jiyoung also shared a photograph of herself at the venue on Instagram, reproduced by Kstyle at the time. The venue name and door/start times remain unconfirmed, but the record preserves an early encounter with her official Japanese fan club.

Initially Tuesday 21:00–21:20, it moved to Wednesday 21:15–21:40 by autumn 2015. Guests included Saeko Ishida for workplace etiquette at its first public recording and Maki Horikita for drama discussions in February 2016.

Having watched Conan weekly while growing up in Korea, she had hoped to join its animated world. Before release she explained that matching her voice to the moving images proved very different from live-action acting, and described the joy of hearing herself in the finished film.

Contemporary announcements or post-event articles are listed alongside participant Em2T’s record. For video posts, the written caption was consulted; this is not a record of watching the full video.

The caption says “20150419,” but was posted April 18. Same-day reporting and the YTV producer’s account establish April 18.

Erika is a university student who swaps bodies with her politician father, Shiro Kuramoto (Masao Kusakari). The revelation at the end of episode three adds a father’s interior life to her young appearance, creating another parent-child swap alongside the prime minister and his son.

She asked her father how he would behave after swapping bodies with her and observed men’s postures. Chin-rubbing, weight shifted onto one leg and Kusakari’s distinctive vocal mannerisms became tools for portraying a politician inside Erika’s young body.

Tailcoat-inspired outfits echoed a cabinet ceremony. The cast also performed the ending dance while waving red towels; the television premiere followed on July 24.

Contemporary announcements or post-event articles are listed alongside participant Em2T’s record. For video posts, the written caption was consulted; this is not a record of watching the full video.

Jiyoung contributed to styling, editing and design and discussed fashion, beauty and favorite works in her own words. At the August 29 launch, she reflected on a year of drama and film work, her search for an individual acting style and a wish to try musicals someday.

The episodes premiered on October 29, November 19 and December 3 through Nestlé Theater. Connected KIT MUSIC videos featured Ryota Fujimaki, HY and K, linking short cinema with music videos. This web-film lead preceded her first theatrical feature lead in Reon in 2018.

After supernatural and body-swap roles, Ena confronted her with an ordinary young woman’s everyday life. In an October 2015 interview, she said that portraying ordinary behavior had proved unexpectedly difficult, even though she identified with pursuing a dream abroad.

The interview took place January 4, before the January 5 report and January 13 television premiere. It was a filming-set press event, distinct from an audience preview screening.

The Wednesday drama co-stars Maki Horikita, Rei Dan, Rin Takanashi, YOU and Mao Daichi. JY’s Saigo no Sayonara and RADIO serve as theme and opening songs, connecting her acting and singing within one production.

The event introduced the sequel and its production before the March 25 release. It was a press conference, distinct from a preview screening or an opening-day greeting.

The four-track CD adds Sayonara Watashi no Shojo, a cover of Anri’s Olivia o Kikinagara and the title instrumental; the limited DVD includes the title video’s secret edit. She recalled writing the B-side in Korean before converting it into Japanese, and her happiness at singing for KAMILIA again.

Apple Music’s Singapore catalogue dates the three-song package March 16 and Japan’s advance “RADIO” single February 17. Label material records the London session with MNEK for “I’m Just Not Into You” and distribution in 47 countries.

The same-day official follow-up thanked visitors to the first live and handshake event, describing the sense of accomplishment afterwards. Ikebukuro followed the next day.

The official account thanked attendees afterwards and described it as JY’s second live, following the previous day’s Toyosu debut.

She discussed returning to singing and her album and concert ambitions. The store also announced buyer events and an evening premium live; those sessions remain separately unverified.

After a pre-live update, the official account reported that the release campaign running since March 15 had ended successfully in Osaka, looking ahead to April and May.

In an interview published on release day, she described bringing out more of Irina’s humor and warmth within the more serious sequel, including her growth into a teacher who cares for the students. On TOKYO FM she also recalled Kippei Shiina helping with Japanese and easing the atmosphere with jokes.

It formed part of a 2016 expansion alongside the April 22 Kaibara spin-off and an online side story. Her official filmography specifically records April 15; it does not establish appearances in the other productions.

An official post-event notice confirms the date. The archived forTUNE notice places all dates in Tokyo and schedules separate benefit, talk and live sessions; the planned programme is distinguished from post-event evidence.

An official post-event notice confirms the date. The archived forTUNE notice places all dates in Tokyo and schedules separate benefit, talk and live sessions; the planned programme is distinguished from post-event evidence.

Same-day attendee accounts name “Sayonara Watashi no Shoujo” and describe JY approving its audience call, asking the crowd to join the meramera phrase too. This exchange carried audience participation into subsequent events. The manager also thanked visitors travelling from afar and sending letters and gifts.

An attendee reported two songs at the live show; Sayonara Watashi no Shoujo is the song named in the record.

An attendee’s special-live report lists Sayonara Watashi no Shoujo and Saigo no Sayonara, followed by a one-chorus Olivia wo Kikinagara encore. This is presented as the April 24 audience record, without assigning the songs to April 23.

Afterwards, the official account thanked the audience and described singing together during the live. The release-event visit continued in Osaka on May 1.

That evening, the official account thanked attendees from the two days. The archived Sony notice identifies Teijin Hall, also named in a participant’s first-session photo record.

The same-day official post calls this the final release-event day and thanks that day’s attendees and everyone who visited since March. Session times and the eleven-part structure are identified as the announced plan.

The ensemble discussed unrequited love and romantic gestures, reflecting the film’s eight stories. This May 31 preview preceded the separate July 2 opening-day greeting in yukata.

The narrative explores different possibilities for the same heroine depending on whether she attends a temple experience. Her agency dates the film to June 13, 2016. It later aired in two parts on ABEMA and appears as a 30-minute short in the official 2016 Kaohsiung Film Festival catalogue.

On her radio show she recalled spending five days in Kyoto and filming runs each morning. Tensing her legs to avoid slipping on rain-soaked streets left her painfully sore. The shoot combined Yuna’s movement through the city with moments of reflection at a temple.

MANTANWEB’s same-day coverage and Cinema Today’s ceremony report confirm her hosting role. ORICON described her as its first Korean MC and also reported the selection of her short Kataomoi Spiral, separately from the July 2, 2016 theatrical release of the anthology Zenin, Kataomoi.

At the launch she described shooting from June 2015, including jumps and turns to animate hair and clothing. In a later interview she explained the short hair and pantsuit as fashion chosen to show different sides of herself. A Tokyo handshake event on June 26 was followed by a joint talk with Kee at Shibuya’s HMV&BOOKS TOKYO on July 16, alongside photo and costume displays.

She described expressing Soyeon’s emotions through the timing of standing up or reaching out rather than broad facial changes. During shooting she discussed these choices with director Keinosuke Hara and Aimi Satsukawa, who plays Yuki. Even a brief smile in their shared scene was carefully considered as a sign of intimacy from a usually reserved character.

An attendee’s 2016 retrospective and another participant’s public history both record the same date and venue, including third-session poster signing. Official on-site information and attendee experiences are identified separately.

The official follow-up thanked visitors who attended in the heat and the students who helped the event. It is recorded separately from the preceding Osaka event.

The live performances and event at Aeon LakeTown concluded; the official account also reported the end of the second free live.

The official account confirmed completion at Morinomiya before the 16:00 Abeno event.

An official post shared a photo with the audience after the live. This was the separate 16:00 Abeno stop.

The official account confirmed completion of both free-live sessions.

The CD includes the title song, “Hello Mr.,” a cover of Momoe Yamaguchi’s “Yume Saki Annainin” and the title instrumental. The limited video edition also introduced the overseas “I’m Just Not Into You” video.

Rikariko TWINS joined JY for a three-person dance; the label reported an audience of about 100.

A romance about a pastry chef played by Mirei Kiritani and the three Shibasaki brothers. Jiyoung guest-starred in the finale.

She played Jun Yoshioka, a candidate for the new pastry-chef job, named so her initials would be JY. She had quietly hoped to appear and described the unusual feeling of seeing JY, her singer name, in the script’s cast list.

Yukio Ueshima handled the Japanese staging script, direction and choreography. A documentary-style photobook released on opening day also recorded her preparation for her first stage production. The official theatre page preserves the cast, creative team and run dates.

Rehearsing the first-act number “If My Friends Could See Me Now,” she worked on keeping her hat in place and making small turns while twirling a cane. Yukio Ueshima’s direct coaching and checks in the mirror helped her join singing and prop work into a continuous sequence.

At the press launch she identified with Charity’s optimism and playfulness. Rehearsal reporting also captured the physical effort of sustaining song and dance, as her concert experience met prop work and continuous storytelling in character.

Released on the production’s September 23, 2016 opening day, the book follows rehearsals and physical preparation leading up to that first performance. At the October 15 launch at Sanseido’s Jimbocho flagship, she spoke of learning the splits through daily practice and being pleased to preserve that achievement in photographs.

On October 11, the official account thanked visitors over the three-day weekend and reported the end of the release events that began in July.

On October 11, the official account thanked visitors over the three-day weekend and reported the end of the release events that began in July.

On October 11, the official account thanked visitors over the three-day weekend and reported the end of the release events that began in July.

Based on Masashi Kajinaga’s mystery, the drama was written by Haruko Fukushima and directed by Koji Shintoku. Fuji producer Ken Murase explained choosing her for the character’s dignity and melancholy.

Her scenes involved fleeing pursuers, abduction and being tied to a chair. She described the fresh challenge of playing royal ancestry, especially running at full speed while retaining Sonia’s dignity and bearing.

The live performance was cancelled; the fan-benefit event went ahead. The official account thanked visitors afterwards.

She held a postcard signing in Kisogawa; the official account showed her signing with a gold pen.

Yuka herself lost hearing in her left ear after an illness at school. TV Asahi’s episode page describes her seeking treatment for Nanao through Kanbara’s referral agency and entrusting his future to Michiko Daimon.

The official start was noon; the attendee described a costume change, a JY hand game and post-live handshakes and a two-shot photo.

A mini-live and fan benefit event were announced for 2 p.m. at the first-floor Centre Court. She posted a message of thanks after the event.

Standard edition SRCL-9233 contains Fake, Boogie Woogie, the cover Crazy Love and the title instrumental. The video introduced her to tap and barefoot contemporary dance; Hiroyuki Nakano’s teaser livestreamed a single-camera, single-take shoot at Tokyo National Museum.

Standard edition SRCL-9257 has the title song, My Standard, Up in the Air—also on the overseas RADIO release—and the title instrumental. Sweet Charity colleagues joined the musical-style video, whose Christmas textures and warmth contrast with Fake, released the same day.

The release-day stream also included a mannequin challenge with about 20 people.

The recording aired on December 14 and 21, with Shuhei Shimada in the first part and Katsuhiko Yamamoto in the second. On December 21, she sang My Standard and Sukina Hito ga Iru Koto –Piano slow Edit– with Yamamoto on piano.

Naoki Kamiya’s report naming duo and BARFOUT! editors’ account further corroborate the event. A same-day attendee lists five main-set songs and the encore Olivia o Kikinagara, six in total. The displayed sequence follows that attendee’s list; it is not an official or video-verified running order.

Same-day attendees described JY peeking from the waiting area and receiving a poster at the venue. An attendee’s next-day account also explicitly named the three songs performed at this venue and the two subsequent appearances: “Fake”, “Koi wo Shiteitakoto” and “Suki na Hito ga Iru Koto”.

She also appeared at SMILEfes in Osaka that evening, travelling from Funabashi to Osaka and then Odaiba the next day to meet audiences over two days.

The official account posted her impressions after the appearance that day.

A stage costume change and a tree of guests’ wish and relationship cards accompanied the music.

Her ambition to become a Seoul makeup artist parallels Ryosuke’s leathercraft dream. The Broadcast Library credits writer Keisuke Fukutani and director Koji Takayama. The agency’s January 17 refers to the late-night slot; the preserved clock time is January 18 at 00:40.

She prepared Kansai speech by repeatedly listening to recordings, turning staff expressions she had enjoyed imitating into dialogue. She welcomed the bright, cheerful Ji-hyeon and described trying the dialect for the first time as difficult but fun.

The premiere aired at 00:40 on January 18, 2017. The main date follows the calendar, separately from Kansai TV’s January 17 late-night listing.

The first performance of Joshimodoki, ahead of the drama’s April 13 premiere and the May 10 release of Many Faces.

The song appears on the May 10 album Many Faces. Its video presents Jiyoung in several characters, extending the album’s idea of multiple faces.

Her co-stars from Hito wa Mitame ga 100 Percent, Ryo Narita and Keita Machida, made a surprise appearance. The three walked to the end of the runway together.

The purchaser event followed at 17:30 in B1 CUT UP STUDIO. Reports name Sukina Hito ga Iru Koto, Joshi Modoki and the first performance of Many Faces. The CD’s release date was May 10; May 9 was its shop-arrival day.

The SRCL-9405–9406 limited CD expands the 12-song core with RADIO, I’m Just Not Into You and Up in the Air for 15 tracks. Letter brought her first sole lyric credit and gratitude for KAMILIA’s letters, while Taisetsu na Toki grew from conversations with Tomohide Kiyoshi about her life in Japan.

The three-city tour visited Zepp Nagoya on May 13, Zepp Namba on May 14 and Zepp DiverCity Tokyo on May 21.

Around the tour’s opening, she said that the number of dance songs meant learning extensive choreography. Excitement came with anxiety about delivering the preparation live; she also admitted that planned MC remarks could vanish once onstage, giving way to spontaneous conversation.

After the tour, JY’s official account thanked audiences in Nagoya, Osaka and Tokyo, corroborating completion alongside the published itinerary.

In Tokyo, she reflected on completing Nagoya and Osaka, recalling nerves so strong that she could not sleep each night after Osaka.

Fifteen main-set songs were followed by “Sukina Hito ga Iru Koto” and “Boogie Woogie” encores. A piano-slow arrangement and costume changes featured in the show later released on Blu-ray.

Her changing cover slot featured Momoe Yamaguchi’s “Crazy Love.” Tears interrupted the passage from “Taisetsu na Toki” to the piano version of “Sukina Hito ga Iru Koto,” and the audience carried her with singing and clapping. Her MC connected three years in Japan with support received in KAMILIA’s letters.

After the tour, JY’s official account thanked audiences in Nagoya, Osaka and Tokyo, corroborating completion alongside the published itinerary.

Official posts and costume portraits link the announced Jiyoko live ver. and Leona looks to the day. The closing post thanked visitors, including those travelling from afar despite heavy rain. The hall, session starting times and any singing are not established.

The photo-session costumes were Jiyoko live ver. and Chie. Her manager described exchanges with KAMILIA wearing orange and words from a young visitor.

This standalone post-album digital work preceded the Seiho remix of “Sukina Hito ga Iru Koto” by a week. The two releases have different recordings and covers.

PATANICA also made its video alongside “Goldmine,” processing footage of Tokyo. The catalogue dates the audio August 16, distinct from the label’s August 18 video-news article.

The posts preserve a post-tour exchange with attendees, thanking them and looking forward to the September 27 Blu-ray release. The official posts reviewed here do not establish the venue or performed songs, so those details remain unconfirmed.

She explained that this was her second voice-acting film but her first role with substantial dialogue, describing working closely with the director and enjoying the film’s humor. The conference took place a month before the October 21 release.

The standard SRXL-134 edition includes the Overture and 17 main-show and encore songs. A limited edition was also released.

For her second voice-acting project after Conan, she said the larger number of lines made her nervous. She was surprised when director FROGMAN asked for her natural voice despite Harley Quinn’s strong image, and described his support throughout recording as she joined the film’s unusual comedy.

Jiyoung discussed Harley Quinn’s affection for the Joker and the cramped recording space. With different outfits and guests from the September 21 conference, this was a separate opening-day encounter with the audience.

Ikusaburo Yamazaki participated by video message, rather than attending in person. The production team then presented a large cake based on the poster of Jiyoung’s seven characters, prompting her thanks for the crew’s care.

Scenes featuring several of her characters required anticipating another character’s movements while performing each part separately. JY’s MY ID served as the theme song. A poster by photographer Leslie Kee also presented the production’s multiple identities.

For composite scenes, she remembered the gestures and expressions recorded opposite a stand-in, then matched timing when filming another role. She differentiated habits and even favorite foods, and told the broadcaster she had already played scenes as six characters within roughly the first week.

Standard edition SRCL-9592 adds Secret Crush’s Piano Slow Edit to the two A-sides. She described MY ID’s largely English lyrics as a question about identity. At the release-day event she premiered Secret Crush for an audience wearing a newspaper dress.

She entered down the staircase in a newspaper dress, then changed for a talk with Tokai TV producer Keisuke Matsumoto, sharing Orphan Black filming stories and unseen footage.

Her contribution to this Mirei Kiritani film is JY’s theme-song performance. Secret Crush was issued with MY ID as a double A-side on December 20, three days before the film opened. The record connects her discography with a separate film-music credit.

In episode two, directed by Hana Matsumoto, she stars as English teacher Himeno Egaoda. Her credits therefore span director of the first short and actor in the second within one project. JY’s Hoshi ga Furu Mae ni supplies its theme, connecting singing, acting and filmmaking.

The roughly fifteen-minute first episode was filmed in two and a half days. She approached performances through shot division and camera movement. Actor Koya Matsudai later recalled that when he became stiff, she encouraged him and suggested ways forward rather than scolding him.

They discussed the body-swap performances and whom they would swap with. The event preceded the film’s February 24 theatrical release by a month.

She discussed shaping her own character while incorporating Takenaka’s mannerisms. This solo appearance was a separate event from the February 25 post-release visit.

They discussed the trust behind their body-swap performances; at the theater they also used Hakata dialect to recommend the film.

Commemorative photo of Jiyoung and Naoto Takenaka holding the film poster.

Jiyoung also tried Takenaka’s signature acting technique combining a smile with anger.

Before filming, she and Naoto Takenaka swapped roles during script readings, using each other’s delivery to build their characters. She lowered her voice and studied men’s seated postures to communicate the executive inside Reon’s body. She repeatedly rehearsed the hospital awakening and described starting with an expansive performance before adjusting its intensity with the director.

The February24 opening greeting took place at United Cinemas Toyosu Screen10. The manager’s same-day post also records its Toyosu photo session.

Cineana Nagoya identifies February 25 as its reporting date. Following the February 17 advance visit, this greeting focused on her discussion of the film and acting choices.

Kyoto attendees also recorded Jiyoung’s greeting after the film and listening to the director. These accounts are distinguished from the manager’s official arrival and route reports, which say the director joined from Kyoto. Exact remarks and the greeting’s start time are not inferred.

Coverage records her listening and responding to the song’s warmth. The band performed the music; this is not documented as a JY vocal performance.

Iwai’s version served the KitKat exam campaign and short film Hoshi ni Negai o. The limited CD/DVD package used LP-size presentation and included a tote bag.

The organizer’s report lists MY ID–Hoshi ga Furu Mae ni prod by MONJOE, an MC, then Sukina Hito ga Iru Koto. This live appearance is recorded separately from the April 2 planetarium release event.

Katsuhiko Yamamoto joined the talk and accompanied the final version on piano. Iwai/Kameda and Seiho/MONJOE versions were performed as paired medleys.

During the Seiho/MONJOE medley, the seats brightened and she walked among the audience. The staging alternated contemplation beneath projected stars with direct KAMILIA interaction before she returned for the closing live-piano collaboration.

She attended the red carpet on Naha’s Kokusai Street on April 22. Leon won the festival’s Audience Award.

The two-person exchange of letters traces a lifetime through spoken performance rather than songs or large movement. PARCO’s production history preserves the Nakagawa/Jiyoung pairing as performance number 472.

After rehearsals, director Shuntaro Fujita praised the study and energy behind her believable Japanese speech. Both performers are singers, yet this production asks them to convey whole lives through reading. He felt a resonance between them like childhood friends across borders.

She discussed singing her own film’s theme while approaching the role’s emotions differently from a JY performance. This completion screening preceded the July 14 release.

She met KAMILIA through a talk and autograph session. Her manager reported its completion the following day, June 23.

They shared Tanabata wishes and filming memories. This was a home-video launch talk, distinct from a theatrical preview or opening-day greeting.

Screened in World Fantastic Red, with a runtime of 84 minutes. The world premiere was on July 13, and cast members attended the opening ceremony. Japanese theatrical release: October 27.

She said she met people with the same condition as Mizuho and received guidance on set. She took a wheelchair home to practice everyday actions, including supporting her body when reaching for objects. Preparing gymnastics, guitar and singing together, she sought a performance carrying Mizuho’s emotions rather than simply reproducing a JY concert. She created the theme song Namida no Riyu with Kazuhiko Yamamoto.

The July 14 opening greeting took place at Shinjuku Wald 9. The advance schedule listed a 10:50 greeting and 11:20 film start; article timestamps are not used as appearance times.

Apple Music lists a one-track single with a VAP phonogram credit. The film’s official material credits Katsuhiko Yamamoto for music; the title is read “Wake.”

An attendee’s report of the Yokohama stage greeting.

The Shinagawa account describes an approximately 30-minute greeting after the film, including the director’s talk. The duration is the attendee’s estimate. The advance cast notice and multiple same-day accounts are identified separately from official reporting or independent press, without inventing dialogue.

A 60-minute travel programme broadcast on AbemaSPECIAL on July 15 from 22:00 to 23:00, narrated by Marika Kono.

They discussed singing in character, wheelchair details and filming emotions. Two greetings were advertised, at 11:30 after a screening and 12:30 before one; the report does not independently establish both sessions.

A report video was released on July 16. Stage greetings had been announced for 17:35 and 18:30.

Jiyoung attended the festival in Jecheon. The production committee released photographs and her comments. The film opened in Japanese cinemas on July 14.

They discussed expressing emotion with few lines. Contemporary coverage notes that Jiyoung and Takeda, who shared no scenes, first met at this event.

The reserved Aiko required emotion to be conveyed through few lines and restrained expressions. She said she discussed an emotional outburst with the director and proposed expressing it through uninhibited crying. Speaking English and Japanese as a character without a specified nationality, she explored the contrast between contained sorrow and a moment of release.

The film premiered in World Fantastic Red at BIFAN 2018; the official archive lists 84 minutes and World Premiere. Jiyoung’s July 12 opening appearance is recorded separately from the October 27 Japanese theatrical release.

The post-event report locates the October 27 greeting at Ciné Libre Ikebukuro Screen 1, after the film at 12:30–13:00, with Jiyoung, Rina Takeda, Taro Suruga and Miyano.

Miyano discussed how her journey from KARA informed his casting. A film quiz ended the event, with Halloween treats and signed posters for correct answers.

The episode tests their relationship when Ryuji’s emphasis on appearance meets Nana’s elaborate makeup. Machi Sangenya’s housing proposal becomes central; the official episode page names both actors as its guests.

Ahead of the theatrical release, the event included cast conversation and presentation of the theme song and a new trailer.

She discussed playing Han Yuri freely and admiring the character’s candid support for the heroine.

Itori is a well-connected ghoul who runs the bar Helter Skelter. In her casting announcement she describes discussing the scene with the directors and Masataka Kubota before filming, building the character’s details together. She joins the live-action series in its second film, extending its world through the bar scenes.

An original screenplay by Yoshikazu Okada, directed by Sho Tsukikawa. The six-episode drama aired in August–September 2019, with a film edition released that September.

She revisited old footage of herself before becoming fluent in Japanese and incorporated that earlier speech into Yuri. Her own experience of the March 11, 2011 earthquake in Japan also informed her approach to the character’s experience.

The film substantially re-edits WOWOW’s six-part drama and adds previously unseen scenes. Looking back in a 2025 interview, she said director Sho Tsukikawa allowed her freedom with Han Yuri, unlike Japanese roles where pronunciation and intonation demanded close attention. She used the character’s inner perspective and direct emotions to build the performance.

This was a production-period event in 2019, supported locally by the chamber and city, separate from completion screenings and the nationwide release in 2021.

She described the summer heat and playing Ayane consistently across her transformation.

She introduced the film to festival audiences. The theatrical release was November 1, followed by a commemorative stage greeting on November 2.

She explained that her face was molded in advance and prosthetic makeup took two to three hours on set. After Ayane’s transformation, unfamiliarity with her new appearance was expressed through walking in heels and oversized clothes. She sought comedy in actions natural to Ayane rather than forcing the character to make the audience laugh.

Her pre-release Kyoto festival appearance is documented separately on October 20, 2019. Read the screening and appearance record /

The advance schedule placed the greeting after the 09:40 screening. The official post named Jiyoung, Takuya Kusakawa, Ryuchell and director Ryo Miyawaki, noting that the greeting tour would continue.

An attendee’s November 4 report records Jiyoung discussing learning oil-massage hand movements for the salon scene, and the idea of living as oneself regardless of appearance. These details are identified as the participant’s account of the Q&A.

Jiyoung’s manager quoted this Kohoku post to thank attendees. The named post-event record closes the route after Makuhari, Ikebukuro and Chofu. The announced 18:30 time refers to the film screening, rather than the greeting’s start.

The agency contract at the time was announced December 2, 2019.

JTBC aired the 12-episode Monday–Tuesday drama from 25 May to 30 June 2020. Directed by Song Ji-won and written by Park Seung-hye, it marked her return to sustained Korean acting work.

After the broadcast, she said she studied how to make eating look more appetizing. She remembered Jung Il-woo’s beef-brisket doenjang stew as meaningful comfort food for the two characters, giving the meal scenes emotional weight beyond the romance.

She discussed returning to Korean drama and the appeal of her aspiring producer character Kim Ah-jin. This was a press presentation streamed online.

The interview and photographs were made at JTBC in Sangam, Seoul on 8 July 2020; the article was published on 17 July.

The film’s official YouTube released a 2:45 Jiyoung video message on November 1. The Sendai Giant Tug-of-War preservation association also described it as a message shown at a preview screening. Its October 30 screening at Kagoshima Mitte 10 was announced in advance by the cinema.

She spoke warmly about Kagoshima and her wish to return, while cast members at the venue remembered working with Sasabe.

Jihyeon is a Korean trainee doctor working in Kagoshima. Producer and actor Seishiro Nishida said local requests to film the Sendai tug-of-war inspired a story focusing on one participant and his family. Exchanges with Changnyeong in Korea also helped shape the cross-border romance, connecting local culture, love and family.

SBS broadcast episode 223 on November 29, 2021. Her talk-show appearance provided a space to reflect on her acting experiences beyond her fictional roles.

The appearance aired in episode 8 of SBS’s Sunday drama on 2 January 2022. SBS’s clip credits identify her as Nina.

The supplied notes describe a story adapted from her experience, exploring dreams, memory and the present self. Im Chi-hyeong made the video and Choi Sung-hyun photographed the Korean-language single.

The announced forest-themed programme invited Jiyoung and KAMILIA to enjoy conversation, games and quizzes. A surprise live stage and a draw for signed instant photographs were also advertised, with venue and livestream participation.

Jiyoung helped plan the event’s structure and direction as an expression of thanks to KAMILIA. Her creativity also extended to merchandise: phone grips featured her own drawings of her cats, bringing personal motifs into both the event and its keepsakes.

Her first appearance is episode 6 on 30 April 2023. A JTBC episode-12 clip dated 21 May also explicitly credits her, confirming that the role extends beyond a single episode.

Appeared at the festival photo wall.

She makes a special appearance as Sanga in Nam Dae-jung’s comedy about a couple who lose their memories thirty days before divorce. Production highlights circulated after the Korean release singled her out alongside Jeon No-min and Tae In-ho among the brief guest appearances supporting its comedy. It opened in Korea on October 3, 2023 and Japan on March 29, 2024.

The official announcement shared her message video and described preparations for conversation and singing. Premium tickets included a high-five session and VIP T-shirt as the tour invited KAMILIA to ride together with Bicycle again.

Interviewed just after a daytime show, she said she had planned the musical sequence, including JY songs and a KARA medley. She also filmed travel footage and wrote a letter in return for those KAMILIA had sent her, giving the reunion several forms of personal expression.

The festival lists a 2023 production and 94-minute runtime. A post-screening talk with director Cho Han-byul, Jiyoung and Lee Ju-won was announced; a subsequent KAMILIA blog preserving audience posts from the day also documents greetings and a photo session.

Cinema Journal’s on-site staff diary records the director, Jiyoung and Lee Ju-won at the joint press conference on September 4, with a photograph caption. The press conference is distinguished from the following day’s screening talk.

Audience posts dated September 5, preserved in the KAMILIA blog, describe the director discussing his interest in Jiyoung’s acting in Japanese productions and time spent with her young co-star between shoots. These are identified as participant accounts, not an official transcript or a separate interview.

A second screening was programmed at Midland Square Cinema 2 on September 7 at 18:30. Aichi Shukutoku University’s post-event report records student and graduate involvement in the Japanese subtitles, with 30 students translating. The September 7 schedule does not establish another personal appearance.

That month, the BICYCLE official fan club also opened on Fanicon, expanding contact through exclusive photographs, videos, livestreams and radio content. The official March 2025 announcement later described the next meetings as a reunion following September 2024.

In a later official interview, Jiyoung recalled enjoying activities in which KAMILIA joined her on stage at the March meetings. Preparations emphasized close communication, with premium tickets also offering a high-five session and exclusive goods.

An interview with original photographs focuses on her values in her thirties. Her manager linked it that day. The date records publication; neither a Paris location nor a June 18 shoot is inferred.

Directed by Cho Han-byul and produced by KAFA in 2023, the film had its world premiere at the Aichi International Women’s Film Festival in September 2024, before its Korean theatrical release on July 2, 2025. The festival lists 94 minutes; the Korean distributor lists 95.

The festival programmed the film at Will Hall on September 5, 2024 at 13:30 and Midland Square Cinema 2 on September 7 at 18:30. It was an overseas invited film, listed in Japanese as ジンセン・ボーイ and in English as Ginseng Boy. The organizer’s guest section also named Jiyoung and featured her photograph.

Aichi Shukutoku University’s post-screening report records Japanese subtitles prepared by its subtitle-translation club’s students and graduates under academic supervision, with 30 students contributing to the translation.

Korean Cinema Week 2025 at the Korean Cultural Center in Japan lists the same Korean title, 된장이, under the Japanese title 少年テンジャンイ, with screenings scheduled for October 17 at 19:00 and October 19 at 13:00 in Hanmadang Hall. It is the same film as Aichi’s Ginseng Boy, not another work; the notice does not establish Jiyoung’s attendance.

The film screened at CGV Sopoong on July 5 at 7:30 p.m. and July 9 at 5 p.m. It won the MIFF Best Asian Film Award, with the jury also praising the lead actress’s performance.

A same-evening attendee account describes her stage greeting, group photo and post-screening discussion. Completion evidence is an anonymous attendee report, distinct from the official notice.

The film version had its world premiere at the 29 th BIFAN in July 2025 and opened in Korean cinemas on 23 July. The expanded series was released in full on Wavve on 22 August.

In an interview she said the director trusted her with two roles after seeing Orphan Black. At action school she worked on kick angles, footwork and fights against multiple opponents for Sun-woo, while differentiating the heiress through speech.

BIFAN 2025 scheduled screenings at CGV Sopung on July 5 at 19:30 and July 9 at 17:00. Its archive dates the 117-minute film version to 2024, distinct from its 2025 festival premiere and Korean release. The film won the MIFF Award for Best Asian Film.

Streaming began on Kanta on September 12, 2025. In the announcement she described her fascination with vampires and the challenge of finding Mi-ho’s individual appeal, bringing action and conflicting feelings together in the role.

MBC broadcast episode 936 on 15 October 2025. Although the official clip was posted on 16 October, the entry uses the 15 October broadcast date.

Two days before the Korean release, Jiyoung took part in solo photographs and a cast photo session.

Sang-woo Jeong wrote the English song and arranged it with U-LU. The 22-track Showbox soundtrack, distributed by Leeway Music & Media, explicitly credits Jiyoung Kang’s vocal.

The official schedule lists ten sessions at CGV Yongsan I’Park Mall, Megabox COEX and Lotte Cinema World Tower. The COEX times follow the revised notice.

In an official pre-event interview, she spoke of preparing new songs, games and conversation and promised a new challenge. Premium tickets advertised farewell high-fives and different exclusive goods for each day, giving the two dates distinct keepsakes.

The official schedule lists ten sessions across Lotte Cinema Hongdae Entrance, CGV Hongdae, Megabox Hongdae and CGV Yongsan I’Park Mall, including the added Megabox sessions.

The revised official schedule lists fifteen sessions at Lotte Cinema Cheongnyangni, CGV Wangsimni, Lotte Cinema Konkuk University Entrance, Megabox COEX and Lotte Cinema World Tower.

Working to pay for her mother’s treatment, Seon-u is asked to stand in for an heiress linked to a hit-and-run and meets her in Jeju. The assignment draws her into a wealthy family’s conspiracy, combining sharply contrasting dual roles with taekwondo-based action.

Directed by Yoo Ha of Gangnam Blues. Lee Gi-kwang plays Han Ho-jun and Uhm Tae-woong plays Yoon Seok-hyeon. Screenplay by Ko Jae-hong and Wang Hye-ji.

Japanese streaming was announced December 26, 2025, with all six episodes on U-NEXT from December 30 at noon.

The film version’s July 2025 BIFAN screenings and film award are kept separate from this six-episode Japanese streaming release. A link connects the records; the film award is not reassigned to the streaming edition or to Jiyoung as an individual acting prize.

Charged with attempted murder, Ha-yun acts as a leader among the women detainees. Unit chief Kozue (Ryoko Shinohara) respects her, while Minami Haneda (Ichika Osaki) sees her as a rival. Her role establishes part of the power dynamics between detainees and staff.

She approached Ha-yun’s leadership as a presence that brings people together. Imagining the loss of a life built in Japan and the loneliness of having nowhere to belong, she sought to suggest that history in silent moments, holding strength and private pain within one character.

She treated bursts of Korean as moments when suppressed feelings overflow. The realistic detention-centre set also gave her a sense of confinement while filming cafeteria scenes.

It launched after episode three on January 25, with her agency announcing the appearance on January 26. Its streaming release is distinguished from the main series’ January 11 television launch.

The official detective-themed artwork accompanied plans for an interactive stage in which Jiyoung and KAMILIA would solve missions together. A checked hat, cape and magnifying glass visualized the Hidden Picture concept.

The A4, 112-page print book appeared June 5, 2026. Launch events were announced in Osaka and Tokyo, followed on July 15 by a digital edition with ten additional photographs. Retailer postcards and venue-specific photo prints are separate from the digital bonus photographs.

The publisher’s same-day completion posts, quoted by her manager, confirm both launch events: June 6 at HMV&BOOKS NAMBA in Osaka and June 7 at HMV&BOOKS SHIBUYA in Tokyo. These dates are separate from the June 5 book release.

The manager’s same-day report, official press video and the agency’s June 10 report corroborate the award. The agency describes it as recognizing cultural exchange and mutual understanding. This is the ceremony already represented by the timeline’s video entry.

The agency announced it September 12 for September 20 at 15:10, LIVES NAGOYA. The official flyer lists a planned 15:10–15:40 talk and a draw for 100 seated attendees; this entry documents the announcement.

Nam Dae-jung directs Kang Ha-neul, Kim Young-kwang and Cha Eun-woo as childhood friends whose trip to Thailand takes unexpected turns. Jiyoung plays Sylvia and also sings the soundtrack song Let It Fly (DJ South). It opened in Korea on October 29, 2025 and Japan on September 25, 2026, bringing another of her combined acting and music projects to Japanese cinemas.

Based on Yo Kusakabe’s novel, directed by Hiroshi Kanai and written by Takafumi Kosaka. Her agency announced her return to a WOWOW drama after about seven years. The five-episode series began broadcasting and streaming on October 4, 2026.

In WOWOW’s production interview, director Hiro Kanai described retaining specialist language and avoiding a simple division between business interests and medical ethics. Reunited with Jiyoung after about a decade, he praised her screen presence and ability to brighten a demanding shoot.

She attended the October 26 red carpet. The world premiere and stage greeting/Q&A are scheduled for October 29, with theatrical release on February 5, 2027.

The festival schedule lists a screening-only session on October 30 at 21:00 and a Q&A with director Yamamoto on October 31 at 16:05. The theatrical release is scheduled for February 5, 2027.

Nanako, who grew up in Japan, and Erika Karata’s Ji-hyeon confront questions of birth and family across Japan and Korea. In her official comment Jiyoung describes their meeting as Nanako encountering another family. Akira Yamamoto directs Sumire Suzuki’s adaptation of Shiho Tanimura’s novel, scheduled for February 5, 2027.

Selected for the 39th Tokyo International Film Festival Competition, Jiyoung attended the October 26, 2026 opening red carpet. The world premiere and stage greeting/Q&A remain scheduled for October 29, separate from the February 5, 2027 theatrical release.

The October 29, 2026 festival screening and scheduled appearance have a separate entry; the theatrical release remains February 5, 2027.

Directed by Park Myung-chun, the film followed a journey through nature and the members observing one another. The sources explicitly identify three participating members, rather than the full quintet.

November 30 is the preview publication date. TV airing was scheduled for December, not asserted to have begun November 30.

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The Seungyeon photograph with purple clothing and a red frame corresponds to that shoot coverage. A separate archive registers a 30-second cinema advertisement, “ALASKA DOWN,” featuring all three on October 26, distinguishing the print/shoot material from the film.

The shoot was introduced August 28. The cinema commercial ALASKA DOWN was archived October 26.

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Jiyoung appeared in a Japanese chocolate commercial tied to the opening of a speciality shop inside a department store.

The entry retains November 13 as the existing press-video upload date. The CM also began that day, but the linked footage covers the press event rather than being the commercial itself.

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