Update: As I’ve learned from this comments thread, satire and irony is much more common in Korean popular culture than I gave it credit for. However, they’re also definitely used and expressed in very different ways by Koreans and Westerners, as this comment there makes clear.
Update 2: Consider this quick observation about sarcasm too.
To put it mildly, Koreans don’t often use satire and irony in their popular culture. And when non-Koreans do? Hell, that can even getthemdeported.
Which explains many of the Korean reactions to the video above, at first sight part of a US-made documentary dismissing Korean claims of cultural theft by foreigners. But actually, it’s one of a series of commercials by the Korean company Mr Pizza (미스터피자). Not only hilarious in their own right, I’m struggling to think of any similar Korean send-ups of real-life examples of excessive, often downright looney Korean nationalism. Or at least by as prominent a source as Jeong Woo-hyeon (정우현), chairman of the company since 1989.
Granted, some things Koreans are proud of only appear absurd in translation. But then there are cases like this completely serious claim that Christmas trees the world over are Korean, for instance, and that consequently the world owes Korea royalties. Live in Korea, and one hears of similar things every other week, let alone faces a daily deluge of related advertisements and government and NGO campaigns.
Indeed, many of these are referenced and joked about in the commercial, which is part of what makes it so funny. For starters, take the man at the beginning holding a placard saying “도둑” (thief): no big deal to most foreign observers, it encourages a double-take by those who expected it to say “독도” (Dokdo) instead. A little later, many of the images on the college dropout’s computer and on his walls are well-known on the Korean internet (especially that map). And so on.
As of yet though, unfortunately the campaign doesn’t seem to have been picked up by the Korean media. While I expect it will be eventually (as I type this, a duplicate YouTube video has nearly 100,000 views, and many more comments), it has to be said that, expats aside, it will have the most appeal to Korea’s more cosmopolitan consumers, who are more likely to think out of the box. But that’s a good start, and indeed one of them is busy emailing her friends about it in the next room, many of whom are overcoming their instinctive defensiveness and ultimately enjoying it just as much she did!^^
(Many thanks to dogdyedblack, both for passing on the video and his astute observations.)
(15 year-old f(x) band member Sulli {최설리} in February 2010 Oh! Boy Magazine; source)
In short, “yes, but…”(!), as I explain in this opinion piece I recently penned for the Korea Herald. It’s pretty faithful to the original, for which I’m grateful, but unfortunately two crucial sentences on boy-bands got edited out at the beginning of paragraph 4. It should read:
This is why this discussion is overwhelmingly about girls. However, owners of boy-bands too have been affected by the ensuing pressure to make them stand out from their competitors. Add in Korea’s notoriously high levels of illegal downloading, ensuring that profits in the Korean music industry are overwhelmingly from concerts and commercial endorsements (and which explains why 75% of Korean commercials feature celebrities), then courting controversy with ever more provocative performances is a no-brainer really.
If so, then let me direct you to an interview I gave last week for Deutschlandradio, on the economic factors behind the sexualization of minors in K-pop (I’m on at about 3:05).
Meanwhile, English speakers never fear(!), for I should have a newspaper article on the same subject coming out either this week or the next. And Part 2 of my translation of the “What did Depraved Oppas do to Girls’ Generation” article will be up tomorrow.
Update – With special thanks to Curtis for translating it, here is the short article that accompanied the radio report:
Economic Factors: Girlbands
Report by Malte Kollenberg and Fabian Kretschmer
(Girl- and boybands are an important part of the economy in South Korea. Source: plynoi)
South Korean boy- and girlbands are also internationally successful. A general music- and dance-style concept is created and from this concept a look is agreed upon. To acheive this look, the young band members go under the knife ever more frequently.
Pop music in South Korea is a major economic factor for the country. In 2009 the industry earned 30 million dollars, and according to government statistics, this number doubled in 2010. The most important market is the country itself, but Japan and the USA are also markets of interest. Korea’s largest record label, S.M. Entertainment, currently tours around the world with different bands in a Global-Audition-Tour.
Lavish Choreography
Girl- and boybands who present lavish choreography in large shows are typical for K-Pop – for example, the 13-member boyband Super Junior and Wondergirls. As is usual in the international music market, the bands are cast, and the musical style and looks of the artists are decided by the record label. Plastic surgery is generally accepted by South Korean society and is a standard in K-pop. From this arise greatly deliberated and perfectly coordinated images.
For many Korean girl groups, debuting a new song on a music program seems to follow a set script these days:
First, it will include some provocative lyrics, choreography, and/or outfits that deliberately push the envelope
Then, despite presumably knowing that well in advance, the producers of the program will still allow the song to be performed, only then to disassociate themselves from it and claim shock and surprise at the ensuing reaction
Next, those songs will be will be banned from future broadcasts unless changes to the offending parts are made
Equally absurdly, the performers themselves or their entertainment companies will claim shock and surprise that people find them sexually suggestive at all
Finally, despite those protestations, the groups will have modified versions of the song available to be used suspiciously quickly
It’s really quite a farcical process, and very patronizing to viewers.
Nevertheless, while nobody emerges unblemished from all that, it’s the entertainment companies that I’m most critical of. For rather than actually admitting to the sexuality in their groups’ performances, thereby placing the onus on the music program producers and public to explain just what is it that is so problematic about that exactly, instead they even force their own performers to be complicit in a long–held narrative of female virginity and innocence in K-pop.
Granted, they may lack the clout to challenge terrestrial broadcasters on that point, nor is there much evidence that they possess the feminist motivations to do so. However, even just for financial reasons one would expect more of a challenge to systematicdoublestandards in the Korean music industry, as the various restrictions on girl group performances can often be quite costly.
As for how that all recently played out with Mirror Mirror (거울아 거울아) by 4Minute (포미닛), see the links in the list above, while Mixtapes and Liner Notes has more on Rania’s (라니아) performance of Dr. Feel Good (닥터 필 굿) specifically. Two of the three controversial songs that debuted on Music Bank on April the 8th (the other was Do You Know/아나요 by the Brave Girls/브레이브 걸스), unfortunately Mirror Mirror is the only one of them I like enough to listen to – yes, sans eye-candy – on my MP3 player!
Yes, however crass, it does indeed sound like Hyuna is saying “4 minute slut” at the beginning. As for the translation, the vocabulary and grammar were relatively easy for a change, and the song mercifully short and repetitive too. But some unclear breaks between sentences and strange word orders definitely complicated things:
Let’s go
4minutes left 4minutes left Ah! Ah!
4minutes left 4minutes left Ah! Ah!
대체 왜 그땐 날 거들떠 보지 않고
매일 날 그대만 바라보게 만들고
오늘은 좀더 예쁘게 나 나 나 날 (오늘도)
보여줘 너무 멋진 너 너 너 너 너에게
거울아 거울아 이 세상에 누가 제일 예쁘니?
거울아 거울아 이 세상에 내가 제일 예쁘니?
오늘만은 내가 제일 예쁘다고 말해줘 봐
Let’s go
4minutes left 4minutes left Ah! Ah!
4minutes left 4minutes left Ah! Ah!
Why on Earth didn’t you notice me back then?
Everyday, you made me gaze only at you
Today, show me me me me a little more prettily (today too)
To very cool you you you you
Hey Mirror, hey Mirror, who is the prettiest in the world?
Hey Mirror, hey Mirror, am I the prettiest in the world?
Just for today, please try saying I’m the prettiest
Here, “대체” is short for “도대체” (on Earth), and a new one for me was “거들떠보다” (not even notice/look). Otherwise:
the “바라보게 만들다” in line 4 is a long causative, which there’s a lot of in this song (see p. 368 of Korean Grammar for International Learners [KGIL] for more information)
See Seamus Walsh’s comment here for more on the “니” ending in lines 7 and 8
And of course the last line is some simple indirect speech. Although it’s awkward in English, I include a “try” in it (and similar sentences in later verses) because technically, “보다” added to a verb stem does indeed mean “try to do [the verb]”
All basic stuff by this, my twelfth song translation for the blog. But lines 3 and 4 were a bit of a stumbling block until my wife pointed out that actually a break falls between “오늘은 좀더 예쁘게 나 나 나 날 (오늘도) 보여줘” and “너무 멋진 너 너 너 너 너에게”.
너를 생각하면 더 거울에 비친 내 모습은 마치
너무 예쁜데 너는 자꾸 왜 다른 생각만 하는지
왜 날 보지 않는건데
내 거울아 (거울아 거울아 거울아 거울아)
거울아 (거울아 거울아 거울아 거울아)
내 거울아 (거울아 거울아 거울아 거울아)
거울아 (거울아 거울아 거울아 거울아)
It’s as if my reflection becomes prettier the more I think of you
Why do you frequently think differently?
Why do you not look at me?
My mirror (Hey Mirror Hey Mirror Hey Mirror Hey Mirror)
Again, Lines 1 & 2 become much easier if you know there’s a break between “너를 생각하면 더 거울에 비친 내 모습은 마치 너무 예쁜데” and “너는 자꾸 왜 다른 생각만 하는지”, but this time the location of the “더” complicates things even further. Ideally, it should be placed before the “예쁜데” in line 2.
Update: With thanks to J.Goard for pointing out it, actually that pattern is perfectly acceptable in Korean, and quite common.
대체 왜 언제나 본 체 만 체만 하고
매일 밤 너는 날 가슴 뛰게 만들어
언제나 너무 멋진 너 너 너 너 너
내게로 다가오게 더 더 더 더 더 Ma boy
거울아 거울아 이 세상에 누가 제일 예쁘니?
거울아 거울아 이 세상에 내가 제일 예쁘니?
처음부터 마음에 들었다고 내게 말해줘 봐
Why on Earth do you always pretend not to see me, and
make my heart pound every night?
Always so cool you you you you you
Come more more more more and more closer to me Ma boy
Hey Mirror, hey Mirror, who is the prettiest in the world?
Hey Mirror, hey Mirror, am I the prettiest in the world?
Please try to say that from the beginning, I was the one for you
And here, again there’s a long causative in line 2 – “가슴 뛰게 만들어” – but the “날” before that (me [object]) is I think ungrammatical, and it should really say “내” (my) instead. Before that, the phrase “본 체 만 체” (pretend not to see; show indifference to; slight) was a new one on me, and it didn’t help that I forgot that “[verb] + (으)ㄴ/는 체하다” was the same as “[verb] + (으)ㄴ/는 척하다” (to pretend to [verb])”! (see p. 58 of KGIL)
Next, it’s just the chorus again.
너를 생각하면 더 거울에 비친 내 모습은 마치
너무 예쁜데 너는 자꾸 왜 다른 생각만 하는지
왜 날 보지 않는건데 예~
내 거울아 (거울아 거울아 거울아 거울아)
거울아 (거울아 거울아 거울아 거울아)
내 거울아 (거울아 거울아 거울아 거울아)
거울아 (거울아 거울아 거울아 거울아)
It’s as if my reflection becomes prettier the more I think of you
Why do you frequently think differently?
Why do you not look at me?
My mirror (Hey Mirror Hey Mirror Hey Mirror Hey Mirror)
Hey Mirror, hey Mirror, who is the prettiest in the world? It’s me
In line 5, I was confused by how “빠져들어” is different to “빠지다” (to fall into/for), and the best explanation my wife could provide was that it means “become fallen for”. Which is just fine with me, but it does sound a little awkward. Can anybody do any better?
Update: With thanks again to J.Goard, see here for a much fuller description of how they’re different exactly.
And suddenly it’s already the last verse:
좀더 너에게 다가가서 난 1,2 step 1,2 step 1,2 step
Let’s live it up Let’s make it up
나를 보면 니 마음 흔들릴수 있게
내 거울아 (거울아 거울아 거울아 거울아)
거울아 (거울아 거울아 거울아 거울아)
내 거울아 (거울아 거울아 거울아 거울아)
거울아 (거울아 거울아 거울아 거울아)
거울아 거울아 거울아 거울아
I’ll come a little closer to you, I 1,2 step 1,2 step 1,2 step
Let’s live it up Let’s make it up
If you see me I can make your heart shake
My mirror (Hey Mirror Hey Mirror Hey Mirror Hey Mirror)
And on that note, here is an alternate translation by Chris @4-minute.com, which you can use to follow-along with the video:
As you can see, fortunately our versions seem pretty much the same, although his(?) sounds rather better because he hasn’t been quite so literal with his choice of words!
Meanwhile, apologies to any readers that may have been expecting a promised(?) translation of Can’t Nobody by 2NE1 (투애니원) instead today, but unfortunately my finally getting tired of that after listening to it for probably the 100th time(!) coincided with me getting heavily into this one, and besides which I wanted to do something more recent for a change. Having said that, next I’ll actually be doing the 2005 song Girls on Top by BoA (보아), because a reader sent me the following intriguing email:
…I have been following your girl group lyric translations but there’s one song I am really curious about, mostly because I’d like to know if it’s as overtly feminist as I suspect it is. The song would be Boa’s “Girls on Top”…
…It’s not only the gold lamé and skull ring that’s tough but the part at the end where she fake kicks her male dancers into submission in a Take Back the Night inspired bit of of pop choreography. I know you’re focusing mostly on girl groups, but I think this one’s interesting in the context of K-pop because it seems to fall outside the two ever present concepts of “sexy” and “cute.” I have tried to find the lyrics in English but most of them are poorly done. What I’ve gleaned so far is that she may be talking about the myriad conflicting expectations a modern girl must fulfill and might even be bemoaning the constant pressure to embody male views of sexiness (!). Or it could be a girl power-lite anthem conceived by greedy business men; but either way I’d like to hear your views.
Until then, I hope you a good weekend, and as always I’d appreciate any feedback on the translation and/or your thoughts on the song!^^
Update: I’ve just found these profiles of the group members on korean lovers photoblog, and thought they might be useful for future reference:
(For more Korean song translations, please see here)
Followers of K-pop blogs will already be well aware of thislatest storm in a teacup of course, but it’s always interesting to see what ordinary Koreans themselves read about such things. Accordingly, here’s my (very literal) translation of an article from yesterday’s Metro newspaper, which millions would have read on their morning commute:
Restrictions Imposed on 18+ Controversial “Wide Leg Spread Dance”
Three groups with underage members all do suggestive dances as if they’d planned them together
Demands for a review of regulations on suggestive outfits and poses on music programs
While the three girl groups that are showing off their so called “wide leg spread dance” are being regulated by broadcasters, controversy has arisen about suggestive choreography.
Appearing on Music Bank on KBS2 on the 8th, 4Minute (making a comeback that night), RaNia, and the Brave Girls have become very controversial for the suggestiveness of their performances.
While performing their new song Mirror Mirror, 4Minute members get on the floor on their knees, spread their legs, and repeatedly open and close them:
With support from overseas producer Teddy Riley, new 7-member group RaNia debuted with Dr. Feel Good. Sporting a striking lingerie and garter belt look, one mesmerizing dance move involved only moving their legs and pelvises repeatedly. And Brave Brother-produced 5-member group Brave Girls gave off a similar sexual attractiveness with their debut song Do You Know:
(Update, August 2013:Unfortunately the Youtube videos have long since been deleted for copyright violations, but both the “Dr. Feel Good” and “Do You Know” performances can still be seen here and here respectively. In their place, above is RaNia’s original uncensored MV for the former)
Giving the same performances on 2 other broadcasters’ music programs last weekend, the controversy increased. In the end, Music Bank, SBS’s The Music Trend, and MBC’s Show! Music Core all demanded changes to the dances and outfits and imposed restrictions on them. The reason is that programs that a lot of teenagers watch can not have outfits which expose too much of the body, and/or dances that bring to mind sexual acts.
In particular, it is not just the nature of the outfits and the choreography that is the problem, but that many of the performers are underage. In 4Minute, Hyuna (18) and So-hyun (16); in RaNia, Di (19), Joy (20), T-ae (16), and Xia (16); and in Brave Girls, Yu-jin (?) and Hye-ran (?) are all underage.
(James: Most of the ages given in the article are wrong, whether using the Korean or the “international” system: instead, I’ve provided their international ages, with sources given in their links, although I’ve been unable to find any sources for the ages of the Brave Girls members. I remain confused about why some are described as “underage” though, because clearly many aren’t at all, even with the {incorrect} ages given in the original article)
The result of analysis reveals that this is the result of following the dance moves of sexy pop stars. Before there were national girl groups, it was Lady Gaga that garnered a lot of controversy for the wide spread leg dance and sexually suggestive choreography of her Born This Way music video:
About this, an [anonymous] person in the broadcasting industry said, “While people say that Lady Gaga’s dances and dance moves are unique and individual, they say that Korean singers aren’t like that” and that “it’s a pity that in this era of spreading K-pop to the world, we have such anachronistic rules” (end).
Like me, you’re probably aghast at the Metro’s low writing standards and sloppy fact-checking. But that’s quite normal for Korean tabloid newspapers (and, alas, many of their mainstream counterparts too), so much more of interest personally was the author’s point that “before there were national girl groups, it was Lady Gaga that garnered a lot of controversy”, indirectly confirming my own (and many others’) observation that although of course there have always been Korean girl-groups previously, it’s only been in the last 4 years or so that there’s been such a glut of them. And also that, following the model set by The Wondergirls (원더걸스), they’re generally much much racier than their predecessors were.
Other than that, I’m a little tired of references to Lady Gaga whenever a girl group comes up with a suggestive dance move, but that’s hardly unique to the Korean media. Also, it’s curious that the anonymous person in the broadcasting industry felt that Korean girl groups must follow her example to “spread K-pop to the world,” because although this does play to Occidentalist stereotypes of hypersexualWesternaudiences somewhat, it also marks the culmination of a 180-degree turn against what used to make K-pop appealing to East-Asian audiences, and which presumably influenced music producers. As Rowan Pease explains in her chapter “Korean Pop Music in China: Nationalism, Authenticity, and Gender” in Cultural Studies and Cultural Industries in Northeast Asia: What a Difference a Region Makes (2010):
In 2003, the Korean National Tourism Office [a major investor in the Korean wave] conducted a Hanliu tourism survey in China, Taiwan, and Hong Kong exploring attitudes to Korean culture, publishing the results online…
….It compared the impact of Korean culture with that of four “competitor” countries (the U.S., Japan, Taiwan, and Hong Kong), and in the process revealed much about Korea’s own political and nationalist concerns, particularly in relation to Japan and America. Six of the eleven options for respondents to the category “reasons I like Korean culture” reflect this preoccupation: “less sexual than Japanese culture,” “less sexual than American culture,” “less violent than Japanese popular culture,” “less violent than American popular culture,” “decreased interest in American culture,” and “decreased interest in Japanese culture.” One other echoes Straubhaar’s notion of cultural proximity: “similar in culture.” Certainly, Korea’s own music media censorship laws (which even in 1997 prohibited the displaying of body piercings, navels, tattoos, “outfits which might harm the sound emotional development of youth,” and banned violent or political lyrics), meant that Chinese TV stations could buy in Korean music videos and music TV shows knowing that they were unlikely to upset local censors. However, these questions also reflected a perception that Korea acts as a defender against excessive Westernization and as a guardian of Confucian values within East Asia. (pp. 155-156)
Which long-term readers may remember from my translation of the lyrics to Bad Girl, Good Girl (배드걸 굿걸) by Miss A (미쓰에이), probably the most erotic Korean girl group music video I’d ever seen until these latest ones came out:
Alternatively, the above view of Chinese, Taiwanese, and Hong Kong tastes may well be outdated, and “the world” in the newspaper article shouldn’t automatically be taken to mean Western audiences: after all, 2 members of Miss A are Chinese, and the group was originally designed to be overwhelmingly aimed at the Chinese market. What do you think?
Meanwhile, see here, here, here, and here for the latest developments in this “Wide Leg Spread Dance” controversy (yes, I love saying that too!). And today’s edition of the Metro newspaper also happens to have an interview of RaNia in which they discuss the dance, but I’m afraid I don’t have time to translate it at the moment sorry. Any takers?^^
What would be your reaction if this flashed on your TV screen?
Mine was that hard abs aren’t the best analogy for airbags. But my mistake: they’re not supposed to be. Rather, Hyundai needed something to signify the number of airbags as the voiceover went through various specs of the car.
If you found that objectification distasteful however, then consider the following from Renault/Samsung in 2008 below also:
Which uses the same analogy, but is clearly quite a contrast to BMW’s puerile effort. Nevertheless, some commenters on an earlier post (update: since deleted sorry!) did still have some issues with it, whereas nobody on this blog at least has had any with all of the men’s 6-packs that suddenly started appearing in Korean commercials from last year.
But I’m sure you’re already well-aware of that double-standard, so the purpose of this post is not just to draw your attention to it. Nor to simply pass on that juxtaposition of advertisements, however interesting. In combination with a recent development in the Korean media though, what that juxtaposition did serve to do was make me realize both the rapid mainstreaming and dogmatic nature of that double-standard here, and which is a combination that I think is pretty unique to Korea too.
Let me explain.
Actually, the first I already have: consider how popular the new buzzword “chocolate abs” (초콜릿복근) is in the Korean media now as a result of all the recent ads featuring them for instance (see here, here, here, #8 here, and this new one below for examples and/or discussion), whereas it didn’t even make a list of buzzwords at the end of last year.
Against that sudden popularity however, you could argue that they’ve actually already been around for a long time in music videos. As Hoon-Soon Kim explains of some from 2000 in “Korean Music Videos, Postmodernism, and Gender Politics” in Jung-Hwa Oh (ed.), Feminist Cultural Politics in Korea (2005) for instance, albeit with more of a focus on the emergence of the “Flower Men” or kkotminam (꽃미남) phenomenon than male objectification per se:
…we see that there is a new type of male image emerging albeit in a small number of music videos. It is a de-gendered image of men which is a contrast to the macho image. Male groups such as Y2K, H.O.T., ITYM, and Sinwha, whose fans are mostly teenage girls, portray this image. They wear make-up and a lot of jewelry and ornaments – which are all considered feminine – and take off their shirts to show off their bodies. This indicates that the male body is also sexually objectified as the female body….The style of the video is similar to that used to show female images with extreme close-ups to fill the screen with a face, and medium-range or full body shots for dances. Although there is a risk of overstating the phenomenon, this image could be interpreted as a signal indicating the possibility of breaking the binary boundaries of men and women that have been formed in a patriarchal culture. (p. 207)
And yet just like in ads, the amount of male objectification in music videos—or to be specific, ab exposure—does also seem to have picked up markedly in the past year or so. Like Multi explained back in March:
…in the past month the internet has been flooded with pictures of Korean celebrities and their abs (as well as some other shots that are not entirely SFW – you’re over 18 you can check them out here, and here). Our favorite controversial band 2PM just did an extensive photoshoot and were topless for most of it (parts 1, 2, 3, 4). Lee Joon of the new boy group MBLAQ flashes his abs a whole lot, because the king of ab-flashing, and Korean superstar extraordinaire, Rain, who happens to be his boss, tells him to because the fans like it, (yup, we sure do ;) and everyone wants to get pictures of them (exhibit A, B, C, among countless others). Then there’s these guys, this guy and this guy, and like 50 others. And then countless polls as to whose abs are better.
To be precise, Rain told Lee Joon that taking off his shirt has far more effect on his audiences than his dancing. And as “the king of ab-flashing”, then of course he could have been talking about himself instead (actually, I thought he was originally), so I can hardly fault him for showing off his own abs so frequently in his own music videos and performances. But rarely in harmony with his song’s lyrics and/or even his choreography however, and so for me personally he more epitomizes just how cynical and commercially-driven the trend has become, with obvious parallels to more familiar ones for female performers. Check out from 2:55 here for instance:
And my critique of the trend as “commercially-driven” is no mere cliche, because whereas it’s mostly young girl-groups that have sprung up in the past year or so (see here for a handy chart), likewise Korean male singers have to adapt to the Korean music industry’s overwhelming reliance on musicians’ product endorsements, appearances on variety shows, and casting in dramas to make profits (as opposed to actually selling music). This encourages their agencies to make them stand out and differentiate themselves from each other by coming up ever more sexual lyrics and/or performances and music videos: namely, more abs from the guys, let alone feigned fellatio, feigned sex on beds, or even virtual rapes of audience members on stage during performances.
Allkpop argues that it’s consumers that are driving this trend however, and that this explains the imbalance between new girl and boy groups:
It looks like girl groups don’t seem to have as high of a failure rate as boy groups or solo singers. These new girl groups have already been gaining so much attention. The reason why you can rely on girl groups to bring in the income is because there’s always teenage boys and ahjusshi (old men) fans to trust. They can also go perform at various events which always require a pay day. Supposedly, Secret gets paid around $8000 per event performance while a group like 4minute gets paid around $12,000 per event.
And yet while that is not incorrect per se, Multi goes on to explain in her post that it is largely female fan club members in their 30s and 40s that are driving this trend, not unlike how I’ve demonstrated that the same demographic (and often exactly the same women) were the driving force behind the full emergence of the kkotminam phenomenon back around the time of the 2002 World Cup. Hence I’d argue that the imbalance is more the result of top-down imperatives then, with many similarities to the American media ideal of female sexuality getting progressively younger over the last 3 decades…and for the same profit-driven motives.
But I digress: for more on that, see a forthcoming Part 2 of my “Reading the Lolita Effect in South Korea” series, which I’ll link to here once it’s up (update: and here it is!). In the meantime, hopefully by this stage you can see why celebrities so dominate advertising here, and which is already an industry not exactly averse to perpetuating celebrities’ agencies’ inherent needs to use sex to sell. Moreover, whereas it’s true that the content of ads worldwide does tend to lag behind social trends, as even just the title of Kwangok Kim and Dennis Lowry’s journal article “Television Commercials as a Lagging Social Indicator: Gender Role Stereotypes in Korean Television Advertising” in Sex Roles, Vol. 53, Nos. 11/12 December 2005 suggests, once they do start appearing in ads then that wider exposure (no pun intended) can have a profound effect in mainstreaming them:
According to cultivation theory, the media play an important role in creating distorted views. This theory suggests that exposure to media content creates a worldview, or a consistent image of social behavior, norms, values, and structures, based on the stable view of society provided by the media. In other words, cultivation theory posits that consistent images and portrayals construct a specific portrait of reality, and as viewers see more and more images, they gradually come to cultivate or adopt attitudes and expectations about the world that coincide with the images they see. Although this model has typically been employed to explain the impact of of television violence, it also has been applied successfully to the cultivation of attitudes towards gender roles. (p. 902, references removed)
Although television viewers often claim that commercials do not affect them in negative ways, repeated images in television advertising may already have created a “mainstreaming effect,” as suggested by cultivation theory. Television has the power to cultivate people to have the same views of the world, for example, stereotypical views of gender roles in our society. In other words, the mainstreaming effect reduces cultural and political differences among television viewers. Studies have shown that heavy television viewing may influence children’s perceptions of behaviors and psychological characteristics associated with gender…and [one other] found that heavy viewers of television commercials among the elderly were more likely than light viewers to perceive characters (e.g., the elderly) in commercials as realistic (i.e., mainstreaming effect). It may not be advertisers’ full responsibility to reflect statistically accurate images of society. However, the burden of responsibility is on the advertisers when they fail to reflect the rapid changes in such stereotypes in our society. (p. 908, references removed)
But still, how exactly does simple exposure to those ads necessarily result in us adopting the attitudes and worldviews contained therein, as if by osmosis or something?
Well first, consider their sheer number: “In the United States alone, the average person may be exposed to 500 and 1000 commercial messages a day”, according to p.34 of Essentials of Contemporary Advertising by William Arens and David Schaefer (2007). And like Stuart and Elizabeth Ewen explain in their prologue to Channels of Desire: Mass Images and the Shaping of American Consciousness (1992), it’s amazing how subtly, profoundly, and almost entirely unconsciously this daily barrage affects us. Quite a charming narrative, which no-one can fail to be more interested in advertising after reading, I’ve scanned it for you below:
But regardless of whatever is ultimately responsible for the timing and/or mainstreaming of men exposing their abs in the Korean media, I’m sure we can all agree that they are now here to stay (and there was much rejoicing). And in a sense, this was indirectlyconfirmed by SBS recently when it decided to ban female performers from exposing their navels and/or abs on its popular Inkigayo (인기가요) show, whereas male performers remain free to rip off their own shirts: the “recent development in the Korean media” that I referred to in the introduction.
Why is that ban more significant than the plethora of others however? And why is it not exceptional, but in fact genuinely reflects deeply ambivalent and dogmatic societal attitudes to—for want of a better term—women’s top halves? Alas, it was my original intention to jump straight into that second part here, but with this post already at 2000 words (and well overdue), then I’ll wisely defer those 1500 extra ones to a separate post later in the week.
Until then, a request, lest anyone feel I’ve been too critical of Rain here: does anybody know the name of a recent music video that features 2 young male singers vying for the affections of a woman, taking off their tops repeatedly (perhaps 10 times) and walking around half-naked for most of the video as they sing…before finally noticing that the woman has taken advantage of their distracted state by stealing their jeep?
Please do pass it on if you do, as I feel it actually much better epitomizes just “how cynical and commercially-driven the [ab-exposure] trend has become” than Rain does, and which even heterosexual women and gay men that see it will probably agree is a little excessive, let alone extremely lame. Moreover, while I don’t claim to have suddenly seen the light as a result, and can now completely empathize with women’s feelings about their own pervasive objectification in the media…I do think the eye-rolling, sense-of-exasperation, and literal gagging I experienced is at least a start towards doing so!^^
Update: With thanks to Katarina, the video is I was Able to Eat Well by 2AM’s Changmin & 8eight’s Lee Hyun:
Clearly, I exaggerated it in my memory. But understandably, as with them so so eager to shed their clothes together in the garage parking lot from roughly 0:59 for instance (for the sake of showing off their abs), that segment at least seriously resembles a gay porn video.
Probably actually objectifying the woman even more than the men though, then I take it all back: Rain’s performances do best epitomize the ab craze!
(For more posts in the Korean Sociological Images series, see here)
A provocative article title from Yahoo! Korea yesterday, yes?
Alas, actually it’s only about one lawmaker’s concern over the growing number of “lewd” internet advertisements these days, among which presumably that’s a common slogan. But that does underlie some of the street harassment and groping that many foreign women experience here, so it’s interesting in its own right.
As is the irony and hypocrisy of Yahoo! Korea posting such an article in the first place too. For Korean portal sites are virtually like The Sun newspaper in their content, tone, and adherence to journalistic ethics, like I said of them last year:
Unlike their English-language counterparts, you have roughly a 50% chance of opening Naver, Daum,Nate, Yahoo!Korea, and kr.msn.com to be greeted with headlines and thumbnail pictures about sex scandals, accidental exposures (no-chool;노출) of female celebrities, and/or crazed nude Westerners.
And indeed, scroll to the bottom of Yahoo! Korea as I type this, and just today’s “image galleries” below include lingerie photoshoots and “beautiful Russian news anchors”, let alone the links on the rest of the site.
Not that I mind those in themselves of course. But if they’re the standard for Korean portal sites, then you can just imagine what it’s like for the rest of the Korean internet.
Take those of “serious” newspaper websites for instance, the main focus of the orginal article, and which are already notorious for posting pictures of womenin bikinis or even middle-school girls in short skirts:
‘외국인 여친과 잠자리?’ “인터넷 음란광고 강제 퇴출해야”
‘Want to Sleep With a Foreign Woman?’ “Lewd Internet Advertisements Should be Forced to be Withdrawn”
[아시아경제 김성곤 기자]인터넷 광고시장이 급성장하고 있지만 법적 장치의 미비로 선정적인 내용의 음란광고로 홍수를 이루는 등 부작용이 심각한 것으로 나타났다.
While the internet advertising market is experiencing rapid growth, its legal oversight is imperfect, and there has been a flood of lewd advertisements with suggestive contents, with serious side effects.
김성동 한나라당 의원은 27일 방송통신심의위원회로부터 제출받은 자료를 분석한 결과, 인터넷 광고시장은 2004년 4800억원 규모에서, 2005년에는 6600억원, 2009년에는 1조2978억원 등으로 매년 크게 늘고 있지만 성적 호기심을 자극하는 광고가 난무하고 있다고 지적했다.
On the 27th, after analyzing data submitted by the Korean Communication Standards Commission, Kim Seong-dong, an assemblyman from the [ruling] Grand National Party, concluded that the Korean internet advertising market was worth [at today’s exchange rate] US$419 million in 2004, US$576 million in 2005, and US$1.132 billion in 2009, rapidly expanding every year. However, he pointed out that this is also true of advertisements stimulating sexual curiosity.
이 자료에 따르면 국내 종합 일간지의 인터넷판 광고에는 ▲ 외국인 여친과의 술자리에서 헉 ▲ 그녀가 원하는 건 크기·힘! ▲ 보통여자 명기 만들기 등 선정적 광고가 전체 광고의 11.8% 수준에 이르렀다. 특히 스포츠 연예지는 선정적 광고의 비율이 20.6%에 달해 전체광고 5개 중 1개는 음란 광고였다.
According to the data, if you look at all the internet advertisements of national newspapers, sexual advertisements with lines like “At a bar with a foreign girlfriend…Wow!”, “She wants size and power!”, “Make a normal woman a famous kisaeng (Korean geisha)”, and so on make up 11.8% of the total. In particular, the rate is 20.6% in sports newspapers, or 1 in 5.
문제는 이러한 인터넷 광고는 다른 광고에 비해 소비자 피해가 즉각적으로 발생하고, 피해 범위도 광범위하다는 것. 특히 피해가 발생해도 광고주의 이동과 은닉 등으로 피해구제가 어려운 것이 특징이다. 아울러 판별능력이 부족한 어린이, 청소년에 대한 무분별한 광고의 노출은 부작용이 심대하기 때문에 규제의 필요성이 절실한 형편이다.
The problem is that compared with other advertisements, consumers instantly suffer a wide range of damages from them. In particular, the producers of the ads can move and conceal themselves easily, making relief and help for the damages difficult (James – I think what these “damages” are exactly should have been made more specific). Accordingly, because the side effects of children and teenagers seeing sexual advertisements is serious, as their ability to understand them properly is lacking, then there is an urgent need for their regulation.
김 의원은 “이러한 현실이 인터넷 광고에 대한 내용 규제가 제도적 미비로 인해 제대로 작동하지 않은 것에서 기인하고 있다”며 “정부, 인터넷 사업자, 민간단체 등 모든 주체가 참여하는 공동자율규제 도입을 고려해야 할 때”라고 주장했다.
Assemblyman Kim claims that “This problem is caused by a lack of and/or poorly-functioning regulation of internet advertising at present,” and that “this issue of regulation needs to be considered by all participating and/or concerned parties, including the government, internet businesses, NGOs, and so on.”
한편, 현재 인터넷광고는 2007년 발족한 한국인터넷광고심의기구가 자율규제를 하고 있지만, 법적 구속력도 없고 비회원사의 참여를 강제할 수도 없는 구조적 모순 아래 놓여있는 형편이다.
There has actually been an organization to regulate Korean internet advertising since 2007, the Korean Internet Advertising Deliberation Organization, but its authority is insufficient as its decisions have no legal binding, nor can it force non-members to participate. This undermines its role as an advertising relief(?) organization. (end)
Meanwhile, observant readers will have noticed two other links in the original screenshot: the first, a Korean blogger’s opinion piece saying that if you’re a Korean woman and want a foreign [male] friend, then you’ll have to get over everyone’s suspicions that you’re with them just for the sake of English and/or sex.
Which may well be true, but unfortunately my wife says it reads like it was written by a 16 year-old.
The second however, another blogger’s advice about getting a foreign girlfriend, actually looks rather interesting, but unfortunately is several thousand words long. I’d still consider translating it though, probably as a 9-part series, but only if readers are interested. If so, please let me know!
Over at a recent post on Noona Blog: Seoul, an excellent blog written by a Swedish woman in a relationship with a Korean man, currently there’s several interesting comments about the sources of racism often directed against Korean female – Caucasian male (KF-CM) couples in Korea.
Many of which were written by Jake of Asian Male Revolutions, who has the admirable and very necessary goal of challenging the racist and emasculating images of Asian men in the US media through that website.
But in the process of – in my view – very much contriving to paint racism against KF-CM couples in Korea in those terms, as well as global racial power relations, I found he made many extremely sexist assumptions about Korean women, which I’d like to challenge. As technical issues prevent me from doing so at Noona Blog directly however,* then – assuming that you’ve already read his comments – I’ll post my original response here instead:
Dear Jake,
it’s difficult not to sound offensive when critiquing someone’s opinions so harshly. But still, however legitimate your concerns about representations of Asian men in the US media are, it’s incredibly naive of you to assume that that these would exist in the same form and degree in the Korean media, or indeed at all.
Argue that they still have a role in expressions of racism against KF-CM couples in Korea nevertheless though, and you end up simply sounding like an apologist.
Much more seriously however, in so doing you also rely heavily on some extremely patronizing and sexist assumptions about Korean women, let alone racist ones against Caucasian men. Let me explain.
I’ll start with your acknowledgment that “there’s no denying that simple male jealousy plays a role in the bellyaching white men…encounter as one part of an interracial couple in Korea.” Naturally I fully agree, and while I consider it a little harsh to dismiss treating that “as simple jealousy from a bunch of Korean/Asian losers” as a “pretty foolish assumption” – after all, you get jerks like that the world over – I also agree that it is wise “to consider the historical and political implications and undertones of various types and permutations of interracial dating” to understand that bellyaching more fully (source, bellyaching pun above).
But what is that historical and political context you identify?
The Western media has a much longer reach than Korean media; in fact all Asian media is to an extent influenced strongly by Euro-centric beauty standards. This has been well-documented by all the plastic surgery, and by the glorification of media figures (singers, actresses) who are selected first and foremost for their vaguely euro-Asian looks (as opposed to supposedly ‘ugly’ Korean features) and then groomed by a team of trainers and managers to become media superstars like Girls Generation, Son Dam-Bi, and all the ‘flavors du jour’ pop-tarts you see on Korean TV shows.
And again I largely agree, having written many posts saying pretty much the same thing myself. But crucially not the “The Western media has a much longer reach than Korean media” part; and as we’ll see in a moment, I feel you have an extremely inflated view of the Western media’s power in Korea.
So given the fact that an embedded system of euro/white-worship permeates South Korean pop-culture, white males have more elbow room to work with in the global dating scene. Many come to the shores of Korea and Asia and have relatively little trouble finding willing women who having seen and internalized images of white beauty standards, would like nothing more than to experience the thrill of dating the mythic “white boy”. And white men who come to Korea are only too happy to take advantage of this fact.
Okaaay…I’ll deal with your warped view of the interracial dating scene in Korea in a moment too (source above: Gusts of Popular Feeling). But first, let’s focus on your views of Korean women which it relies on, which you expand upon in your next comment:
Asian female/white male relationships cannot happen unless both parties are willing to participate in it.
This can only mean one thing – that Korean women, having internalized media messages glorifying white men, are also actively seeking them out to satisfy their own ‘white fetish’. Therefore, we cannot simply categorize white men as “predators” for Asian flesh: instead, a significant number of Asian women are willing collaborators.
Interesting choices of terms you’re using, especially that last. Continuing:
Or at the very least, they are passively open to it – that is, they might not go out of their way to seek white men, but if one does hit on them they are psychologically “primed” to be much more open to their sexual and romantic advances, as opposed to a black or even Korean man.
This is just more evidence of the pervasive white worship in Korean society, and it illustrates just how thoroughly and totally many Korean women internalize this message.
You’ve seen them in the bars and clubs and lounges of Seoul. To them, white boys on their arm are the ultimate accessory to their personal crusade to be the “coolest” chick on the block.
They’re commodifying race – and according to their rather twisted logic, being seen with a white guy the equivalent of having the latest handbag or shoes.
They ought to stop and think about the implications of their choices. To them it’s a confirmation of their own belief that “being with a white man = COOL + URBANE + COSMOPOLITAN + TRENDY”… but it’s actually an expression of a colonial mindset – they are psychologically and mentally colonized, dominated, and enslaved.
They’re not setting the tone on what is cool – they’re doing the exact opposite: setting the tone on what is sick, twisted, and unwholesome.
Disclaimer: I am in no way claiming that ALL Korean women with white men are like this. But there is also no denying that a significant number of these women do exist. So please take my comments for what they are, and don’t take them out of context. Thanks.
Hey, no-one is denying that there are some Korean women who seek a White boyfriend for much the same reasons they would a Gucci handbag (or various types of Korean men either for that matter). But a “significant” number of Korean women with White men are like this you say? What percentage of them do you mean by that term roughly? 10? 25? And do you actually have any evidence whatsoever that they represent anything but the tiniest fraction of all KF-CM relationships?
Also, I’m rather confused: what percentage don’t want a White boyfriend as an accessory, but like you say just want to experience the thrill of dating one instead (which apparently is bad, even though we’re all attracted to the exotic)? What percentage are simply psychologically “primed” to spread their legs more readily for a White man “as opposed to a Black or even Korean” one? And finally, presuming you even allow for the possibility, what percentage of Korean women would you say aren’t passive, unthinking dupes of media messages of White male supremacy and are thus able to have genuine loving relationships with White men?
More to the point, have you asked so much as a single Korean woman of what she thinks of your characterization of them above?
I have asked one myself actually, my wife, and I’d wager that her reaction to you on the right is pretty representative. But I’ve asked many many more about interracial dating (including many who only speak Korean), and I think you’d be rather surprised at the far greater numbers of Korean women who have little interest, even a positive distaste at the possibility of dating White men.
Moreover, while global racial patterns of hegemony and privilege certainly ensure that more White guys end up in South Korea than, say, Indian guys, and that stereotypes of both exist that encourage and discourage Korean women to form relationships with them respectively, it doesn’t automatically follow that Korean women assessing them as potential partners don’t do so by pretty much the same criteria that they do for any men, including Koreans.
Most South Asian men in Korea, for instance, are laborers, which obviously puts them at a big disadvantage to middle-class White teachers. Also, as one Korean female friend put it to me, while White guys tending to be taller has a great deal to do with their attraction to some Korean women (albeit a disparity that is rapidly disappearing), that still isn’t enough to overcome the anticipated language and/or cultural difficulties for most others. And another acknowledged that while White men in Korean tended to have more money (and freedom) than Korean guys in their early-20s, with the ESL industry in Korea being the joke that is, then, financially-speaking, in fact Koreans make much better partners by their late-20s and early-30s.
In short, while the specific mixture of the fish in the sea may well be determined by forces beyond their control, women are very much the arbiters of which ones they reel in so to speak.
To be fair, you do somewhat acknowledge this in your next comment, and which I admit I misinterpreted in the first draft of this post. But still, it is interesting how you force that into a narrative of Korean female submissiveness and White men’s sexual colonialism nevertheless. You say of the relationship between one commenter’s German father and Korean mother’s relationship, for instance:
…until Korean male/German female relationships become just as commonplace as what’s already out there (that is, WM/AF relationships), you can’t exactly hold that up as a ’shining example’ of “colorblindness”. It’s not — it’s more of an expression of racialized power structures and a neo-colonial history.
No, actually it can be colorblind, and both relationships and the people behind them are more then mere expressions of vast, impersonal forces. But if you’d like a more specific critique of your twisting facts to suit your narrative however:
It’s the German man’s knowledge when he goes abroad that his country is wealthier and more powerful, compounded with the Korean woman’s knowledge that her’s is less wealthy (particularly back in those days), that makes the Western-male/Asian female (WM-AF) relationship so numerous.
And since women generally look to marry “up” while men look to marry “down” (socially and economically), you can see why the inequality between the white and Asian races makes the WM-AF relationship so easy to forge.
Put simply, I call bullshit on women marrying up and men marrying down: in virtually every society, both historically and today, the vast majority of men and women marry someone within the same socioeconomic group as themselves. Earning much more money than women however, then men are certainly freer to marry down, but that doesn’t at all mean that they aim to do so, or that they don’t aim to marry up any less than women.
If you take some time to analyze our message instead of reacting emotionally, you’ll see just how out of line your thinking is, and how little time and effort you put into trying to understand something that is admittedly *highly, highly* complex. It’s a difficult concept for anyone to wrap his or her head around, so I guess I can’t blame you for taking the lazy way out with convenient and disjointed logic.
But then I said I’d talk about the Western media’s influence in Korea, and so I’ll do so now by contrasting the different impacts you feel it has on Korean men and women (my emphasis):
But the rub for Korean men (in general) is that men in places like Madison Avenue in New York City and Hollywood who control the images that go up on billboards and on TV and movie-screens are white – and they invariably make those images in their own image: White, Male, and BLOWN WAY OUT OF PROPORTION. In short: welcome to the world of Hollywood and the White Male Action Hero.
Keep in mind that while this is happening, Asian males are either completely excluded or used as a foil to make the white male look better in comparison. So Asian males in America or Korean males living in Korea internalize this subliminal message in the media and think that they can’t possibly step up to a blonde girl (or whatever white chick). They live their entire lives being psychologically castrated, in sharp contrast to a white male from where ever, who is emboldened or even arrogantly empowered by the jumbo-sized images made in his likeness, in the embrace of gorgeous white, black, latin, and of course Asian women in movie theatres all over the world.
Hey, again I completely agree about the representations of Korean and Asian men in the US media. But I’m curious as to how you think this affects Korean males in Korea exactly, and what’s more upon whom you – very tellingly – imply that there is an equal effect as on Asian males in America. Pray, have you actually watched or read any Korean television, movies, magazines, or websites recently? It’s not like they’re lacking for strong, macho images of Korean men getting the Korean girl; or indeed, frequently getting the White girl these days, creating hypersexual stereotypes of them in the process.
Am I also “emotionally reacting” in pointing that out?
And simultaneously (being human and all) many white women are conditioned to shoot for white men as the “gold standard”, since all the glorified images of ‘male sex appeal’ feature only white males. Some even view Asian males with contempt or pity, and this of course spills over when white chicks go abroad – though to be fair, I’ve noticed this racist bias more in North American white females than European ones. So it is any wonder we see a “global sexual marketplace” that is DOMINATED by white males (figuratively) ‘raping’ and exploiting these loopholes to their sexual advantage?
Given the above dynamics of a GLOBAL system of media brainwashing that favors white males, is it any wonder that some people in Korea or elsewhere might secretly (or openly, in some cases) resent a white male for doing what he does? It’s not unreasonable, or completely out of the realm of possibility.
Ah. So while Korean women are mere passive dupes of the Western media, in contrast Korean men are savvy, knowledgeable consumers of it, and for whom calling a Korean woman walking down the street with Caucasian male a whore, say, is hence a justified response to their symbolic castrations and emasculation therein? As is the way the Korean media treats Western men?
To put it mildly, that sounds rather apologist to me. But then considering what you write about White guys in Korea, then what would I know, right?
But here’s the funny thing: to him, he’s just ‘innocently’ going about his personal life – but of course he also doesn’t see (well, probably chooses not to see, that is, ignore) that the entire System is built for HIS personal advantage. It’s custom-built for his white male needs – and that is very racist, no doubt.
And on that note, I’ll put this response to rest. Regular readers may well wonder why I devoted so much time to it: after all, its flaws speak for themselves. But then I’m only human, and I reacted partially because it reminded me of how a commentator on this blog also conflated the 2 issues in an earlier post for instance, and whom I simply gave up reasoning with. Much more though, because it was annoying to spend 60 minutes on a comment only to have it disappear (see below), and finally especially because I was angered by comments on a similar post on Noona Blog not only gushing with enthusiasm for Jake’s comments but also implying that he had “a fact-based academic writing style”, when if anything it’s marked by their complete absence.
Combine that with being a White man married to a Korean woman blogging about gender issues in Korea too, who as a result has had trolls insulting the both of us incessantly for 3 years, or even being sent 3000 word emails patiently explaining that the vast majority of White men in Korea (but always excluding myself of course) have yellow fever, and that I’m just being emotional in not acknowledging that…then hopefully you can see why I get very tired and angry at hearing that sort of thing sometimes!^^
Update: See I’m No Picasso and Roboseyo for two excellent posts written in response to this one.
You’ve seen them in the bars and clubs and lounges of Seoul. To them, white boys on their arm are the ultimate accessory to their personal crusade to be the “coolest” chick on the block.
They’re commodifying race – and according to their rather twisted logic, being seen with a white guy the equivalent of having the latest handbag or shoes.
They ought to stop and think about the implications of their choices. To them it’s a confirmation of their own belief that “being with a white man = COOL + URBANE + COSMOPOLITAN + TRENDY”… but it’s actually an expression of a colonial mindset – they are psychologically and mentally colonized, dominated, and enslaved.
They’re not setting the tone on what is cool – they’re doing the exact opposite: setting the tone on what is sick, twisted, and unwholesome.
Disclaimer: I am in no way claiming that ALL Korean women with white men are like this. But there is also no denying that a significant number of these women do exist. So please take my comments for what they are, and don’t take them out of context. Thanks.
*Actually, my original intention was just to leave a comment at Noona Blog, but as soon as I hit “submit reply” then it disappeared into the ether. As the same thing happened on a different post last week however (my first there), then wisely I’d saved it first. Of course, it’s annoying that I can’t seem to comment at all there then, but normally I’d just chalk that up to the idiosyncrasies of the individual website. Yet then the same thing happened on Seoul Beats yesterday too (thanks for the link guys!), which I have successfully commented on before. Do any technically-minded readers have any possible explanations? A plugin issue perhaps, or something to do with the most recent version of WordPress? (Switching from Firefox to I.E. didn’t help) Thanks in advance!
An otherwise innocuous, quick slice of Korean life…but which inadvertently prompted some soul-searching and a minor epiphany about Korean society on my part. Please bear with me!
If you’re reading this blog in Korea, then by virtue of its inane “We Live in OZ” catchphrase you’ve probably more aware of LG Telecom’s “OZ Generation” advertising campaign than most. But you may not have heard of its online virtual first person “date” with model and actress Lee Yeon-hee (이연희) that was launched about two weeks ago, and which deserves kudos for being the first of its kind in Korea (indeed, this post was originally intended to be #16 in my “Creative Korean Advertising” series). As Coolsmurf explains at allkpophere:
Users get to have a complete, enjoyable date with Lee Yeon Hee by completing 6 stages with varying difficulties, but all of which can be solved by using the LG mobile phone and your trusty keyboard. You get to hold the hands of Yeon Hee as you dash away from the crowd, ride a bus with her, have a meal, celebrate her birthday, etc.
And as of Saturday, 200,000 people had participated since it was released 10 days earlier, with 20,000 visitors daily. Unfortunately, and all too typically for Korea, the main site requires your national ID number to participate (I didn’t check if my “foreign” one worked or not sorry), but strangely this alternate entry site (in the screenshot below) doesn’t, which will hopefully give K-pop fans outside of Korea a chance to participate.
I confess, I did it myself for a little while: it’s like a surreal bubblegum version of Doom 3, with eye-candy as the target rather than demons. And my 3 year-old daughter sitting on my lap found it hilarious when I crashed into people and potholes while running to meet Yeon-hee in “Mission 1” (hint, use the cursors), but neither of us were sufficiently motivated to figure out how to rouse her after she fell asleep on the bus in Mission 2 though I’m afraid (but get on the bus using the mouse this time). Not for a fifth time at least…
But what epiphany about Korean society did this prompt on my part? Other than being reminded, say, of the penetration and pervasiveness of mobile phones into all elements of Korean life that is?
Well, consider the rather childish and platonic way the couple interacts on the “date” itself, replete with numerous uses of the word Oppa (오빠): to Western eyes it makes it appear more reminiscent of the sorts of dates we had – or perhaps, our parents liked to think we had? – back in our early teens, and certainly nothing like what most Western adults would consider worth showing up for. Lest you feel like that’s an exaggeration though, then by all means examine it for yourselves, but I’m sure that most people at all familiar with unmarried Koreans need no such assurances.
In the original version of this post, this prompted a lot of speculation on my part as to whether the date game was in fact primarily targeted towards teenagers, but that was misguided: as Charles points out in his comment that made me realize that, I myself went on “dates” like that with a 25 year-old Korean woman before I met my future wife, and although I haven’t dated in the 9 years since – and so by no means claim to be an expert on Korean dating culture – I’m confident that a sizable proportion of 20-something Koreans do have indeed have platonic dates like this. After all, the various cultural, social, and economic factors that lay behind the plethora of blind-dating systems in Korea certainly do still exist, although as Michael Hurt in this excellent practical guide to the cultural pitfalls of dating Korean women points out, the move from single-sex to mixed schooling is beginning to change those (see the KoreanClass101 Bloghere also).
Lest I give the wrong impression though, I’m not against such dates per se. And while it’s true that I don’t personally consider dating without the ultimate aim of a sexual relationship as dating at all, that’s isn’t quite the same as thinking that, say, any woman that doesn’t sometimes put out on the first date (or guy that doesn’t want that) is a prude! And that so many Koreans go on such dates is – however patronizing it may sound – a very nice and endearing aspect of Korean society.
However, it is but one version of Korean dating culture. And yet while Koreans as a whole are certainly more sexually reserved than your generic Westerners, I doubt that any readers need convincing of the fact that over 50% of Koreans have sexual experiences before marriage. Yet- and herein lies the (belated) beginning of my epiphany – why is it only the platonic version of dating that is still overwhelmingly presented in the Korean media? And particularly when depictions of so many other aspects of sexuality in the Korean media are becoming increasingly bolder and more liberal over time?
True, if you take issue with my description of the way dating is depicted in the Korean media, then I have no data to back that up: indeed, I don’t watch Korean dramas precisely because on the rare occasions I’ve naively wanted to spend more than 5 minutes with my wife on the sofa while she’s watching one, then I’ve soon been forced to leave the room at sheer disgust and incredulity with the surreal, Disneyland version of Korean life presented on the TV screen. Still, as commentators on this lengthy post on that subject pointed out, there are more realistic and palatable dramas out there if you’re prepared to look for them.
Also, granted: the ways dating and premarital sex are depicted in the Korean media are in many respects quite separate to, say, the censorship issues that I’ve been following closely in my weekly(ish) “Korean Gender Reader” posts. But still, rather than censorship being akin to some inexorable fact of nature (i.e. Korea is a conservative country…what else does one expect?), the numerous forward and backward steps in Korea just this year has provided me with a healthy reminder that what is considered suitable for Korean viewers is in reality a very mutable concept (and don’t get me started on Japanese censorship issues). Which begs the question of who is doing the defining, and why.
This brought to mind the following lesson I learned from An Introduction to Japanese Society by Yoshio Sugimoto (and easily the first book you should ever read on the subject):
Japanese culture, like the cultures of other complex societies, comprises a multitude of subcultures. Some are dominant, powerful, and controlling, and form core subcultures in given dimensions. Examples are the management subculture in the occupational dimension, the large corporation subculture in the firm size dimension, the male subculture in the gender dimension, and the Tokyo subculture in the regional dimension. Other subcultures are more subordinate, subservient, or marginal, and may be called the peripheral subcultures. Some examples are the part-time worker subculture, the small business subculture, the female subculture, and the rural subculture.
Core subcultures have ideological capital to define the normative framework of society. Even though the lifetime employment and the company-first dogma associated with the large corporation subculture apply to less than a quarter of the workforce, that part of the population has provided a role model which all workers are expected to follow, putting their companies ahead of their individual interests…. (p. 12).
Yes, Japan, supposedly the land of the faceless salaryman…is anything but. And yes, the subject of salarymen may seem a little out of place at first glance, but I’m sure you’re seeing the connections already. Continuing in the same vein (although as a quick aside, it’s interesting to consider why Japan is so well-known for the salaryman system, when if fact it’s only Korea that ever had them as a majority of workers):
Dominating in the upper echelons of society, core subcultural groups are able to control the educational curriculum, influence the mass media, and prevail in the areas of publishing and publicity. They outshine their peripheral counterparts in establishing their modes of life and expectations in the national domain and presenting their subcultures as the national culture. The samurai spirit, the kamikaze vigor, and the soul of the Yamato race, which some male groups may have as part of the dominant subculture of men, are promoted as presenting Japan’s national culture….
More generally, the slanted views of Japan’s totality tend to reproduce because writers, readers, and editors of publications on the general characteristics of Japanese society belong to the core subcultural sphere. Sharing their subcultural base, they conceptualize and hypothesize in a similar way, confirm their portrayal of Japan between themselves, and rarely seek outside confirmation….(pp. 12-13).
As another aside, this last point highlights how Koreans are in many senses shooting themselves in the foot by alienating and demonizing a whole generation of English teachers in Korea (see here, here, and here):
Core subcultural groups overshadow those on the periphery in inter-cultural transactions too. Foreign visitors to Japan, who shape the images of Japan in their own countries, interact more intensely with core subcultural groups than with peripheral ones. In cultural exchange programs, Japanese who have houses, good salaries, and university educations predominate among the host families, language trainers, and introducers of Japanese culture…(p. 13)
(Update: See here for some quick recent examples of how different the Japanese are to the way they’re normally represented in the foreign media)
No, I’m not suggesting that there is a big conspiracy to keep premarital sex off Korean screens. Nor am I suggesting that the above is all that original or profound, and certainly my ultimate epiphany – merely to extend the above lesson to depictions of Korean dating and premarital sex in the Korean media also – is much less so.
But the point that I want you to take away from all this is that at the very least it provides an interesting and useful alternate framework with which to analyze the topic in future. For instance, the completely ineffectual Youth Protection Committee’s (of the Ministry for Health, Welfare and Family Affairs) recent banning of music group TVXQ’s latest songs from being played on TV and the radio because of “lewd content” and the need to “protect teenagers” (see #2 here), may be most explicable in terms of corporatist motivations, or in other words be the result of the Ministry’s struggle for relevance and definition under the hostile Lee Myung-bak Administration, which originally planned to disband the former Ministry of Gender Equality and Family altogether (now a separate Ministry of Gender Equality exists: see #4 here), and despite the compromise being opposed by all ministries involved. No, I’m not saying that that is the case necessarily, just that it’s a possibility that needs to be considered.
And on that note, I’d better end this post, which has admittedly somewhat evolved from its ostensible original topic. Which reminds me, presumably other male and female members of the “OZ Generation” in the advertisements will have similar dates set up for them, and it’ll be interesting seeing the different conventions for the former’s behavior and writing about that a later date. And probably this topic will be in IMAD (아이엠 애드) also (Korea’s only magazine devoted to online advertising), and I’ll make sure to buy it and translate the corresponding article also. In the meantime, I’m curious as to if this virtual date has already been done overseas, so if any readers know of foreign examples then please pass them on.
Sorry for the delay, but my article for the Korea Times — my big news — is finally in today’s paper. The subject is loosely how Korea’s reputation as a conservative country is very outdated, that advertisements are a good reflection of its rapidly changing sexual mores, and that…well, there wasn’t too much else to say in the 800 word limit really. Nothing new in there for regular readers then, but the editor has hinted that the better the response it gets, the more likely I will get my own regular column, so *cough* please do go on to read it regardless.
One minor complaint with the KT’s editing is having all my italics replaced by quotation marks in it — they’re not quite the same — and I don’t find the choice of title particularly eye-catching either. But on the other hand, not a word was changed from the original, which is probably quite rare.
Seriously though, I won’t put my foot in my mouth again by giving a specific date for future articles, but naturally I’ll let you all know as soon as they’re up.
The poster, by the way, is for the 2004 Movie S-Diary (에스다이어리), which was considered pretty raunchy when it came it out, but would be very tame by today’s standards. Just like I mention in the article, things change very quickly in Korea, and at the risk of sounding like I’m merely ingratiating myself with new Korean readers, that is one of the fascinating things about the place. It’s good to remind oneself every now and then.
Update 1) Before I forget, I should give full credit to Sonagi for my point in the second last paragraph of the article, about revealing images of women being sexist by virtue of the sheer weight of them, and the same tired women-sexually submissive/men-dominant roles portrayed in most of them. I didn’t fully appreciate it at the time, but realize now that she had a point.
Update 2)Actually, I’ve just noticed that in the very first line(!) of my article the word “that” was removed from “…that such an impression can easily be forgiven”, ruining that sentence and hardly giving a great first impression of the remainder of the article either. Sigh. I don’t think I’ll read it again, lest I find any more editing mistakes…
The 14-year old girl is Park Seo-jin, the controversial photoshoot from the Mnet reality show I Am A Model. It’s already covered in numerous “news” articles though, so let me just quickly highlight one element of it here: that for all the recent and historical mania about protecting underage girls against foreign pedophiles, the Korean police seem strangely reluctant to respect their own laws banning the nude photos of minors that would (presumably) encourage them. The most obvious examples being one of the promotion posters for—let alone various scenes in—Samaritan Girl/Samaria (2004), all shot when actress Kwak Ji-min was still in high school, and therefore legally a minor.
Like with those, no-one will ever be prosecuted for Park Seo-jin’s photos. Unlike those though, they do seem to be creating much more negative reaction. Most likely, simply because she is just sooo young.
What do you think?
Update: In case of any confusion, note that while she’s 16 according to the (strange) Korean age system, her birth date is actually 11 March 1994.