Open Thread #3
I may be wrong in assuming that public service announcements in Western countries still don’t feature stylized breasts and vaginas(?), but regardless I love Korea’s no-nonsense attitudes to the body and bodily functions, in this case at least easily trumping any qualms that the Ministry for Health, Welfare and Family Affairs (보건복지가족부) may have had about featuring them in its campaign for people to get regularly checked for cancer.
What I really love though, is that it has been turned into the song and dance below:
Easily to laugh at perhaps, but are more serious but otherwise rather dull campaigns in Western countries really more effective?
Meanwhile, apologies to all those readers who were looking forward to my promised restarting of the Korean Gender Reader series in the new year, but after much soul-searching this week – prompted by my catching a cold after writing the last two posts until the small hours – I’ve been forced to admit that I still don’t have the time. I may have next month if some anticipated changes are made to my job, but until then, please feel free to pass on and discuss any Korean gender, media and sexuality-related stories yourselves here!
Update - Seeing as we’re talking about Korean oddities, consider the following advertisement for a cosmetic surgery clinic here in Busan:
From page 18 of the 4th of January Busan edition of Focus newspaper – the entertainment section no less. And don’t get me wrong: with the proviso that Noblesse has a vested interest in fostering insecurities about one’s body image, I’d image that female-like breasts are no laughing matter for the high-school boys with the misfortune of having them.
It is also common for Korean cosmetic surgery clinics to use comics in their advertisements, one that readily comes to mind consisting of a group of people gaping in either awe, lust, or jealousy at a woman who has just received breast implants. You may have seen it on the Seoul subway:
Thanks to reader Marilyn for passing on the photo. And again it is unsophisticated perhaps, but regardless of one’s opinion of cosmetic surgery in general, it was probably effective: it got both Marilyn’s and my own attentions at least!
Granted that the Noblesse advertisement remains just plain bizarre though, albeit a little less so when you realize that the woman featured was either the school nurse or a visiting government health inspector, not simply a new teacher.
Finally, while we’re on the subject of cartoons, here’s one I couldn’t help smiling at a couple of days later (from Focus newspaper again):
In case you don’t get it, the young man is living with his older sister but has to find his own place. At first, he thinks the place the real estate agent shows him is too old for the rent being asked, but he changes his mind when he sees the view from his window. In the final panel, the real estate agent crumbles about how difficult his job is these days…
More problematic in Japan than in Korea perhaps, where I hear that voyeurism is so taken for granted that women can expect their underwear to be stolen if it is hung from the first or even the second floor, or is that just an exaggeration? Alternatively, is it a problem in Korea too?
Korean Sociological Image #29: JYP and the Objectification of Women
( Source: 뮤지컬이야기 )
What’s wrong with this advertisement?
When I first saw it, I couldn’t really put my finger on it, other than noting the similarity to some iconic but controversial Robert Palmer music videos. Which was kind of ironic, considering what Park Jin-young (박진영) is putting his fingers on.
With thanks to an anonymous reader for passing it on, both these problematic elements and more are present in his new music video, “No Love, No More” (노러브노모어), the main subject of this post. But first, a quick explanation of what was so controversial about those Robert Palmer videos exactly, for many of my younger readers may not even have heard of them.
As Alyx Vesey explains in Feminist Music Geek, the crucial one was “Addicted to Love” from 1986, and as a feminist she had trouble with it:
…for one big, obvious, highlighter-yellow reason. It’s so blatantly sexist. The models who comprise Palmer’s backing band are normatively beautiful, musically inept, interchangeable, ornamental, passive, and blankly spectacular. They’re kinda like a Busby Berkeley chorus line, only on sedatives and with visible nipples.
And while unrelated to this post, I think it’s worth quoting her a little more:
And yet. I can’t let this one go so easily. It’s an indelible image that is simple and yet iconic in design (it’s so effective that ”Simply Irresistible” and “I Didn’t Mean to Turn You On” only mildly revise the concept). Thus, it’s also easily replicable. When you put “Addicted to Love” alongside another lexicon 1980s video like, say, Michael Jackson’s “Thriller,” it’s much easier to match (many people, including Jackson, tried and failed to reach or exceed that video’s epic proportions).
It’s also an easy concept to subvert, which is my primary interest. I’d like to highlight a few instances where women take on “Addicted to Love” and, in the process of recasting and reconfiguration, potentially disrupt the original music video’s sexist aims.
Which I highly encourage you to check out. Meanwhile, let me also present the Simply Irresistible music video here, for I think that with the women dancing in the background, it is the most similar of the three to No Love No More (see here for a longer version):
Finally, No Love No More itself. Regardless of the criticisms in this post, it probably has the best picture quality of any music video I’ve ever watched on Youtube, so make sure to click on “HD”:
Clearly not a carbon copy of Robert Palmer’s videos then, and JYP (or whomever was responsible for them) might reasonably claim not to have been at all influenced by those. But whatever the origins, the women in the barn (and in the poster) are indeed extremely similar, and almost all are objectified.
And yet there are still more problematic elements in it, pointed out to me by the reader who passed the video on. Unfortunately, I didn’t have time to ask permission to quote her email before writing (apologies for my over-enthusiasm), so she’ll have to remain anonymous:
…the video infuriates me. Maybe it’s because I come from a country where explicit violence against women is not only extremely taboo but also illegal to portray in music videos. Still, given that domestic violence is such a formidable problem in this country, I find it mind-blowingly irresponsible that the most powerful man in Korean music at the moment puts out a video like this.
Shooting his girlfriend execution-style (apparently it’s okay to show her blood spraying out as her body crumples to the ground but it’s not okay to show an actual gun doing the shooting)… he then turns the “gun” on himself, and we’re expected to sympathize with him as a tear runs down his cheek as he takes his last breath. He executed his girlfriend, but the poor guy must have felt immense pain to have been driven to do such a thing. Break to the rest of the video, which simply consists of JYP dancing while dozens of women stand around or grope him as sexual props. JYP’s entire image seems to rely on the objectification of women, as demonstrated by [that poster], for one example…
…in which he is fingering a woman’s breasts, “playing her” as if she was a musical instrument. Now I’m definitely no fan of K-pop, and normally have nothing to do with it, but this video of his has been playing over and over on TV, and I can’t help but fear the message it sends young Koreans. JYP is, after all, immensely popular and influential in the K-music world, as he owns one of the most successful music labels in Korea and appears on countless TV shows and commercials. I find it surprising that no one seems to take offense to this video, which romanticizes violent “crimes of passion” (end).
( Source )
I agree, and as that reader is almost entirely responsible for this post, I encourage her to give me permission to print her name so that she can receive the credit for it!
But I would of course appreciate it if any other readers had more to add, on either the music video, the poster, and/or JYP’s marketing in general. And I confess, I know nothing about JYP’s music. So to any fans of his in particular, would you say that that characterization of him is fair?
(For all posts in the Korean Sociological Image series, see here)
Korean Sociological Image #28: Cosmetic Surgery Advertisements Featuring Caucasians
I’ve never done any systematic study of advertisements for Korean cosmetic surgery clinics. But still, I’d wager that the overwhelming majority do not feature Caucasians.
And why should they? Like frequent commenter Whatsonthemenu pointed out in an email to me, she has never seen a tanning product advertisement in North America, for instance, that used a model of African descent, and most models look European or possibly Hispanic. Similarly, advertisements for hair straightening products, generally aimed at Black women, always use Black models (usually light-skinned ones), never Caucasian or Asian.
One reason for this is that correlation does not imply causation, and that tanned Caucasians happen to look darker does not necessarily mean that they want to look like Africans. Rather, the consensus view of tanning’s origins is that it developed as a status symbol, implying the wealth to take vacations to warmer climes.
In the case of hair-straighteners however, let me pass on Whatsonthemenu’s comment that “the desire for straight hair almost certainly originates in the desire to look closer to Caucasians,” and that this stems from back when house slaves, who were more likely to have Caucasian fathers or grandfathers, had higher status than field slaves. Which leads one to ask what Caucasians’ absence in advertisements implies?
Perhaps that when it comes to something as personal as dramatically altering one’s body and/or appearance in particular, there is a universal tendency to deny one might be imitating some aspect of another culture, race and/or ethnicity? After all, not to implies acknowledging a (perceived) flaw with your own, unlikely to go down well with other members of it.
Which is what makes Koreas’ exception to the rules so interesting.
( Source: unknown )
Whatsonthemenu noticed this advertisement for the BeautyMe Clinic on The Chosun Ilbo’s website last weekend, clicking on which took you to their homepage above. The Caucasian woman you see there is featured quite prominently throughout the site, and, judging by the the single page discussing double-eyelid surgery for men also featuring a Caucasian man, the choice of her race is not due to mere laziness or accident on the web designer’s part.
So why?
One obvious answer is that some Korean cosmetic surgery patients genuinely do want to look more Caucasian. But I think that they’d be a very small minority, even among those getting only those procedures that ultimately have that effect. Meanwhile, probably the vast majority don’t have that goal, either explicitly or subconsciously, and would justifiably take great offense at the suggestion.
However, clearly the intended customers would have no problems with associating cosmetic surgery in general and/or specific operations with Caucasians, nor find the choice of the model’s ethnicity strange. If they did, then presumably the proprietor of BeautyMe Clinic and others with similar advertisements (see here and here) would have chosen a Korean woman instead, as most do.
Yet they didn’t, and that those (positive or neutral) associations presumably existed prior to exposure to the advertisement puts paid to any notion that “Caucasianness” has had absolutely no role in Koreans’ modern ideals of beauty. And, in turn, to the notion that Koreans finding light skins and double-eyelids and so on attractive today are merely continuations of unaltered historical Korean tastes that existed prior to contact with Caucasians. Indeed, like blogger Michael Hurt wrote in 2005, it’s high time to acknowledge:
…the big, fat, white elephant in the room that is America and the West. You have to consider how having white skin here in Korea is not simply a matter of lightness anymore, of being a sign that one doesn’t have to work outside in a field. The relative pallor of one’s skin is now inevitably linked to notions of civility and class that are also reflected against the very real presence of white people, who are not surprisingly, positively associated with notions of civility and class.
But, and I stress, to do so is not to deny a role – and probably a much greater role – for historical Korean beauty ideals (and definitely not to claim that Koreans just “want to look White”). For a sense of the weight of the respective roles of each, and their possible mechanisms, please see the debate in previous posts.
(For all posts in the Korean Sociological Images series, see here)
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