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This translation of part of this Korean article follows directly from Part 1 and Part 2. If you haven’t already, please read those first, as the author didn’t intend for any section to be a stand-alone post:

‘비정규직 세대’의 이중착취 / The Double-Exploitation of the “Irregular Generation”

아이돌 바람을 일으킨 기획사 대표들에게는 몇 가지 공통점이 있다. 스스로 연예계에서 활동하며 발을 넓힌, 중장년층의 남자들이라는 것이다. 이들은 경제위기 이전에 사회에 진출해 상당한 부를 축적한 기성세대면서도, ‘비정규직 세대’와 취향을 공유할 수 있을 만큼 젊은 경우가 대부분이다.

The representatives of management companies that gave rise to the idol boom have many points in common. First, they are middle-aged men who developed their careers within the entertainment world by themselves, before the Asian Financial Crisis. Also, while they are an old generation with accumulated wealth, most are still young enough to share the tastes of the “irregular generation”.

다시 말해, 아이돌 기획자들은 무력한 남성들의 욕망을 이해할 만큼 젊고 영악한 ‘동료 남자’들인 동시에, 이 수요를 가공해 상품으로 내놓을 수 있을 만한 돈과 연줄을 지닌 사람들이다. 반면에 대다수 젊은 세대가 지닌 건 욕망과 (아르바이트로 모았을) ‘미니앨범’을 겨우 살 주머니 푼돈뿐이다.

In other words, management company representatives are young and shrewd enough to understand powerless men’s tastes, and have the money and connections to produce manufactured goods (idols) on demand. On the other hand, the thing which most of the young generation have is desire, but only enough pocket money (or money gained from part-time jobs) to buy mini-albums.

한국의 현재 청소년들은 꿈을 꿀 수 없는 불우한 세대다. 유치원 시절부터 학교, 학원, 과외로 이어지는 가혹한 경쟁체제 속에서 고통 받지만, 이들에게 준비된 미래는 없다. 소수의 ‘좋은’ 대학을 갈 경쟁력은 돈으로 길러지고, 운 좋게 입학 기회를 얻는다 해도 돈 없이는 학교에 다닐 수도 없고, 살인적인 ‘스펙’ 경쟁도 불가능하다. 졸업생을 기다리고 있는 것은 차별, 실업, 비정규직으로 이어지는 잔인한 현실이다.

Korean teenagers now are an generation of misfortune, which can’t have dreams. From when they’re in kindergarten, to attending school, hagwons, and receiving private tutoring, they suffer greatly from the competitive system into which they’re placed, yet despite that have no future to prepare for. They can use money to increase their chances of getting into one of the very few “good” universities, but even if they [are indeed] lucky enough to gain a place to one they may be unable to afford the fees, and [besides which] it would still be impossible to get killer “specs” [James – a good background]. Graduating students now face a merciless reality in which they have nothing but discrimination, unemployment, and/or irregular, unstable work to look forward to.

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아이돌 그룹은 이 가엾은 세대에게 두 가지 의미의 ‘위안’을 준다. 하나는 암울한 현실을 잠시 잊을 수 있는 오락이고, 다른 하나는 ‘나도 아이돌이 될 수 있다’는 꿈이다. 하지만 이 ‘위안’은 기획사가 비정규직 세대를 피라미드형 착취구조로 이끄는 미끼에 지나지 않는다. 젊은 세대는 아이돌 음악을 사는 소비자인 동시에, 오디션에 참여해 ‘아이돌 예비군’인 연습생 자리를 채워주는 ‘인력풀’이다.

Idol groups give comfort to this hapless generation in two ways. One, is through giving some pleasure that allows them to forget their miserable reality for a moment, why the other is through fostering the belief that they too can become idols. But this “comfort” is nothing but bait for a pyramidal exploitation structure of them. [As] while the young generation purchase music as consumers, at the same time they also audition to become a labor pool of “idol reserves”.

이들은 기획사에 수익과 인력을 댈 뿐 아니라, 열광과 환호로 아이돌에게 매력적인 지위도 부여한다. 결국 ‘아이돌의 꿈’을 구성하는 부, 인기, 명성은 모두 비정규직 세대 자신들이 공급하는 것이다. 하지만 꿈의 주인공이 되는 것은 오직 기획사를 통해서만 가능하다.

While these idol reserves represent profit and a labor pool to the management companies however, to them themselves they are given an attractive position through widespread public adulation and passion for them. In the end, everything that an idols’ dreams are composed of – wealth, popularity, fame – are things that they provide for themselves. But although they are the central character in their dreams, these are still only possible through management companies.

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Caption:  걸그룹 기획사가 가장 중요하게 여기는 것은 의도된 노출에 적합하고 손쉽게 대체될 수 있는 획일화된 신체다.

Image Caption: [When it comes to idols], The most important thing for management companies to consider are standardized bodies suitable for skin exposure and easily replaced (end).

James – My apologies in advance for any mistakes in the translation, which I admit that I (and then my long-suffering wife) struggled with much more than I did the first two parts. Much of my confusion though, stemmed from – to my mind – Kang’s abrupt shift here from talking about the “irregular generation” in the first half of the article (i.e. the target audience of girl groups), to the “young generation” that the girl-group members belong(ed) to in the second half. However, it does serve as a good introduction to Part 4’s discussion of their exploitation with the Korean music industry, which you can find here.

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This translation of part of this Korean article follows directly from Part 1. If you haven’t already, please read that for the background:

An ‘Oppa Industry’ Founded on Powerless, Frustrated Men’s Desire / 무기력한 남자의 욕망에 기초한 ‘오빠 산업’

‘오빠’ 노래가 최근 처음 등장한 건 아니다. 하지만 여자 가수들이 약속이나 한 듯 동시에 ‘오빠’를 불러대는 모습은 과거에도 보기 드문 장면이었다. 대체 어떤 연유로 ‘오빠 강풍’이 불기 시작했을까?

This is not the first time that there have been Oppa songs. But, just as you’d expect, it was rare to find female singers [actually?] saying the word in past songs. [So] what on Earth was the origin of this Oppa Craze?

물론 ‘오빠’ 소리를 듣고 싶은 남자들이 많기 때문일 것이다. 걸그룹에 열광하는 남자팬들의 다수가 연애조차 하기 힘든 비정규직 세대라는 점을 기억할 필요가 있다. 이들이 걸그룹에 환호하는 이유는 소위 ‘초식남’이 만화주인공과 사랑에 빠지는 이유와 비슷하다. 그들에게 걸그룹은 ‘망가걸’의 실사판인 셈이다.

Of course, the reason is that there are many men that want to be called “Oppa”. We need to remember that the majority of enthusiastic male fans of girl-groups are a generation of men who work hard at irregular, [dead-end] jobs, and [so?] have difficulty even getting a date. The reason they cheer girl-groups is similar to the reason so-called “Herbivore Men” fall in love with the main characters in manhwa comic books: to them, girl groups members are like real-life versions of “Manga Girls”.

James: jumping ahead to a point I’ll make again in the conclusion, things like this mean we should be very wary of such sweeping statements about the demographics of K-pop fans, not least those made by myself. But I do find Kang’s arguments compelling overall.

한국 걸그룹이 외환위기 이후에 등장했다는 사실은 의미심장하다. 특히 한국 경제가 장기침체로 들어선 2000년대 후반 등장한 원더걸스나 소녀시대는 1990년대 후반의 에스이에스(S.E.S.)나 핑클 등의 ‘1세대 걸그룹’과 구별되는 특성을 보인다. 훨씬 어리고, 노출 정도가 크고, 몰개성적이며, ‘리드보컬’ 개념이 매우 약하거나 존재하지 않으며, 대규모 오디션과 ‘연습생’ 제도에 의존한다.

It is telling that Korean girl-groups first appeared after the Asian Financial Crisis of 1997-98. And [in turn] the Wondergirls and Girls’ Generation that appeared in the second half of the 2000s, after years of economic stagnation, can be distinguished from those “First Generation Girl-groups” such as S.E.S. and Fin.K.L. in several ways: they were way too young; they exposed their bodies a great deal more; they were de-indivualized, with the “lead vocal” concept not existing at all; and they depended on intensive audition-processes and practice and training-sessions.

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James: Matt at Gusts of Popular Feeling has two great posts on the differences between the two generations of girl-groups here and here, and Mellowyel at Mixtapes and Liner Notes has an equally interesting post here that deals with those and other differences, including less stress on vocals by later groups. But while I certainly agree with all those differences, and would be the first to admit that many girl-group members are essentially faceless and interchangeable to all but their most ardent fans, nevertheless I think saying that they’re “de-individualized” puts it a little too strongly, masking an important point. Specifically, consider what Philip Vannini and Scott Myers wrote about manufactured Western bands a decade ago (in “Crazy About You: Reflections on the Meanings of Contemporary Teen Pop Music”, Electronic Journal of Sociology, available online here):

Producers’ control extends from songwriting to image-packaging and personality development. Any boy-band act is put together to appeal to various personalities and life outlooks of fans as each band includes a member portrayed as cute and sweet, one funny, one good-looking and mysterious, one creative and goofy, one talented and motivated, one dark and tough, and such. Bands are created with the consumers’ demand in mind…

Then compare what allkpop wrote about Korean girl-groups last year (the first source I could find sorry!):

Osen recently pointed out that cute members of female groups tend to generate widespread interest and bump up a group’s popularity singlehandedly. Every member has their own individual role in the group, and every group has a member in charge of being the ‘cute’ one. In Korea, fans call this certain member “Kui-yo-mi (귀요미),” meaning “the girl with the cute image (귀여운 이미지를 가진 이).”  This member is in charge of garnering fanboy love with her cute/lovable/girly charm, which will result in a bigger fanbase for the group. In this report, Osen identified four girl group members that fit this role.

So sure, while many girl-groups are large, and some are getting larger all the time, who’s who in them does still have some relevance. (AKB48 they ain’t!)

Back to the article:

Caption: 한국 걸그룹은 ‘망가걸’의 실사판 이미지에 가깝다. 리본, 분홍, 천진한 표정이 드러내는 유아적 여성 이미지와 검은 눈썹에 금발을 한 인물의 탈국적성 등은 일본 만화캐릭터에서 보편적으로 발견되는 특성이다.

Caption: Korea girl-group members are close to being real-life Manga Girls. There’s the ribbon; the pink; and the naive, innocent expression, which combine to give an infantile image. Add black eyeliner and blond hair, and you’re left with an figure devoid of ethnicity, i.e. the universal Japanese manhwa character.

나머지는 ‘세대착취’ 부분에서 자세히 다루기로 하고, 우선 ‘어린 나이’와 ‘노출’에 대해 살펴보도록 하자. ‘롤리타 콤플렉스’라 불리는 소아성애는 약화된 남성성과 관련이 있다. 경제적 능력이 남성 권력의 토대인 가부장제 사회에서 경제력의 상실은 곧 남성성의 상실을 의미하게 된다.

I will talk more about the exploitation of this generation in detail later [in Parts 3-5]. First, let’s examine the issue of exposing the bodies of young people. [In short], there is a relationship between this pedophilia called the “Lolita Complex” and weakened male sexuality. And in a patriarchal society based on economic ability and male power, accordingly the loss of economic power equates with a weakening of male sexuality.

한국경제가 장기침체에 들어서며 어린 ‘2세대 걸그룹’이 등장했듯, 일본 역시 1980년대 경기침체를 겪으면서 ‘로리콘(ロリコン) 캐릭터’가 급부상했다. 한국 걸그룹과 일본의 ‘로리콘 캐릭터’의 속성은 동일하다. ‘어린 얼굴에 성인의 몸을 가진, 위협적이지 않은 성적 대상’이다. 약화된 남성들에게 성숙하고 당당한 여성은 감당할 수 없는 위협이기 때문이다.

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When the Korean economy entered a period of long-term stagnation, the second generation of girl groups-appeared. Likewise, Japan also went through a period of long-term economic stagnation in the 1980s, and “Lolicon” characters quickly appeared. Korean girl-group [members] share many characteristics of these Lolicon characters. With childlike faces with adult bodies, they are non-threatening sex-objects. Because to weakened men, mature and confident women are too threatening.

<게으름뱅이 정신분석>의 저자 기시다 슈도 비슷한 맥락에서 성범죄를 분석한다. 그에 따르면, 성범죄자는 남성성이 넘치는 사람들이 아니다. 이들은 정상적인 교류상황에서는 성능력을 발휘할 수 없는 ‘고자’ 혹은 ‘불능남’이기 때문에, 여성을 위협해 무기력한 상태로 만들거나 아예 저항 능력이 없는 연소자나 장애인을 택해 범죄를 벌인다는 것이다.

Syu Kishida, author of “A Psychoanalysis of Lazy Bastards”, made similar lines of connection with sex-criminals. According to him [her?], sexual criminals are not [exactly] men overflowing with male sexuality. [Rather], because they are “eunuchs” or impotent men who can’t develop sexual ability through normal [life and] interaction, they prefer to threaten or make women powerless, or choose to commit sexual crimes against the young or disabled because those groups are unable to reject them.

스티븐 엡스타인과 제임스 턴블이 잘 정리했듯, 한국 걸그룹은 ‘순진’, ‘애교’, ‘수줍음’, ‘수동성’, ‘도발’ 등의 특성을 갖는다. 얼핏 보면 ‘순진’, ‘수줍음,’ ‘수동성’은 ‘(성적) 도발’과 대치되는 듯 보이지만, 사실은 모두 ‘도발’을 위한 장치일 뿐이다. 무기력한 남성을 도발하기 위해서는 순진하고, 여리고, 수동적인 여성 이미지가 필요하기 때문이다.

Stephen Epstein and James Turnbull summarized this well. Korean girl-groups’ shared characteristics are naivety, aegyo, shyness, passivity and sexual provocation. While at a glance those first personality traits seem to contradict the last, in fact all are simply a device for sexual provocation. To powerless men, a naive, weak, and passive image of women is required for this.

한국에 등장한 ‘꽃미남’, ‘화장하는 남자’, ‘초식남’은 일본이 앞서 경험한 현상이다. 그렇다면 한국 걸그룹이 해외에서 얻는 인기는 경기침체로 인한 ‘롤리타 콤플렉스’ 및 일본 ‘로리콘 캐릭터’의 보편화와 떼어 생각하기 어렵다.

Trends for men that have emerged in Korea, like “Flower-Beautiful-Men” (Kkotminam), “Cosmetics-wearing Men”, and “Herbivore Men” are all things that Japan has also experienced. On that basis, it’s very difficult not to think that there’s something in common with the popularity Korean girl-groups are gaining overseas [Japan surely?] and the popularity of the Lolita Complex and Lolicon characters there that arose with long-term economic stagnation (end).

James: I think Kang’s central point about the economic and consequent cultural parallels between Japan and Korea is valid, and that it’s certainly true that some Japanese men’s liking of the Lolita Complex and Lolicon characters would predispose them to also liking Korean girl-groups. But with this final paragraph, I think he extrapolates a little too much, for two or three reasons (source, right):

1) There are huge differences between Japanese Herbivore men and Korean Kkotminam (I’ve never heard of “Cosmetics-Wearing Men”), the latter of which would by no means be considered powerless. But I concede that Kang may simply have been pointing out yet more similarities with Japan here, rather than making a connection to those particular groups of men and male fans of Lolicon and Korean girl-groups per se.

2) More to the point then, has any actual research been done to confirm these alleged tastes in Lolicon and so on of Japanese male fans of Korean girl-groups? (While it does makes sense, like I said we should be very wary of taking it as a given, particularly considering the next point)

3) And crucially, the vast majority of Japanese fans of Korean girl-groups are in fact girls and young women, as – ironically – Korean girl-groups reportedly provide a much more mature image than their Japanese counterparts. If so, then rather than embracing Korean girl groups, logic dictates that in fact powerless Japanese men would positively reject them.

Which again demonstrates the need for more research into the demographics of Japanese K-pop fandom. Or perhaps it has already been done, and readers can point me in its direction? (Hint hint)^^ Meanwhile, see Part 3 on The “Irregular Generation’s” Double-Exploitation / ‘비정규직 세대’의 이중착취 to continue the discussion!

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Caption: 일본 ‘로리콘’ 캐릭터. 1980년대 일본 경제침체가 심화되면서 ‘위협적이지 않은’ 어린 소녀를 성적 대상화하는 현상이 두드러졌다. ‘롤리타 콤플렉스’는 무기력한 남성의 정체성을 반영한다. 외환위기 이후 등장한 한국의 걸그룹 현상도 같은 맥락으로 볼 수 있다.

Caption: Japanese “Lolicon” characters. With the deepening economic stagnation in Japan in the 1980s [1990s?], the sexual objectification of unthreatening young girls became noticeable. This Lolita Complex reflected the identity of powerless men, as does the rise of Korean girl-groups.

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Yes, the Korean title to the article does indeed say “depraved” oppas, with exactly the same sexual connotations in both languages. But if it’s news of some potential K-pop scandal that drew you here though, then I fear you’ll be disappointed!

Instead, it’s actually about the negatives of the girl-group phenomenon. And, rather than by some sleazy tabloid journalist, in fact it’s written by academic Kang In-kyu, who spoke on Korean internet culture at a recent Korea Pop Culture conference at UC Irvine, which also included Stephen Epstein’s and my own presentation on girl-groups. Sure enough, Kang later refers to — and is clearly heavily influenced by — our work, but he also very much builds upon it, and we’re very happy to learn that the issue is beginning to get an airing in the Korean media.

Practically speaking however, unfortunately the article is also a little long, so I’ve split it into five parts to be put up over the next week or so (please consider this one just the introduction). But for the odd addition of my own words here and here though (indicated by square brackets), I’m afraid that also means I don’t really have the time to work on the style of the translation!

음흉한  ‘오빠들’, 소녀시대에 무슨 짓 한 건가 / What did Depraved Oppas do to Girls’ Generation?

아이돌, 착취사회의 경쾌한 합리화. 강인규 기자

Idols, the light-hearted rationalization of an exploitative society. By Kang In-kyu.

(‘순진’, ‘애교’, ‘수줍음’, ‘여림’ 등은 걸그룹의 주된 이미지 전략이다. ‘오빠’로 대표되는 수동적 여성성의 회귀는 무기력해진 남성의 욕망을 드러낸다. 사진은 소녀시대의 ‘오!’ 뮤직비디오의 한 장면)

(Opening image caption: Naivety, aegyo, timidity, fragility, and so on are girl-groups’ main image strategy. This representative Oppa phenomenon reveals men’s desire for a passive, regressive, and powerless women’s sexuality. Photo: scene from music video to Oh!, by Girls’ Generation)

참 이상한 일이었다. 한국 성평등 지수가 세계 최하위 수준이라는 사실을 몰라서가 아니다. 2010년 세계성평등도 조사에서 한국은 134개국 가운데 104위를 했다. 20대 여성 자살률은 경제협력개발기구(OECD) 평균의 두 배가 넘고, 50대 여성 행복지수는 세계에서 가장 낮다. 한국에서 여자로 태어나는 순간 차별과 불행을 피할 수 없다.

Something a little strange happened [recently]. [I mean, it’s] not that I didn’t already know that Korea has one of the lowest scores in the world for sexual equality. In 2010 [for instance], a survey found that of 134 countries examined, Korea came in 104th. It also had over twice the OECD average for suicides of 20-something women, and its 50-something women were the unhappiest in the world. Indeed, surely to be born female in Korea means it is impossible to avoid discrimination and bad luck.

그래도 이해할 수 없었다. 별안간 ‘오빠’ 바람이라니. ‘오빠 나 좀 봐’, ‘너무 부끄러워’, ‘몰라몰라’, ‘처음이야’, ‘떨려와요’, ‘동생으로만 생각하진 말아’, ‘난 울지도 몰라’, ‘나는 바본가 봐요’, ‘난 다 믿었어’. 아니, 믿을 사람을 믿어야지, 가정에서는 폭력, 사회에서는 차별을 재생산해 온 오빠를 믿는다니. 이 척박한 야만의 땅에서 한국 여성들은 차별과 고정관념에 맞서 끈질기게 싸워오지 않았던가. 내가 보기에, 이 난데없는 ‘오빠 바람’은 명백한 퇴행이었다.

Still, I didn’t understand. But then suddenly there was this “Oppa craze”. “Oppa, look at me”, “I’m so embarrassed”, “I don’t know, I don’t know”, “This is my first time”, “I’m light-headed”, “Don’t just think of me as a little sister”, “I don’t know if I’ll cry”, “I think I’m so foolish”,”I believe everything”. No, how dare you believe those oppas, who perpetuate sexual discrimination and domestic violence. Haven’t women been struggling tenaciously [for a long time] against prejudice and discrimination in this barren, barbarous land? In my opinion, this sudden Oppa craze is a clear regression.

(James – With thanks to the reader that made it and passed it on to me, above is a collection of segments from various girl-groups’ songs that show just how common the phrase “I don’t know” really is.  Also, he poses the interesting question of if it’s usually the groups’ designated cute and innocent members that actually sing it)

대체 언제부터 오빠가 이렇게 믿음직스런 존재가 됐을까? 한국여성의전화 2009년 조사에 따르면, 데이트를 해 본 젊은 여학생 중 78%가 정서적 폭력을 경험한다. 결혼 후에는 절반이 남편, 즉 ‘옛 오빠’가 휘두르는 폭력과 학대를 겪는다는 게 2011년 여성가족부 ‘가정폭력실태조사’ 결과다(한국 남성이 아내에게 폭력을 행사하는 비율은 영국이나 일본의 다섯 배가 넘는다). 직장에서도 남성에 비해 38%나 적은 보수를 받아, OECD 평균 임금격차의 두 배를 훌쩍 넘는다(‘언니’들이 이런 차별을 지지하는 경우는 많지 않다). 복고가 유행하더니, 젊은 여성세대가 전통적인 ‘의존형’으로 회귀하기라도 한 것일까?

Since when (and how on Earth) did oppas suddenly become so trustworthy? According to a telephone survey of Korean women in 2009, of young [university?] students who had dated 78% had experienced emotional abuse. Also, according to the results of a 2011 “Domestic Violence Status Survey” by the Ministry of Gender Equality and Family (MOGEF),  half of husbands had inflicted violence or abuse [on their wives] (this rate is 5 times higher those of Japan or the United Kingdom). And in the workplace too, women receive 38% lower wages then men, a gap more than twice as large as the OECD average (there are not many “Onnis” that support this!).

This trend of going back to the past, isn’t it just a regression, making a whole generation of young women dependent?

착각하지 말자. ‘오빠’ 바람이 보여주는 건 아저씨들의 욕망일 뿐이다. 어린 소녀들을 고용해 ‘오빠’ 노래를 부르게 하는 기획사 대표들 대다수가 남자고, 이 노래를 쓴 사람들 역시 예외 없이 남자다. 원더걸스의 대표곡 ‘텔미’와 ‘노바디’는 박진영이 곡과 가사를 썼고, 소녀시대의 히트곡 ‘소원을 말해봐,’ ‘오!’, ‘지(GEE)’, ‘훗’의 가사를 쓴 것도 유영진, 김정배, 김영후, 안명원/김영득, 이현규 등 모두 남자다.

Let’s not have any illusions here: the oppa craze just shows men’s desire. And [indeed], most of the entertainment company representatives who hire young girls to sing these oppa songs are men, as are – without exception – the writers. For instance, the iconic Wondergirls’ songs Tell Me and Nobody were written by JYP, and Girls’ Genertation’s hits Tell Me Your Wish, Oh!, Gee, and Hoot were written by Yu Yeong-jin, Kim Jeong-bae, Kim Yeong-woo, An Myeong-won, Kim Yeong-duk, and Lee Hyeon-gyu, who are all men.

(Source)

물론 남자들이 여자 가수의 곡을 쓰는 경우는 흔하다. 여기서 지적하고 싶은 것은, 걸그룹이 외치는 ‘오빠’가 ‘동생’들의 욕망과 아무런 관계가 없다는 것이다. 그들은 중년 남자들이 쓴 남성적 욕망을 립싱크하고 있을 뿐이다. 하긴, 오빠만큼 오빠의 욕망을 잘 아는 사람이 또 있겠는가. 머리만한 리본을 달고 손으로 하트를 그리는, 얼굴은 아이고 몸은 어른인 반인반수 아니, ‘애교 소녀’. 남자들의 욕망은 이렇게 단순하다.

[But] of course, it’s not uncommon for men to write the lyrics to female singers’ songs. What I want to point out is that when girl-group members cry out “Oppa”, it has nothing to do with being a little sister; it is simply lip-synching men’s desire, as written by middle-aged men. [After all], nobody knows oppas’ desire better than oppas. And when girl-group members wear ribbons as big as their head, draw hearts with their hands, and have childlike-faces but the bodies of women, they are not some half girl-half women creature but instead “Aegyo Girl”. Men’s desires are that simple.

(걸그룹 기획사는 어린 멤버들의 신체를 거리낌 없이 사물화한다. ‘지(GEE)’ 뮤직비디오에서 소녀시대 멤버들은 쇼윈도의 마네킹으로 등장한다. 남자 출연자는 이 ‘인형들’을 보고, 만지고, 원하는 방식으로 재배치한다)

(Image caption above: Girl-group entertainment companies have no scruples about objectifying members’ bodies. Here in the music video to Gee, the members appear as mannequins in a shop window, while a male performer looks at them as if they were dolls, and moves them around and touches them however he wishes)

James – And on that note, Part 2 on An ‘Oppa Industry’ Founded on Powerless, Frustrated Men’s Desire / 무기력한 남자의 욕망에 기초한 ‘오빠 산업’  can be found here.