Korean Photoshop Disaster #5: Girls’ Generation’s legs too fat for China?

( Source )

Given the clear artistic license applied to the other main image in this series, would you say that here too, the graphic designer deliberately intended for members of Girls’ Generation (소녀시대) to look like virtual caricatures of themselves?

Update: See Korean Lovers Photoblog for the full series.

(For more posts in the Korean Photoshop Disasters series, see here)

Share

“Blogging ’bout Love in the ROK”

With apologies for not being able to mention more of you in the 800 word limit, here is my article in Busan Haps magazine based on your thoughts on the sudden increase in the number of bloggers discussing dating and marrying Korean men. Thanks again for your help!

Update: Ironically, just 2 days after that went up, Hot Yellow Fellows reports a lull in the number of new blogs on the subject, and most of the rest going “into dating hibernation, either due to leaving Korea (what’s up.), having gotten into relationships, or running into bad luck/apathy”!

(If you’d like to leave any comments, please do so on the Busan Haps website)

Share

Music Monday: On Black music, KARA, & Why K-pop bands are so large…

Three things of interest I came across all in the space of this morning…

First up, a recent edition of the BBC4 podcast Thinking Allowed, which – paraphrasing slightly – discusses the contention of cultural critic Paul Gilroy that:

From Curtis Mayfield to 50 Cent, from Nina Simone to JayZ, black music has declined in its quality and lost its moral stance. Outlined in his essay “Troubadours, Warriors, and Diplomats” in his book Darker Than Blue: On the Moral Economies of Black Atlantic Culture (2010) , he joins host Laurie Taylor and music journalist Caspar Melville to discuss the counter-cultural stance that black popular music once had, and explore whether it really has been destroyed.

On the surface only tangentially-related to Korea, in that modern K-pop has strong hip-hop roots (in contrast to J-pop, which are more in rock), this 28 minute, very accessible synopsis it is still surely required listening for all those interested in music and cultural studies. And indeed, the second half of the discussion in which they talk more about the impact of technological developments on music, and especially the reality that precious few young people are prepared to pay for it anymore, is perhaps more pertinent to the Korean music industry than most.

Next, an Icelandic reader passed on a link (thanks!) to the journal article “Crazy About You: Reflections on the Meanings of Contemporary Teen Pop Music” in the Electronic Journal of Sociology (2002), by Phillip Vannini and Scott M. Myers, in which the highlighted part below immediately leaped out at me. With apologies for the long quote for the sake of context (actually, only 2/3rds of the paragraph!):

…Centralized corporate production insures continued consumption through pervasive distribution, vast output volume, and structured product obsolescence (Gitlin, 1981) while strategies of careful manufacturing of the image and sound of pop icons ascertain that audiences are treated as ‘targets’ and ‘market-segments’. Take for example the case of Britney Spears. Her image and sound had been first controlled by Disney as a pre-teen Britney worked as a host of the Mickey Mouse Club. Subsequently her schoolgirl image was spiced up to appeal to the 12-16 age group and her videos were made to occupy a steady spot in the rotation of Zoog ABC and the Disney Network. Now, with her continued biological growth her image has been recreated as sensual and provocative and formatted to meet the demands of MTV. As this takes place new ‘Britney’s’ mushroom on the market to appeal to different targets: Jessica Simpson to Christian teenagers, Mandy Moore to preteens, Jennifer Lopez to Latinas and older fans. Producers’ control extends from songwriting to image-packaging and personality development (Frith, 1978). 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 mind4, for example LFO target through MTV an older adolescent urban audience with their hip-hopish sound and sexual innuendos, while S Club 7 and Aaron Carter target preteens through Fox Family and ABC Family. This is an example of the diversification of products that allow producers the broadest appeal possible and the highest profit margin.

In passing, footnote 4 from that is also interesting:

4. The structure of consumer demand is an important concept to keep in mind. As Frith (1978) suggested producers’ ability to shape needs is limited. Why or when a style becomes popular or unpopular remains a conundrum for the music industry. It is much easier for any producer to stay with one genre or act after it has become popular and produce endless imitations than experiment with new formats or shape consumer demand. Record industries still find very few acts highly profitable, while the majority of albums produced and distributed hardly bring any profit at all (Burnett, 1996).

But the highlighted part caught my eye because of what I’d read in the post Thoughts on K-Pop Vol. 1: So Addictive at the blog Multi, which is definitely required reading for those interested in Korean music specifically:

Another important thing to note is that the Korean music industry is populated mainly by groups of at least five members. With a main audience of between 10 and 19, this is a brilliant idea because all the kids will have at least one person they like in every band, are enthralled by their personalities as seen on numerous TV shows, and will not hesitate to buy their albums and merchandise. This works for other industries as well, as phone, food and clothing companies almost solely hire celebrities to star in their commercials. They also record songs and shoot music videos (and short films) for these products and then endorse them on their numerous TV appearances. Basically, the celebrities become the only people you see on screen and in print. They become ridiculously popular really quickly, and then are sent around Asia to maximize their worth because all the other countries have succumbed to the “hallyu wave”.

Naively, I hadn’t been aware that the same logic also existed outside of East Asia. But having said that, it is still much more marked in K-pop. For not only it is exaggerated by the overwhelmingly celebrity-focused nature of advertising here, but that in turn is further exaggerated by the need to sell singers rather than their music per se,  for reasons mentioned earlier. And there’s less space for independent artists that don’t subscribe to that logic to emerge too.

Finally, all the photos of KARA (카라) in this post are from their performance at (unfortunately spelt) Wonkwang University (원광대학교)* last month, in which it started to rain halfway through their song but – seemingly without so much as batting an eye – they kept performing nonetheless (see video below).  Found via Omona They Didn’t!, admittedly I probably wouldn’t have given the photos a second glance if they had been of a boy-band instead, but once I had then I really responded to them, well-aware of how refreshing and especially liberating it can feel to continue exercising – or indeed, dancing – in a downpour.

More to the point though, not only are the photos themselves stunning, which this blog theme doesn’t really do justice to (click on the images themselves for more detail, or see Diabolique here and here for more), but in particular KARA happened to be performing Lupin (루팡), in which as Multi – who else? – puts it:

…From what I gleaned from Youtube translations of the songs, they sing about being confident (in love?) and not being afraid…as opposed to simply trying to get a guy’s attention in “Mister” (미스터); check here and here for respective lyrics, and it shows in their performances. They shine in “Lupin”, but bore with “Mister”. It might just be that “Lupin” is fresher, and they’re bored of performing Mister (side effect of weekly live performances, a.k.a overkill, of songs in k-pop) but I doubt it’s just that…

She tends to prefer performances to the music itself, and presumably to the music videos too, but for what it’s worth here they are to compare:

And finally a fan cam of the performance, although unfortunately it’s of very poor quality. The rain starts falling about at about 1:20:

Thoughts?

p.s. I’d been under the impression for many years that the term “Black Music” wasn’t particularly PC, and consequently have sometimes discouraged my Korean students from using it, but the Thinking Allowed podcast made me realize I may have been mistaken. Was I, or is there perhaps a difference between American and British English?

* (Say “Won-Kwang”, not “Wonk Wang”!)

Share

Gender Studies 101: How the media perpetuates negative body images

(Source)

Alas, I’m still taking a break from blogging for another week or so(!), so let me just quickly pass on a Korea Times article on “X-lines” and women’s body images that I’m quoted in today. New readers who want to learn more about them, please see:

  • Here for a quick summary of all the various “lines” used to describe women’s bodies at the moment
  • Here for a much longer analysis and a discussion of how and why they’ve developed from being mere fads to become enduring parts of Korean media culture
  • Here for the ways in which even prepubescent girls are socialized to develop a concern for achieving such lines in the future
  • Here for the deep roots this Alphabetization craze has in various Korean philosophical and linguistic traditions, rendering it qualitatively different to similar sounding name-assigning in English.
  • And finally here, here, and here for more on the fact that Korean women are the slimmest in the OECD, but still consume the most diet drugs.

Meanwhile, I’m very grateful to author Cathy Rose A. Garcia for asking for my input, and for then including so much of what I wrote in our email exchange. It seems almost churlish of me to critique it so severely after that, but I’m afraid I must, for it seems rather naive, almost disingenuous to write an article about how popular X-lines are when the only evidence for that comes from a company that has a vested interest in making people think so:

Three out of four female college students consider X-line, a term referring to a slim waist with ample breasts and hips, to be the ideal body shape, according to a survey by Amore Pacific’s V=B Program. The survey covered 1,000 female college students from Ewha Woman’s University and Dongduk Women’s University from May 13 and 17.

Granted, Cathy does mention later:

Amore Pacific’s V=B Program, which sponsored the survey of college students, offers a line of herbal Oriental beauty supplements. It recently introduced the “S-line slim DX,” which claims to reduce body fat and abdominal fat.

But the conflict of interest should have been made more explicit, and indeed is rather ironic in light of one of my quotes:

“Companies do have a vested interest in creating new, artificial body ideals that purchasing their products can supposedly help you achieve. And given the media’s overwhelmingly uncritical reporting and active dissemination of these ideals, then it is difficult not to conclude that the media is at least passively colluding with its advertisers in this regard,” Turnbull said.

Moreover, as I explain here, the X-line is by no means a “new” obsession of Korean women, but is at least 2 years old, originally created by – you guessed it Amore Pacific, who created the monstrosity on a computer when Yoon Eun-hye’s (윤은혜) actual body failed to deliver:

(Sources: left, right)

In fairness, Amore Pacific did use more human-like realistic images of her body in some of its advertisements for the V=B Program that year, but those in no way compensate for encouraging women to obtain a literally impossible body shape in the first place. And call me picky, but any news article on X-lines is severely remiss in not mentioning that.

What do you think? Are my critiques of the article fair?

Korean Photoshop Disaster #4: NOBODY’S Perfect!

Probably both a driving force and reflection of the increasing amount of male objectification in the Korean media since last year, then you may have noticed that female authors and commenters on K-pop blogs have become increasingly vocal in their admiration of male celebrities’ bodies these days. And with the provisos that such objectification can be problematic, and more of one sex by no means nullifying the negative effects of that of another, then all power to them, but it does increasingly tempt me to indulge myself a little too!

Hence I was considering presenting some pictures for Lee Hyori’s (이효리) recent photoshoot for Elle Korea here earlier today, but paused when I thought about how to describe her in them: after all, heaven forbid that a male blogger shift from simply using banalities like “she is sexy” when expressing admiration for a woman’s body, to discussing her body parts in the same manner that female bloggers now can and do of a man’s. Or is that just me?

Either way, the sky didn’t fall in the last time I posted a picture of a woman simply because I liked it, and so ultimately I probably would have done so this time too. Well before getting to that stage however, I happened to quickly click between the picture from Elle Korea itself above and that from MSN Korea below, and something much more interesting literally jumped out at me:

In case you’ve missed it, this GIF I’ve created shows how that switch looked:

Yes, not only did MSN Korea feel the need to enlarge her breasts, apparently they also thought that she was too fat too. Anybody else find the change simply more patronizing than sexy however?

Either way, it certainly makes yesterday’s video on Korean women’s perceived need for cosmetic surgery and weight reduction all the more poignant!

(For all posts in the Korean Photoshop Disasters series, see here)

Share

Korean Sociological Image #39: Why are Koreans so into their Looks?

Arirang TV (아리랑 TV) has a deserved reputation for presenting an overly positive image of Korea to the world, so I was pleasantly surprised by this segment from Monday’s Arirang Today that acknowledges the huge pressures Korean women face to have unnecessary cosmetic surgery for job interviews and marriage prospects, and without presenting them as mere mindless followers of fashions in the process. Only 7 minutes long, it’s a good short introduction to the topic (via: pompeiigranate).

(For all posts in the Korean Sociological Images series, see here)

 

Share

Gender Advertisements: What, boys can drink girly drinks now?

Regularly criticizing food and drink companies for marketing their products so differently to either sex, or even exclusively just to one, then I’m surprised to find I have mixed feelings about the news that one company has actually chosen to stop doing so for a change: Hyundai Pharm (현대약픔), whose Miero Fiber (미에로화이바) “diet drink” for women was ironically the first of its kind in Korea, but for which a new campaign has been launched featuring Lee Joon (이준), a member of boy band MBLAQ (엠블랙), and Kwak Min-jung (곽민정), a figure skater:

제 2의 비라 불리며 초콜릿 복근으로 팬들의 마음을 사로잡고 있는 엠블랙 이준과 밴쿠버 동계올림픽에서 괄목할만한 성장으로 모두를 놀라게 한, 제2의 피겨여왕을 꿈꾸는 피겨스케이팅 선수 곽민정, 이 두 사람이 만난다면 어떤 모습일까?

엠블랙 이준과 곽민정 선수가 기능성 식이섬유 음료의 대표 주자인 현대약품 미에로화이바의 새모델로 발탁됐다.

Called the second Rain (비), and gaining a lot of fans through his chocolate abs, Lee Joon of MBLAQ is with Kwak Min-jung, a figure skater who startled everyone with her remarkable growth as a skater at the Winter Olympics in Vancouver, and who dreams of becoming the second figure skating queen [after Kim Yuna (김연아)]. What are they doing meeting together?

Lee Joon of MBLAQ and Kwak Min-jung the skilled athlete have been chosen as the representatives of the diet fiber drink Miero Fiber by producers Hyundai Pharm.

미에로화이바는 1989년에 출시되어 20년 넘게 많은 사람들의 사랑을 받아온 국내 최초의 식이섬유 기능성 음료로, 그 동안 이소라, 김혜수, 박민영, 고아라, 신민아 등 미에로화이바를 거쳐 간 여자 연예인들은 최고의 인기를 구사한다는 소문을 낳을 만큼, S라인 여자 연예인들의 매력이 돋보이는 CF를 선보여왔다.

이에 이준과 곽민정 선수의 모델 발탁이 더욱 신선할 것이라는 것이 현대약품 측의 설명. 서로 다른 분야에서 떠오르는 신예로 맹활약 중인 이 두 사람은 이번 CF를 통해 2010년, 모두가 부러워하는 워너비 몸짱으로 등극할 예정이라고.

Miero Fiber has received a lot of love since being launched as the first diet drink in Korea in 1989, and indeed [previously unknown] female entertainers that have showed off their S-lines and attractiveness in commercials for it have included the likes of Lee So-ra, Kim Hye-su, Park Min-young, Go-ara, and Shin Min-a, to the extent that there is a rumor that appearing in one is very helpful for a female entertainer’s career!

James – That is probably just the typical hyperbole of Korean news stories, but then I did personally first learn of Shin Min-a in 2000 and Go-ara in 2006 through their Meiro Fiber commercials:

Lee Joon and Kwak Min-jung were chosen by Hyundai Pharm because the company wanted a strong, fresh image, and because both are rising stars in their respective fields. It is hoped that through this commercial, in 2010 many people will become jealous of them and also try to get good bodies.

현대약품 관계자는 “이준과 곽민정 의 건강미와 무한한 가능성에 주목했다”며 “이준의 강하고 섹시한 이미지와 곽민정 선수의 건강하고 귀여운 매력을 통해 미에로화이바가 상징하는 건강한 아름다움의 컨셉이 효과적으로 전달될 것”이라며 새로운 모델에 대한 기대감을 선보였다.

한편, 지난 달 세계선수권대회를 마치고 귀국한 곽민정 은 국내에서 한 달간 머물며 휴식을 취한 뒤 다시 캐나다 토론토로 돌아가 오서코치와 함께 훈련에 전념할 계획이며, 이준은 최근 짧은 헤어스타일로 변신해 스승인 비와 붕어빵 외모로 화제를 일으키며 본격적인 컴백에 대한 팬들의 기대감이 한껏 고조되고 있다.

According to a Hyundai Pharm spokesperson, “It has often been remarked that Lee Joon and Kwak Min-jung both have a kind of healthy beauty and unlimited potential,” and that “with Lee Joon’s strong and sexy image and Kwak Min-jung’s healthy and cute one, they will be effective as symbols of Miero Fiber’s healthy and beautiful concept,” which is why they were chosen as new models and why Hyundai Pharm has high expectations of them.

In the meantime, after the 2010 World Figure Skating Championships concluded last month, Kwak Min-jung returned to Korea for a month of rest, but has since returned to Toronto in Canada to concentrate on training with coach Brian Orser, while Lee-Joon has recently changed his hairstyle to look almost like a twin of his mentor Rain, raising a lot of interest and expectations among fans as to what the theme of MBLAQ’s comeback will be. (source)

Granted, not an explicit admission that Hyundai Pharm now hopes to sell to men what it previously wanted consumers to believe was only for women. But that message is pretty clear in the commercial itself:

언니만큼 잘하고싶어요. 라인도 신경써야죠.

Like my older sister [Kim Yuna], I want to do well. I also have to pay attention to my S-line, yes?

마시는것도 관리해야죠. 형! 딱 기다려!

I too have to think about what I drink. Older brother [Rain]! Just you wait for me!

내일이 기다려집니다. 미에로 화이버.

We can’t wait for tomorrow. Miero Fiber.

And on that note, it’s a pity that, yet again, athletes that have gained great bodies through exercise are endorsing a product that encourages people to think that merely slugging a diet drink is all that is required. But I do think that selling it to both sexes is still a positive step: after all, as I discuss here, unfortunately it is by no means an exaggeration to say that there is a widespread belief among Korean women that “obtaining the perfect body is possible provided one merely buys and passively uses, applies or digests various products,” and one which strangely coexists alongside a belief by men that they must do active exercise instead. Introduce the notion that men and women can obtain their desired bodies through the same means however, and you begin to challenge that false dichotomy.

On the other hand, it is a diet drink being sold, and so there is also the possibility that ads like these will simply encourage men to forgo exercise in favor of dieting (and so on) also. Which do you think is the more likely scenario?

Either way, Korean energy drinks are off to a good start!

Share

What a Difference a Region Makes

( Source: The Japan Foundation )

With thanks to Philip Gowman of London Korean Links for bringing it to everyone’s attention, I’m literally ordering this book as I type this just for the Korea-related chapters alone!

UK-based readers, note the book-launch in London next Wednesday: see the The Japan Foundation for more details, and make sure to email jd.mackintosh@bbk.ac.uk by Monday if you’d like to attend.

Share

Korean Sociological Image #37: Like a Virgin?

As they say, first impressions are everything. And so, with apologies to those of you unwise enough to read this blog at work, let me share mine of girl group T-ara (티아라) from their music video of Like the First Time (처음처럼) before proceeding: namely, that they were confident, sexy women, not at all embarrassed to perform risqué dance moves like the above in front of large audiences.

However, it was difficult to square that impression with their shyness in the following brief interview for Entertainment Tonight (연예가 중계) last month, conducted while making (rather bizarre) commercials for a mobile phone, and I would interested in hearing your thoughts on possible reasons for the differences, and how representative the interview is as whole of the way 20-something women especially are portrayed in Korean entertainment programs.

The most important point first: from roughly 1:00 t0 1:30, the interview focuses on group leader Ham Eun-jeong (함은정) feeling embarrassed about repeatedly hugging actor Yoon Si-yoon (윤시윤) for their commercial, despite having just met in the studio. In particular, at 1:10 below she says “어떡해”, or “How” as in “How can I do this?” while making an exaggerated expression of embarrassment, about which the reporter comments “굉장히 부끄러워하죠?”, or “She’s very shy, yes?”. Note also the addition of “근심” and “걱정” on the screen too for added context and atmosphere, (a habit of entertainment programs picked up from Japan), although rather confusedly they both mean anxiety, or worry.

Then at 1:25, she’s asked how she feels from hugging Si-yoon for so long, to which she replies “솔직히말해도…떨려요!”, or “To be honest…I’m shaking/trembling!”.

Natural feelings? Of course. But then recall her music video, in which she – not to put too fine a point on it – repeatedly bends over and thrusts out her bottom, jiggles her breasts, and runs her hands over her breasts and crotch while singing about how her body was on fire. Indeed, even the interviewer herself later (3:08) highlights the complete contrast:

Moreover, while I’ve never personally strutted my stuff on stage like Eun-jeong, I am actually quite comfortable – nay, somewhat notorious for – acting in front of large groups of adult students (I’m tempted to mention faking an orgasm in class once in my first year of teaching, but I’d better not), and doubt that I’d be embarrassed repeatedly hugging an attractive woman in front of others. Yes, I would be if I ended up having a large visible erection as a result, but that’s besides the point: if Eun-jeong was embarrassed, it wasn’t because she was visibly turned on.

And I stress “if”: my wife, for instance, also watched the interview, and at first told me her embarrassment was perfectly natural, but then readily conceded it was rather strange in light of her performances in music videos and on stage. Which leads me to my first question: do you think Eun-jeong was genuinely embarrassed?

One commentator at Omona! They Didn’t did at least:

…Eunjung lost her composure while filming a hugging scene with Yoon Si Yoon….It’s funny how Eunjung was so flustered and shy around a guy because she exudes such a powerful and charismatic presence on stage. I guess we are all prone to weakness in front of the opposite sex.

And I do remain open to the possibility. However, I’d argue that either subconsciously or deliberately, she’s much more likely to be playing to expectations and norms of the Korean media that she present herself as cute and innocent, regardless of her true personality; well illustrated, I think, by this 2007 commercial with Kim Tae-hee (김태희):

As PopSeoul! explains:

She acts all sugar and spice in wide-eyed innocence as she sips her drink carefully, but as soon as her date turns away, she lets loose her inner diva to strike a pose for the camera. Her date discovers the saved pictures on his Olympus and accuses her of being “nae-soong”.

Nae-soong (내숭) being the:

…inconsistency between a girl’s true personality (i.e. extroverted), and external (i.e. introverted, shy and innocent) personality. In other words, trying to hide your true intentions self by acting sweet and innocent.

And indeed the interview is full of demonstrations of how sweet and innocent they are. For instance, at 1:47 Park Ji-yeon (박지연) is embarrassed to learn that she is Si-yoon’s favorite of all the T-ara members (although you may be surprised to learn that she’s only 16, and hence her embarrassment arguably the most likely to be genuine):

And at 3:17, Eun-jeong feigns (I don’t think anyone would dispute this!) being upset at the other group members selecting her as looking the most different (read: uglier) before putting on make-up:

One music video and and one interview are by no means sufficient to get an idea of their true personalities however (to the extent that one sees any celebrities’ true personalities in front of a camera at all that is), and so I also briefly looked at some episodes of T-ara Dot Com (티아라닷컴), a quasi-reality show about them setting up an internet clothes shopping mall of that name. Here’s a brief segment of one episode, with English subtitles:

And in which their behavior is no different to that in the interview. Hence, while I do still feel that Eun-jeong’s embarrassment at hugging Si-yoon at least was completely feigned, I concede that T-ara’s cutesy behavior overall probably wasn’t an act, and not unrepresentative of Koreans their age either (for reasons explained here).

If that behavior is still a definite expectation or norm of Korean entertainment programs however, depends on such factors as how other women are portrayed in them; if there’s a large difference between men and women; and to what extent such programs offer opportunities for entertainers to present alternate, more serious sides of themselves if they wish to do so.

Unfortunately, I can’t personally say: even when I first arrived in Korea at the tender age of 24, I soon chose never to watch these sorts of programs because I had better things to do than seeing grown men and women acting like children on them. Now, at 34, I’m more concerned about the influence they will have on my own daughters, and to be frank would consider myself a failure as a father if they grew up to behave like members of T-ara do when they reach the same age.

However, in contrast to when I was 24, in fact there’s also some things I like about the Korean media which are on display in the interview, and which I’ll devote the remainder of the post to.

First, in a meta-sense, the practice of providing subtitles and/or commentary on them is simply great for studying Korean, especially considering the huge gap in real-life learning material for Korean learners, let alone intermediate level material. And if dramas aren’t your thing, then studying a 10 minute segment of an episode of T-ara Dot Com everyday is probably quite a tolerable alternative:

More to the point of this post however, there is the very human side of stars presented, a stark contrast to the pedestals Western medias tend to place their own celebrities on. For instance, not only does the interviewer ask at 3:39, which member of T-ara farts the most:

But at 3:49, we even get to watch the evidence:

And, lest he feel left out, Si-yoon is asked if he also farts, to which he replies at 3:57 that yes, he enjoys it:

Compared to that, watching him pick his nose and examine the contents at 2:30 was nothing. And hey, a guy’s got to do what a guy’s got to do, but in any other country I’d be surprised his agent didn’t want that cut out:

But not that showing that celebrities fart and pick their noses like the rest of us mere mortals are the only positives of course. I also love how the interview highlights Ji-yeon stuffing her face with strawberries at 2:57 for instance, and particularly from a basket that looks like it was bought from the back of a food truck, to be found in literally every Korean neighborhood at almost any time of day (for instance, selling salt at 5:30 in the morning). You see, something that looks like it could have been bought in my wife’s home village in 1970 is somewhat incongruous on the set of a commercial for probably one of the most technologically sophisticated products on the planet, and reminds me that constantly seeing such juxtapositions is one reason I love living here:

Finally, there’s the standard happy, bubbly ending of such shows, usually accompanied by cries of Hwaiting! (화이팅); if you’re not smiling yourself at least a little when you see one on TV, that’s probably because you’re being carried out of the room on a stretcher with blanket over your head:

To recap, I would love to hear: your own opinions on how genuine Eun-jeong’s embarrassment was; how representative of young women’s behavior on entertainment shows T-ara’s was; and whether they were simply being themselves or if they were fulfilling expectations and norms of how 20-something women should act on them (I realize that the last is a bit of a false dichotomy though, and should be considered more as a feedback loop). Are there any Korean entertainment shows where women don’t have to be cute? And how about 20-something men, or older women?

Alternatively, do you have any more pet peeves about Korean shows not covered here, or reasons that you really like them?

(For all posts in the Korean Sociological Images series, see here)

Share

Korean Sociological Image #36: Beauty and the Beast

( Sources – left; right: K-popped! )

A pair of brief but revealing juxtapositions to ponder this weekend.

First, earlier in the week it was reported that Ha Si-eun’s (하시은) performance as a character with cerebral palsy in the popular historical drama Chuno (추노) was so convincing, it persuaded her representatives to arrange a photoshoot with Maxim, lest “it affect her career.”

My first reaction to this news? Naturally, that I’m never averse to seeing an attractive woman posing in her underwear…but heaven forbid that she become better known for her acting skills. To play devil’s advocate however, in my experience Korean actors do tend to be typecast by the public rather easily, and indeed a representative did express concerns that fans would be unable to dissociate Ha Si-eun’s image in the drama from real life:

하시은 측 한 관계자는 3월 29일 오전 뉴스엔과의 전화통화에서 “‘추노’의 뇌성마비 이미지가 너무 강했던 터라 하시은의 평소 모습과 작품 속 모습을 연결시키지 못하는 이들이 많았다”며 “부족한 점이 많지만 새로운 모습을 선보이고자 이번 화보를 촬영하게 됐다”고 밝혔다.

Given the frame of mind that put me in though, I couldn’t help but laugh at the irony of the advertisements accompanying this article in the Korea Times that I read 5 minutes later:

Part and parcel of the tabloidish tone of that newspaper in recent months, those advertisements are not confined to just that article of course. But still, it’s almost worthy of FAIL Blog, yes?

(For all posts in the Korean Sociological Image series, see here)

Share

Everybody Bubi!

( Source: KBites )

While “Bubi Bubi” (부비부비) doesn’t quite mean what it sounds like in English, these will still probably be the most surreal advertisements you’ll see in your entire life:

Featuring girl-group T-ara (티아라), whom I talked about recently here, and actor Yoon Shi-yoon (윤시윤), 2 of the advertisements at least seem to show that bubibubihada (부비부비하다) means to touch, or rub 2 things against each other. Curiously however, that’s proving quite difficult to confirm, as even though it appears to be rather old, with references here and here in The Marmot’s Hole going back to early-2008, and a query at Naver on the meaning from late-2006, there’s still no mention of the term in print or online dictionaries.

From a reading of the former though, and K-pop blogs today, “grind” appears to be a much better translation, and indeed there’s even a 2008(?) Banana Girl (바나나걸) song called Bubi Bubi on that theme:

But then “Grind Grind” is a rather crude and unlikely name for a phone, and especially for one that KTF itself claims is aimed at teenagers. Hence the most likely explanation is that KTF is exploiting a double-entendre, and which Korean advertisers as a whole have a surprising proclivity for, especially sexual ones. But it would be appreciated if anyone more familiar with the term could confirm that; alas, married in 2004, and with two children after that, then it’s been a while since I’ve done any grinding in Korean nightclubs myself, and am unlikely to begin again soon!

Share

Korean Sociological Image #35: Ready for some Hot 6iX?

(Source)

For all the misreadings of the title that undoubtedly brought many of you to this post(!), “Hot 6iX” (핫식스) is just a simple energy drink really, albeit a deliberate attempt by Lotte Chilsung (롯데칠성음료) to produce a Korean equivalent of Red Bull for the domestic market. And ultimately to belatedly tap into the global market too, currently worth 1.4 billion dollars and growing 20% every year despite the recession.

An avid drinker of “V” back when I lived in New Zealand, I think it’s about time. Much more interesting than the drink itself though, are what the 4 advertisements produced so far tell us about how quickly the Korean media is changing, and especially how men and women are presented therein. With apologies for giving the game away somewhat with the opening image, here they are:

Although my wife and I laughed at the joke in the first one too, I confess that I was already well into writing this post after only seeing the two featuring women. For they confirmed a strong and enduring division in the marketing of health, energy, and/or sports drinks whereby those aimed at men tend to promote the idea that the drink will give them extra energy for work, exercise, or even sex, but those at women that it will simply help them to lose weight. A phenomenon by no means confined only to Korea, you can imagine my surprise then, when I learned of the 6iX ad aimed at female drinkers also.

(Sources: left, right)

And although it sounds rather awkward, my delight too. For with the proviso that the objectification of men can be just as problematic as that of women, and its occurrence in the media in numbers comparable to that of women a bizarre and somewhat unlikely “solution” for the latter, I’d like to throw open for discussion the notion that any objections any of you may have – or imagine that others may have – to those first 2 advertisements are somewhat mollified by having an advertisement featuring a man also.  Or alternatively is that just me, and/or are the advertisements with women not all that objectionable in the first place?

Meanwhile, expect to see many more advertisements like them in coming months: the 4 above all have random numbers assigned to them, much like what were ultimately 30 or so in this “Confessions of 20-somethings” (스무살의 고백) advertising series of Maxwell House (맥스웰하우스) that started last year (see #2 here). And on a final note, it’s difficult to believe that advertisements objectifying men like this only really started in earnest last year, yes?

Update, July 2012: Alas, my prediction was completely wrong. There were no new commercials for over 2 years, and the new ones released this month don’t objectify either sex at all (although they do still target both men and women). See here for all the 2012 and 2010 ones.

(For more posts in the Korean Sociological Images series, see here)

“Gender Advertisements” in the Korean Context: A Request

( Source )

If you’d told me a week ago that I’d be spending much of my birthday looking for images of Korean men touching themselves, I’d probably have politely told you never to comment on my blog again.

Prompted by this analysis of Korean magazine advertisements that found that Korean men were significantly more likely to be shown doing so than Western men in them however, that’s precisely what I’ve been doing. But for all their supposed ubiquity, it’s proving surprisingly difficult to find examples, throwing off my schedule for the next posts in this series.

To be specific, I’m after advertisements like these, but featuring Korean men rather than women, and would really appreciate any help. Seriously, what search terms would you suggest, in English or Korean?^^

Of course I do have some examples, and will continue looking: my planned post will simply take longer than expected. In the meantime then, let me briefly offer some amusing and/or interesting advertisements that have cropped up recently instead, starting with that for Coca Cola Korea (한국 코카콜라) above featuring Thai-American Nichkhun (닉쿤) of the Korean band 2PM. I think its humor speaks for itself, but in the unlikely event that you feel I’m reading too much into it, please see those featuring other…er…members of the band here, of which Junho (준호) in particular seems to be enjoying holding his miniCoke bottle entirely too much!

Next is this one for Venus lingerie (비너스) featuring Han Ye-seul (한예슬), featured on the front page of Korea’s main portal site Naver (네이버) as I type this. Why it’s interesting is because of the English name “Glam Up” for the bra featured, which, making little sense otherwise, supports the argument that the English word “glamor” has somehow come to mean “voluptuous” or “curvaceous” in Korean:

( Source )

In turn, it demonstrates the ridiculousness of the new Korean phrase cheongsoon-gullaemor (청순글래머; or “innocent glamor”), but which is nevertheless very much in vogue in the Korean media at the moment. But that is no great surprise in view of the enduring popularity of older ones for women’s bodies like “S-line” (S라인) perhaps, and so, lest I begin to sound too serious here, let me move on to this advertisement for Nike Korea (나이키) featuring ice skater Kim Yu-na (김연아):

( Source: korean lovers photoblog )

One of the most endearing athletes I’ve ever seen (well before she won her gold medal), it’s difficult not to simply adore Yuna, but I confess I still had to to laugh at what Matt at Gusts of Popular Feeling wrote about this ad last month:

By the way, does anyone find Kim’s expression in this ad to be, uh, ecstatic?

Perhaps there’s a reason the left hand side was cut off where it was. Just do it, indeed.

Okay, perhaps that was reading too much into it, and I’m sure you can understand my reluctance in not posting it earlier, the image of her at #10 here alone receiving thousands of hits in the last week of February, presumably most of them from fans…

Either way, I hope you at least one of those advertisements made you smile and/or think. And again, if anyone can help find examples of the sorts of advertisements I’m looking for, I would very much appreciate it; even if it’s only because you feel guilty for forgetting my birthday!^^

Share

Beauties and the Beast? Understanding and Subverting the Male Gaze through Soju Advertisements

It’s not often that I laugh at soju advertisements.

Flying in the face of decades-old traditions that they should feature demure and virginal-looking women though, this one with singer Baek Ji-young (백지영) for Yipsejoo (잎새주) literally had me in tears.

Indeed, if it’s not a deliberate satire, then it at least prompted me to reexamine those traditions, making me realize just how ridiculous many are. And being exclusively designed for a “male gaze” too, they also prove to be a very good guide to it, giving pointers to the ways in which a wide range of advertisements seem to be based on the assumption that their audience are entirely heterosexual men, especially by focusing on and sexualizing women’s bodies.

Even when the products are aimed at women.

But first, the humor of this one, which is on several levels. First there is the caption, which reads “In autumn, rather than your lips (kiss), please give me some strong-tasting Yipsejoo!,” (가을, 입술보다 진한 잎술주세요!), and is a pun based on the fact that yibsool (입술), or lips, sounds very similar to yipsool (잎술), shorthand for Yipsejoo.

And as an added inside-joke for fans, a popular song on Baek Ji-young’s 7th album Sensibility, released five months before she was hired by Yipsejoo’s parent company Bohae (보해양조), even had the name Give Me Your Lips (입술을 주고) too.

But context is everything.

Previously on a fast track to stardom, Baek Ji-young was the innocent victim of a sex-scandal in 2000, and had to fight hard against Korea’s double-standards in order to revive her career. But while this severely limited her advertising options, perhaps one silver lining was the ability to disregard the high moral standards Koreans usually apply to their celebrities (especially women), and indeed it is very difficult to imagine anyone else appearing in advertisements like those she has so far for Yipsejoo.

For instance, recall that when she was chosen in an online poll to model for Yipsejoo in March last year, I remarked that her first advertisement for the company below was:

…not to put too fine a point on it, literally the sluttiest soju ad I’ve ever seen….

With apologies for sounding crass (then), but I still can’t think of a better way to describe it:

I also discussed the fact that while she did mention how happy she was to have been chosen to appear in soju advertisements like top stars Lee Hyori and Song Hye-gyo, one still sensed that they wouldn’t have consented to appearing bra-less and with an open zipper in them, which smacked of desperation. Judging by the soju advertisements that emerged that summer however, I was quite wrong, but then I’d already concluded of Beak Ji-young that:

however unfair or unwarranted, she’ll always be stuck with her promiscuous image, so she may as well play into it.

Still, I didn’t realize that she would take my advice quite so literally!

To be precise, I laughed so hard when I saw the opening image because I thought she looked like a prostitute who’d been plying her trade for rather too long now, and which were quite a contrast to, say, these earlier ones for Yipsejoo featuring Jeong Ryeo-won (정려원), for whom her evening of drinking soju with her male partner will be her first time in more ways than one:

But this post is not about that shift, which I’ve more than adequately covered elsewhere, although I do want to stress 2 things about it here before moving on: that however impressed I was by the changes when I first noticed them back in 2007, it was still extremely naive of me to have ever equated it with (female) sexual liberation(!); and that while an empirical study would undoubtedly demonstrate an increase in soju advertisements with – in the sociological framework that I’ll be using below – “body display” – in recent years, there is by no means an linear progression of racier advertisements over time.

Even just Yipseejo itself for instance, makes both forms of advertisements with the same models, and/or seems to alternate which ones it primarily makes with them, such as traditional, virginal ones with Jeong Ryeo-won and Han Ji-min (한지민) in 2006 and 2008 respectively, but then racier ones with Kim Ok-bin in 2007 and Baek Ji-young in 2009.

Regardless, both types are still designed for the male gaze. In the interests of full disclosure however, I have never studied that formally, and so here I shall be quoting liberally from the excellent A Web Essay on the Male Gaze, Fashion Advertising, and the Pose, part of the Semiotics and Advertising Web Site of the University of Vermont, and I also highly recommend this post by Michael Hurt at the Scribblings of the Metropolitician after that for an analysis of Korean women’s body images using that perspective.

But it does dovetail nicely with the work done by the late sociologist Erving Goffman in his 1979 work Gender Advertisements, still very much the framework by which sociologists study how gender roles are perpetuated in advertising (and indeed referred to repeatedly in A Web Essay). In earlier posts, I’ve already analyzed Korean advertisements using one motif of that: “Relative Size”, or how and why it is extremely rare to see women taller than men in advertisements despite being women being taller than men in 1 out of 6 randomly matched pairs. It’s high time to start using others, beginning with “Ritualization of Subordination”:

Under this broad category, Goffman actually described a great number of symbolic ways in which the women’s behavior in advertisements displays the subordination of females to males, many of which involve women acting like children. Why this is more problematic than it may sound is because:

Given the subordinated and indulged position of children in regard to adults, it would appear that to present oneself in puckish styling is to encourage the corresponding treatment. How much of this guise is found in real life is an open question; but found it is in advertisements. (Goffman, p. 48)

And indeed Korean society strongly encourages grown women to act like children, so it is probably not surprising to hear that in Korean adolescent girl’s magazines for instance, Korean female models are portrayed in such ways much more often than Western ones. From Gender Role Stereotypes Depicted by Western and Korean Advertising Models in Korean Adolescent Girls’ Magazines by Nam, Kyoungtae., Lee, Guiohk. and Hwang, Jang-Sun (2007):

Korean women were more likely to be portrayed in smiling, pouting and childlike or cute expressions than Western women. This result is similar to the findings of [this 1999 study] in which many Japanese girls in magazine advertising were portrayed as happy, playful and childlike. Understanding that gender displays in advertising reflect cultural orientation in a society, these findings indicate that in Korea and Japan, cuteness is an important virtue for women. (p. 18)

And yet to complain about those advertisements with Yoo In-young (유인영) and Shin Min-a (신민아) above, especially when they’re aimed at men, might still seem a little excessive. But then consider the following images from A Web Essay, which poses the questions “What do they suggest to you about these men? Do they seem silly?”

“What about these images?”

And as you probably expected:

Most viewers find the images of the men odd or laughable. But the images of the women seem charming and attractive…Why should it seem funny to see a picture of adult men striking a pose when the same pose seems normal or charming to us in pictures of adult women?

Not childlike per se, but as the next part points out, such expressions are often done with a head cant, for instance by Chae Yeon (채연) and Han Hyo-Joo (한효주) below:

The effect of the head cant is to lower the level of the head:

“…relative to that of others, including, indirectly, the viewer of the picture. The resulting configuration can be read as an acceptance of subordination, and expression of ingratiation, submissiveness, and appeasement.” (Goffman, p. 46)

And A Web Essay adds that it is often combined with putting a finger in the mouth or otherwise touching the face in a childlike way, and so common in advertising as to be barely noticed:

The difference between those and the soju advertisements however, is that they’re all from women’s magazines and presumably aimed at women, and so what is actually going on in those is:

…not that the viewer is looking at a woman who is actually subordinate or childish. Rather, the models are posed so as to show that they know that they are being looked at — belying the otherwise childlike pose — and they are controlling or mastering this act of being looked at. The childish, submissive postures are represented as strategic, as a sign of control of the gaze.

This mastery and control over the gaze might explain why the highly accomplished and wealthy women you see above would strike submissive, deferential poses for the camera that no accomplished man would strike. For in so doing:

…[they are] not at all signaling to others that [they are] actually subordinate; on the contrary, [they are] showing that [they], too, can be successful in this arena, the arena where the goal is to attract and control the power of the gaze by striking a subordinate pose. And were this an occasional event, if we regularly saw images of women that were of a different sort, the effect might be innocuous.

The problem is, however, that most women make less money and have less power than most men, and the message that goes out to women without power is that to get some, you need to gain control of a male view of women — which means to get power through male power, rather than on your own.

This is where the theory of the male gaze becomes important…

A Web Essay also briefly mentions women’s typical advertising poses in much the same vein. But I think that that’s a little misguided, as a distinction needs to be made between those that are sexually appealing to heterosexual men and others, the basic physiology of sexual reproduction ensuring that men will almost always look ridiculous in the former. Hilariously demonstrated by these pictures from English Russia for instance:

See Sociological Images for a wider discussion of those. Of course, by no means are women (or men) always placed in sexually appealing poses in advertisements, but for some reason women in particular frequently are placed in completely bizarre, often comical ones instead. Goffman notes of them that:

The note of unseriousness struck by a childlike guise is struck by another styling of the self, this one perhaps entirely restricted to advertisements, namely, the use of the entire body as a playful gesticulative device, a sort of body clowning. (Goffman p. 50)

With the possible exception of that with Kim Ok-bin, admittedly these following examples from soju advertisements can not really be described as “childlike.” But however natural they may appear though (again because of our frequent exposure to them), in fact some are extremely awkward to perform: just try them and see!

Starting with Kim Ah-joong (김아중) and Song Hye-gyo (송혜교):

Then Chae Yeon and Kim Ok-bin:

And finally Shin Min-a and Lee Hyori (이효리):

Those with Chae Yeon, Kim Ok-bin, and particularly Shin Min-a also display the “bashful knee bend,” which women frequently but men only infrequently are posed in a display of. Whatever else, it:

…can be read as a forgoing of full effort to be prepared and on the ready in the current social situation, for the position adds a moment to any effort to fight or flee. Once again one finds a posture that seems to presuppose the goodwill of anyone in the surround who could offer harm. (Goffman, p. 45)

But I’ll wisely move on to the second and last motif for this post, that of “Licensed Withdrawal.” In the words of Images of Women in Advertising:

 

[One] way in which women are disempowered is by displaying them as withdrawn from active participation in the social scene and therefore dependent on others.  This involvement with some inner emotional processing, whether anxiety, ecstasy or introspection, can be symbolized by turning the face away, looking dreamy and introverted, or by covering the face, particularly the mouth, with the hands….

….Rather than being portrayed as active, powerful and in charge, females are commonly shown in this licensed withdrawal mode, removed into internal involvements, overcome with emotions, or symbolically silenced with hand over the mouth….

….In another variation, females are frequently shown withdrawn inwards into some dreamy introverted state;  they pose, become things for others to gaze at and desire.  Males will stereotypically be shown active, engaged, and in charge of the situation.  They are not so much objects for others’ to gaze at, as actors with occupations and professions….

But I’d never given it much thought until I saw this composite of four soju advertisements with Jang Yun-jeong (장윤정), which I also laughed out loud at. What on Earth is she looking at?

More examples with Kim Tae-hee (김태희), and Ku Hye-sun (구혜선):

And to which can be added Han Hyo-joo’s from earlier. Arguably Ku Hye-sun is merely lost in her enjoyment of her drink though, and in that sense the advertisement could even be used to appeal to women(?). But then with the possible exception of the second one of Baek Ji-young’s, no advertisement featured here is particularly objectionable in itself; rather, this post has been about noting recurring features of soju advertisements that – if I may be so presumptuous – now that you’re more aware of, are likely to see across the entire Korean (and Western) media.

It is the pervasiveness of these features that is objectionable, and so rarely countered by alternative images of women.

But on that note, I should point out that I notice and pay attention to soju advertisements with skin just as much as the next guy; actually probably more so (call it an occupational hazard). Still, based on the opinions of the men and women in my classes at least, this one with Song Hye-gyo has the greatest universal appeal, although that is probably simply because of her attractiveness:

And after writing this post, in fact this one with Kim Yoon-ah (김윤아; not the skater) of the rock band Jaurim (자우림) is my favorite: it’s the only one I’ve seen in which the woman depicted is actually doing something of her own accord and enjoying herself, rather than waiting to be seduced by a man. Baek Ji-young’s does come close of course, but then it’s even more unflattering, and all she is doing is drinking!

Finally, while it’s technically out of place, I would be remiss in not providing the one which, well, literally had my female students squealing in delight when they saw it. Featuring Kang Dong-won (강동원) for Bom Bom (봄봄; “Spring Spring”), that will be music to the ears of manufacturer Daesun (대선주조), creators of one of the first ever soju brands aimed at women:

See here for more information on the consequences of that for soju advertisements so far; given all the above, it is perhaps no surprise that most soju advertisers still can’t restrain themselves from using womens’ bodies!

(Soju advertisement sources: Shootar.net, or directly from manufacturers’ websites)

Ajosshis & Girls’ Generation: The Panic Interface of Korean Sexuality

Girls' Generation's Ajosshi Fans…Gender matters in the ways that it shapes social interaction. Identities, of course, are products of and sustained through interactions with others. Social interaction thus is an important setting in which gender emerges and is enacted. As Ridgeway (p. 219) observes: “It is striking that people are nearly incapable of interacting with one another when they cannot guess the other’s sex.” That the identification of someone as male or female facilitates social interaction testifies to this category’s power in social life. (Amy Wharton, The Sociology of Gender {2005}, p.10)

And throw in my age, ethnicity, and language difficulties into the mix too, then you’d think that discussing gender issues and sexuality with Korean women would be quite a trying experience sometimes (source, above).

Ironically though, I usually find them to be better informed and more willing to talk about them than men.

One reason might be because women the world over tend to be better language learners, and as my Korean speaking ability is much worse than my reading ability, then my conversations with Koreans on abstract subjects are confined to those with relatively good English.

But that doesn’t explain the relative disinterest of Korean men at the same level,¹ and so more much likely is that whatever their degree of interest originally, sooner or later all women are invariably forced to deal with at least the consequences of Korea’s systematic sexual discrimination, perhaps the first time being when they’re deliberately shunted into non-advancing career tracks as they enter the workforce, under the assumption that they’ll no longer work (or be fired) upon marriage or childbirth.

In contrast, such things usually impact men at a much later stage in their life cycles, if at all. Perhaps when trying to decide with his wife if they can afford to have a second child for instance, and/or if it’s worth her returning to work when she will likely only bring home 41% of the wages he does, the highest gender wage gap in the OECD. Indeed, if my wife — a 31 year-old mother of two — wasn’t lucky enough to be able to work from home as a recruiter, then we’re not entirely sure what she could do, and even that is hardly an advancing career.

That is not to say that Koreans are only ever interested in issues that directly concern them of course, or that there aren’t parallels in other countries. But there are still yet more factors working against Korean men being interested in gender issues. Most notably the profoundly patriarchal ideology of Neo-Confucianism that is all-pervasive here,² buttressed by the the socialization experience undergone during their mandatory military service.

(Source: unknown)

Admittedly these are generalizations, and to an extent they become self-fulfilling: as I’ve gotten older, I find it more and more difficult to find the effort to befriend Korean men, so different do I expect our work-family priorities and opinions on gender issues to be. This inhibits me from raising such issues in free-talking sessions with advanced students also, although in that case it’s more because I respect that their purpose in attending my classes is not for me to lecture to or argue with them.

But surely there must be some feminist Korean men out there? If you are one, or know of one, then by all means let me know! But unfortunately the differences are real, and a good illustration of the difficulties in finding common ground on gender and sexuality issues are our opinions on — you guessed it — teenage girl groups like Girls’ Generation (소녀시대) and the Wondergirls (원더걸스).

Why the focus on them specifically? It’s a reasonable question, as they’re not the first young girls groups in Korea. What distinguishes them though, is that they are the first groups explicitly created to appeal to men 20 years their senior, and as such they are very much at the forefront of the increasing sexualization of young girls in the Korean media in recent years, setting the tone for the wave of 15, 16 and 17 year-olds following them.

Where I and most 30 and 40-something Korean men — ajosshis — differ on them is that I don’t buy into the collective narrative that we all like these girl groups because we have a brotherly, paternal, or avuncular affection for their members. Instead, while I can’t imagine having any kind of sexual or romantic relationship with them in reality, I’d be lying if I said I didn’t want to bang them whenever I see them on stage…and so would those ajosshis. Try to get one to admit that though, even one you know well and in a bar just with other men like themselves, and you’ll soon realize that not for nothing do I use the term “panic” in the title of this post.

(Source)

I also use “interface,” because acknowledging things like why 15 year-old f(x) band member Sulli’s (최설리) shorts are so high above, for instance, or why she is pulling her dress up in the other pictures in that photoshoot, are very literally where commercialized teenage sexuality and conservative Korean social mores meet. And I seriously doubt that pressing issues of teenage prostitution and abysmal sex education can even begin to be rectified while the collective Korean establishment — read: ajosshis — can’t admit to something so blatantly obvious.

But this is on old, tired theme for regular readers, and not what this post is about. Rather, I’m belatedly concerned with the question of why it is the case.

One possible reason is Occidentalism, for as blogger Michael Hurt argues, this platonic rationalization:

…parallels the notion in idea that in Korea, people are all good, clean Confucians who don’t do dirty things (but just save it for the love motels and leave that “skeleton bone” there – hehe, yes, I meant for a double entendre to be read there!), while Americans apparently hump everybody, according to everybody not American.

And recall that Occidentalism doesn’t actually need a physical Occidental in the room in order to be operating: indeed, it’s better that there isn’t, for greater distance gives greater leeway to imagine an “other” with which to advance a domestic agenda. And that proves to be the crucial point here, for as the following translation of a Korean music columnist’s thoughts reveals, all of this is by no means merely a face-saving device employed to obscure unsavory aspects of Korean society from inquisitive foreigners.

I warn you: the translation is rather long, a little melodramatic in places (less so in the original Korean, my wife assures me), and doesn’t actually offer an answer as to why. But still, I’m glad to have made a start by removing the “wild card” of the foreign observer from the equation:

(Zhang Wei, 2006?)

“‘섹 시한소녀시대 좋아하는 죄 인가요?” (or 대한민국평균아저씨소길동 고백)

Is it a Sin to Like Girls’ Generation Because They’re Sexy? (or The Confession of an Average Korean Man)

Kim Bong-hyeon, 4th February 2010

이제 고등학교에 입학하는 조카가 있다. 조카는 ‘소녀시대’의 팬이다. 당연히 이번 달 단독 콘서트 예매도 이미 끝냈다. 조카는 특히 서현을 좋아한다. 한정판 소녀시대 카드 중에서 다른 멤버들 것은 줘도 서현의 것은 끝내 안 준다. 소신이 뚜렷한 녀석이다. 크게 될 놈이다.

내가 글쟁이인 것을 아는 조카는 며칠 전 이번 새 앨범 음악이 어떠냐고 물어왔다. 해줄 말 중에는 좋은 것도, 나쁜 것도 있었다. 어차피 나쁜 말하면 귀담아 듣지 않을 테니 대충 좋은 말만 하고 넘어갔다. 실은 내가 오히려 묻고 싶은 게 하나 있었다. 하지만 묻지 않았다. 이것이었다.

“네가 진짜로 소녀시대를 좋아하는 이유가 뭐야?”

At the moment, I have a nephew entering high school. He’s a fan of Girls’ Generation. Of course, he has already reserved a ticket for their concert this month. His favorite member is Seo-hyeon, and while he will happily exchange picture cards of other members with his classmates and friends, he won’t trade any of her. Clearly he is a man of his own ideas, and is destined for great things!

Knowing that I was a writer, my nephew asked what I thought of their new album. It has good and bad points, but guessing that he wouldn’t have listened to the latter, I just talked about the good things. But actually there was something I wanted to ask him (although I didn’t), which was:

What is the real reason that you like Girls’ Generation?

(Source)

이걸 묻고 싶었던 이유는 간단하다. 나 자신에게 물어봤는데, 나에게서 나온 대답이 정답인 것 같아서 다른 남자(!)에게도 확인해보고 싶었기 때문이다. 한마디로, 나는 소녀시대가 ‘섹시’해서 좋다. 물론 기본적으로 귀여운 매력이 크긴 한데 섹시한 매력도 나에게는 그 정도 크기는 된다.

이게 무슨 뚱딴지같은 소리냐고? 노파심에 말하자면 나는 변태도 아니고 과대망상증 환자도 아니다. 그리고 이제는 자신 있게 말할 수 있다. 소녀시대는 분명히 섹시하다. 정확히 말하자면, ‘섹시하지 않은 척 하면서 섹시’하다.

내가 소녀시대에게서 섹시함을 느낀 건 ‘Gee’ 이후였던 것 같다. 그전까지 소녀시대는 나에게 그저 귀여운 여동생에 불과했다. 그러나 소녀시대가 Gee로 컴백해 딱 달라붙는 배꼽티와 스키니진을 입고나오자 ‘소녀’는 ‘그녀’가 되었다. ‘소원을 말해봐’는 ‘Gee’의 심화판이었다. 핫팬츠와 하이힐, 제복을 입고 그녀들이 내게 ‘소원을 말해보라고’ 외쳤다. 신곡 ‘Oh!’는 한술 더 떠 치어리더 콘셉트다. 더 무슨 말이 필요하나.

The reason I wanted to ask this was simple. I knew why I liked them – and all men like them – but I wanted to confirm that he would give the same answer: that it’s because they’re sexy. Of course, they do also have a cute charm about them, but they’re at least as sexy.

What foolish talk is this you ask? But no, asking this does not mean I am a pervert, nor that I’m a mental patient having excessive sexual fantasies about Girls’ Generation. Rather let me say this: of course, Girls’ Generation are sexy. Or to be more accurate, they are sexy while pretending not to be.

It was with their song Gee that Girls’ Generation really started appearing sexy to me; before that, they were merely like little sisters. But then they started wearing tight, clinging croptops and jeans, and the girls had changed to women. This was even more so with their song Tell Me Your Wish, combining hotpants, high-heels, and uniforms while crying “tell me your wish…”. And with their new song Oh!, they continue that theme with a cheerleader concept. What more is there to say? (Source, below).

여기서 중요한 건 섹시 그 자체가 아니다. 소녀시대보다 섹시한 가수들은 얼마든지 있다. 포인트는 소녀들이 ‘더없이 순수한 눈망울’을 하고선 남성의 성적 판타지를 자극하려는 의도가 분명한 옷과 액세서리, 그리고 노랫말과 춤동작을 선보인다는 점이다. 나는 고민에 빠진다. 그 순수한 눈망울들이 나를 죄책감의 구렁텅이로 몰아넣는다. 내가 저 천사 같은 아이들을 두고 대체 무슨 상상을 한 걸까. 나는 변태인가. 난 누군가 또 여긴 어딘가.

분명히 맞는 것 같은데 증명할 방법이 없다. 섹시함을 주 무기로 삼으면서 겉으로는 그렇지 않은 척한다. 그런데 더 가관(?)인 건 그렇지 않은 척하니까 대놓고 그러는 것보다 더 섹시하다는 거다. 낮에는 현모양처, 밤에는 요부를 바라는 어쩔 수 없는 남성의 본능이다. 가히 최악의 상황이다.

이런 상황에서 ‘기획사 너희들! 일단 남성의 성적 판타지를 정확히 자극한 것에는 10점 만점에 10점을 주겠어. 대단히 유효한 전략이었지. 하지만 어린 여자애들 데리고 더 이상 교묘하게 섹스를 팔지 마! 이제 더 이상 당하지 않아!’, 이렇게 외친다면 (비록 속은 다를지라도) ‘아니, 어떻게 이렇게 귀여운 여동생을 보고 그런 천박한 생각을…’, 하며 경멸어린 시선으로 변태 취급당할 가능성이 다분하다.

The important point here is not how sexy they are: there are many female singers sexier than Girls’ Generation (James: I think he means more “sexual” than sexy). Rather, that despite their innocent expressions, Girls’ Generation’s clothes, accessories and lyrics are all designed to provoke men into having sexual fantasies about them. But this leaves me feeling a little perturbed and guilty: how can I think like that when I see those angelic faces? Am I a pervert? Who am I…where am I?

This is all true, but it is impossible to prove. While deliberately being sexy, Girls’ Generation pretend that they aren’t. Which proves to be even sexier than it they just admitted it, for every man’s instinct is to have a woman who is a wise mother and good, virtuous wife by day, but a shameless hussy at night.

This is a very bad situation.

About this, I say “To the people that work at the company! First, I give you 10 out of 10 points for knowing what stimulates men’s sexual fantasies so well. But please stop using these young girls to sell sex so skillfully! I won’t put up with it anymore!”. And I do so even though many people may scorn me and label me as a pervert, asking how I can think such things of such cute, innocent girls.

과연 나만 이런 생각을 하는 걸까? 나만 섹시함을 섹시함이라 말하지 못하는 ‘소길동’의 덫에 걸린 걸까? 아니라고 본다. 모르긴 몰라도 적지 않은 대한민국 성인 남성이 나와 비슷한 고민을 하지 않으려나?

여기서 두 가지 고민이 발생한다. 그리고 그 전에 하나 전제되어야할 것이 있다. 바로 ‘소녀시대의 기획사는 어린 소녀들을 통해 남성의 성적 판타지를 자극해 교묘히 섹스를 판매한다’는 합의다. 물론 이 같은 판단에 소녀시대의 팬이나 어린 학생들, 그리고 여성들은 동의하지 않을 수도 있다.

이유는 여러 가지다. 우선 소녀시대의 팬들에게 이 같은 지적은 소녀들에 대한 모욕일 수 있고, 어린 학생들이나 여성들의 경우에는 진심으로 이러한 부분을 체감하지 못했을 수 있다. 그러나 이것은 엄연히 현존하는 사실이다. 양해를 구한다. 그렇게 사실로 인정하고 넘어가도록 하자.

Well, am I the only person that thinks like that?Am I the only guy to have fallen into the trap of not recognizing sexiness when I see it? I don’t think so. In fact I think that all Korean adults suffer the same.

Based on the premise that Girls’ Generation’s company is skillfully encouraging men to have sexual fantasies about the group and basically selling sex then all this raises two problematic issues to worry about. But I don’t expect many fans, young students and women to agree with me, for many reasons: first, because to Girls’ Generations’ fans, this sort of opinion is considered insulting to the group; and in the case of young students and women, they can’t really understand these physical feelings of men. But while I seek their forgiveness, the facts remain. Let’s continue on that premise (source, left).

첫 번째 고민은, ‘욕망하는 것은 과연 나쁜가’이다. 더 정확히 말하면 ‘의도된 자극에 예상된 욕망으로 반응하는 것은 나쁜가’가 되겠다. 말이야 바른 말이지 은근슬쩍 성적 판타지를 자극해 오는데 모른 척하며 억지로 속으로 눌러야 하나? 오히려 그게 솔직하지 못하고 자신을 속이는 것 아닌가? 남에게 피해를 주지 않는 솔직함은 미덕이라고 배우지 않았나. 굳이 말을 하자면 자극받는 쪽보다 자극하는 쪽이 나쁘지 않느냐는 말이다. 하아, 나는 왜 불필요한 죄책감에 사로잡혀 있었을까. 문제는 개인이 아니라 구조이고 시스템인 것을.

두 번째 고민은, ‘어린 소녀들을 통해 섹스를 파는 행위는 과연 나쁜가’이다(‘미성년자’라는 법적 개념으로도 판단할 수 있겠지만 여기서 논하려는 건 그러한 차원은 아니다). 어떻게 보면 누이 좋고 매부 좋은 거래가 아닌가. 기획사는 돈을 벌고, 소녀들은 스타가 되고, 대중은 욕망을 충족한다. 소녀들이 특별히 공공질서를 저해하는 음란 행위를 하는 것도 아니고, 대중이 소녀들에게 위해를 가하거나 범죄를 저지르는 것도 아니다. 상부상조하는 좋은 거래다.

The first thing to worry about is the question of if desire is a bad thing. Or to be more precise, is getting sexually stimulated bad when that is the deliberate and expected reaction? Does the fact that it is done indirectly and stealthily mean that we have to pretend that we don’t feel aroused? Isn’t that being dishonest and deceiving yourself? We all know that as long as it doesn’t cause harm to others, honesty is a virtue. And surely it is worse to so insidiously arouse men than to feel aroused. Why on Earth was I feeling guilty about this? This is not a problem with myself, but more a systematic thing.

The second worry is that the act of using young girls to sell sex is bad (I don’t want to discuss the legality of using minors for this though). But if you look at it in a different way, it is can actually be a good thing. The company makes money, the girls become stars, and men’s sexual desire is satisfied. Nor are the girls committing indecent acts, or the public harming ordinary girls in any way or commit crimes against them. So in a sense, everybody helps each other.

그러나 이렇게 간단하게 정리하고 넘어갈 문제가 아니라는 게 바로 문제다. 기본적으로 나는 욕망하는 주체다. 그리고 욕망하는 나 자체는 건강하다. 그러나 내 욕망을 충족시켜주는 것들이 모두 옳은 건 아니다. 다시 말해 나는 내 욕망의 정곡을 찔러주는 소녀시대의 무대를 보면서 기획사의 의도대로 욕망을 느낀다.

하지만 그 반대편엔 욕망의 크기만큼이나 커다란 이성 역시 자리 잡고 있다. 나는 소녀시대가 내 성적 판타지를 충족시켜준다는 점을 인정하면서도 동시에 그들 기획사의 전략이 야기할 부정적인 단면들을 고민한다. 즉 나는 끊임없이 욕망하면서 동시에 그 욕망을 충족시켜주는 것의 올바름에 대해 끊임없이 의심한다.

그렇게 의심해본 결과, ‘섹시하지 않은 척 하면서 섹시한’ 소녀시대는 몇 가지 문제점을 내포하고 있다. 먼저, 이것은 기획사의 입장에서는 분명 대단히 효과적인 돈벌이 전략이지만 사회적으로는 성의 이중성을 더욱 공고히 할 뿐이다. 성적 판타지를 자극하도록 설계된 소녀들에게서 당연하게(?) 예정된 욕망을 느끼더라도 남성들은 그것을 제대로 표출할 수 없다. 욕망 표출의 해방감 대신 그들에게 부여되는 것은 일종의 죄책감이다. 욕망은 점점 안으로 파고 들어가고 겉과 속은 달라진다. 그렇게 섹시한 것을 섹시하다고 말하지 못하는 소길동이 되어간다.

Unfortunately, the problem isn’t as simple and easily resolved as that. Basically, because I have sexual desire. And that is healthy and good, not a sin. But not everything that arouses me is correct and proper (James: should be acted on?), and one of those is watching Girls’ Generation dancing on a stage.

On the other hand, while I do have sexual desire, I have just as much logic and rationality to me. So although I admit to at the fact that Girls’ Generation arouses me, at the same time I worry that I am just being manipulated by their company. Or in other words, while I am unceasingly aroused by them at the same time I think seriously about if both that and what the company is doing is correct and appropriate.

As a result, I realize there are many problems to Girls’ Generation being sexy while pretending not to. First, while it is undoubtedly a very effective strategy for the company to make money, to society it reaffirms that there is a public and private face to put on sex. For while the group is designed to stimulate men’s sexual fantasies, they can not admit to this. Rather than expressions of sexual liberation, they must instead have guilt about how differently they feel inside and what they must actually say. This is why you have men like me saying that sexiness is something else entirely.

(Source: unknown)

또 하나. 다름 아닌 소녀들 걱정이다. 윤아 걱정, 유리 걱정, 무엇보다 우리 조카를 위해 서현 걱정이다. 어쩌면 이게 제일 중요한 문제일지도 모른다. 나는 소녀시대의 무대를 볼 때마다 매번 이런 생각이 든다. 쟤네들은 자기가 어떻게 소비되는지 과연 알고 있을까? 남성들의 시선과 속마음에 대해서는 얼마나 알까? 만약 알고 있다면 그게 쟤네들이 원하는 걸까? 혹시 기획사의 의도와 속내가 충돌해 괴롭지는 않을까?

이게 무슨 오지랖이냐고 웃을지도 모르겠다. 하지만 ‘소녀들도 이제 엄연한 법적 성인이니까 자기 일은 자기가 알아서 하겠지’라고 안일하게 생각하기에는 아직도 소녀들은 많이 어릴뿐더러 소녀들 개개인의 힘에 비해 시스템의 권력이 너무 크고 거대하다. 또한 ‘자본주의 사회에서 소녀시대 역시 하나의 상품이며 상품이 된 것 역시 소녀들의 선택’이라고 치부하기에는 머릿속에서 ‘인간의 존엄성’이라는 단어가 자꾸만 아른거린다.

서현. 가장 순수할 것 같고 실제로도 가장 어린 서현. 지금, 상처받지 않고 있을까? 그리고 앞으로도 상처받지 않을 수 있을까?

글을 마무리하면서 문득 지금의 내 메신저 대화명을 떠올렸다. ‘소시 앨범 득템! 화보 쩐다.’ 화보가 쩌는 건 사실이지만 아무래도 당장 다른 대화명으로 바꾸어야겠다. 갑자기 이 저열한 욕망의 바다에 물 한 방울 보태기도 싫어졌으니까.

(Source)

One more thing: I worry about the girls of Girls’ Generation themselves. I worry about Yuna, about Yuri, and most of all about my nephew’s favorite Seo-hyeon. This may be the most important issue of all, and whenever I see them on stage I think it: do they know how they are being consumed? Do they know how they are viewed and felt by men? If they do know, is that what they really want? By any chance, do they suffer from their own wishes and their company’s clashing?

People will ask why I worry about them. After all, they are legal adults. Despite that however, the system they operate in is far more powerful. And against the argument that they are in the music industry – just the product of a capitalist society – and that it’s their choice, I still frequently pause to think if it’s not an affront to human dignity.

Seo-hyeon: she looks the most innocent, and in reality she is the youngest too. To her I say are you getting hurt at all now? Or is there any way you can avoid it in the future?

As I was writing this article, I added some words next to my name in my messenger program: “I’ve bought Girls’ Generation new album! Their pictures are fantastic!”. While that is true though, I have to change it. I suddenly really don’t want to add one drop to this ocean of base, vulgar sexual desire. (end)

(Source)

As always, apologies for any errors with the translation (there’s bound to be with something of this length), and I’d really appreciate it if you could let me know if you spot any. And what do you make of Kim Byeong-hyeon’s “confession”?

Or, hell, my own? Not that I think that mine is any great surprise to long term readers of course(!), and I don’t mean to imply that I’m embarrassed at only having Korean female friends now. Indeed, most of my Western male friends here also had equal numbers of male and female Korean friends in their first few years here, only to lose the former for much the same reasons I mentioned earlier; or at least, those that like myself came in their early to mid-20s,and have stayed for 5-10 years since. And they’re by no means gender studies geeks either, although I confess that we do still talk mostly about women when we meet! ;)

What is your own experience? How are things similar or different for Western women here also?

Notes:

1) Rereading this in November 2013, nearly 4 years later, I cringe at the numerous generalizations I make based on only my own personal experience; I would be much more careful to avoid those and/or acknowledge my biases were I to write on the same subject today. On the other hand, unfortunately it’s also true that my personal experience remains largely the same.

2) I also try to avoid the “C word” these days. Although this is hardly the most egregious example, Confucianism is very overused as a catch-all, explain anything and everything device in English-language writing about Korea.

Korean Sociological Image #32: Censorship and Indirect Advertising

(Source: unknown)

Ever find yourself wondering at the logic behind some of the blurring and mosaicing on Korean television?

No, I’m not talking about that recent scene from Chuno involving a fully-clothed Lee Da-hae (이다해) I’m afraid. Rather, the proclivity with which Korean broadcasters will disguise the logos of products visible in television programs. Indeed, it’s so taken for granted here that frankly I’ve had trouble finding examples (without simply watching television and waiting for something to pop up that is).

The reason is to prevent indirect advertising, known as ganjeob gwango (간집 광고) in Korean and PPL (Product Placement, or Embedded Marketing) in the industry. But it is usually ineffective, the blurring in the following segment from the talk-show Giboon Joeunnal (기분좋은날) for instance, or A Day That Feels Good, providing little impediment to this Korean blogger in identifying the brand-name and model of the baby monitor and recommending it to her readers (update: see here for a video that provides a collage of much better examples):

Instead of cases like those though, the majority of articles on the subject discuss deliberate, unedited PPL instead, such as this case with the Bon Bibimbap food chain in the drama City Hall (시티홀), this case with actor Jang Hyuk (장혁) and various Canon cameras in an unidentified drama and film below, and especially a recent episode of the comedy show Paemilli-ga Ddottda (패밀리가 떴다), or Family Outing, in which some Nepa (네파) outdoor clothes were used (see here, here, and here).

Family Outing Nepa(Source)

At the end of that last link, the laws regarding PPL are mentioned, the gist of which is that it should not: influence the content or story of the program; be the focus of viewers’ attentions; be mentioned by anyone in the program; and finally, that the program should not persuade you to buy the product in any way. While all sound reasonable however, they are also very open to interpretation, and Korean broadcasters frequently receive warnings or fines from the Korean Broadcasting Communications Committee for falling afoul of them.

Adding even further confusion to the mix, since 2006 PPL of specifically Korean products has been increasingly encouraged as a means to capitalize on the success of the Korean Wave abroad, one recent example being Kia Motor’s deal to provide cars and other paraphernalia for the hugely popular drama IRIS.

Given that context, then broadcasters’ decisions to ban singer J.ae’s (제이) new album from the airwaves simply because of the lyrics of some songs seems particularly hypocritical:

J.ae’s New Album Rejected by TV Stations

Returning to the music business after three long years must not be as easy as she thought. J.ae’s new special album, “Sentimental,” was ruled unfit for broadcasting by KBS and SBS. MBC is currently reviewing the song to announce the result next week. Broadcasting review panels at the leading national networks said that the lyrics of the title song “No.5” contained direct references to commercial brand names, like Chanel and McDonalds. Network stations are concerned that naming certain brands could cause debates over indirect advertising.

“No. 5” was written by Lee Ji-rin of the indie band Humming Urban Stereo, who was inspired to write a song after seeing an ad about Chanel No.5 perfume on a bus. The song may have succeeded in grabbing the interest of listeners with its unique lyrics, but could not escape from the criticism of indirect advertisement. Jae’s agency said that it’s most unfortunate that her year’s work failed to meet the industry standards, but it will apply for another review after changing some parts of the lyrics. J.ae’s latest album will be out on the market on February 10th. (Source: KBS Global, via Omona They Didn’t)

One wonders what they made of Aqua’s Barbie Girl back in 1997?

J.ae Sentimental .For those of you further interested in J.ae herself, you can read two interviews of her (conducted before the banning) here, and listen to one of the problematic songs No. 5 here (source right: unknown).

Meanwhile, unfortunately this is by no means the first time that artists’ songs have been banned in Korea simply because their lyrics could be construed as PPL, a case involving Epik High (에픽하이) back in April showing that even indirect mention of the artists’ own website can be considered problematic. Moreover, against the argument that both cases are merely inane but innocuous, they do add to the essential arbitrariness of censorship in Korea, English song lyrics acceptable on 1950s American television banned because they could sound vaguely sexual to non native speakers for instance (see #2 here), and accordingly it doesn’t take a great leap of imagination to imagine a time when censors will ultimately use PPL as a convenient excuse to ban a disagreeable but otherwise completely legal cultural product.

Or perhaps they already have? If you know of any previous cases of banning based on PPL, then please pass them on, whether the PPL was used as a ruse or otherwise!

(For more posts in the Korean Sociological Images series, see here)

The Kafkaesque Korean Beauty Trends of 2009

(Source: Unknown)

Confused about all the new buzzwords used to describe Koreans’ bodies these days? Here’s my translation of an article that gives a quick guide.

The author implies that most of them arose organically from the public’s interest in certain actors in Korean dramas. Whereas in reality, it’s companies and the media that are overwhelmingly responsible, as they’re in a constant quest to create new consumer trends (read: new reasons for people to feel dissatisfied with themselves). Yet while most of these have no basis in reality, are essentially useless, and/or are so contrived as to be quickly forgotten or ignored, some do stick.

Of those that do though, if they have some English in them then it often makes them more interesting from a sociological standpoint. For whether by accident, mistranslation or design, they both reflect the way the term is already usually misused in Korean and further influence they way in which related English-language popular culture gets filtered into its Korean counterpart.

A good example from this article would be chongsoon-glaemor (청순글래머), or “innocent glamor,” which at first glance doesn’t seem all that strange: in her television commercials for instance, the ice-skater Kim Yuna (김연아) below manages to project an innocent image while having a seemingly glamorous lifestyle (I wonder if she’ll find the former stifling as she grows older however, like actress Moon Geun-young?). But it emerges that “sexy” would be a much better translation of the English word “glamor(ous),” and although I’m sure readers are well aware of the number of ways  in which women are presented as pure and innocent but somehow also lustful in Western popular culture, and effectively are in Korean, there are still problems with assuming that that is what the term means, as the word “sexy” isn’t construed quite the same way here. Instead, we seem to be left with an obscure term for Korean women that look more virginal than normal(?), but yet still do the mechanical “sexy dances” virtually required of them on Korean talk shows.

Anybody with more familiarity with the term and/or the actress Shin Se-kyung that supposedly spawned it, please feel free to correct me on my interpretation: after all, this is the first time I’ve looked at its origins, and just based on one article at that (Update — with thanks to Seamus Walsh for pointing it out, I did indeed make a mistake: “glamor” actually means “busty” in Korean). But with the proviso that the next means I may be cherry-picking the facts to suit my own views, it does still seem very consistent with the Korean media’s overall trend towards discouraging or outright banning of assertive displays of women’s sexuality, i.e. genuinely sexy behavior.

꿀벅지·미중년·꽃남…2009년 연예계 뷰티 트렌드는? 2009-12-31 by 두정아

올해 연예계 트렌드를 이끈 핫 키워드는 무엇일까. 꽃남과 미중년, 꿀벅지, 베이비페이스, 청순글래머 등 어느 해보다 개성있고 다양한 트렌드가 공존했던 한 해였다.

드라마 ‘꽃보다 남자’로 ‘꽃남’이라는 단어가 사람들 입에 오르내렸고, ‘내조의 여왕’의 윤상현은 ‘미중년’이라는 찬사를 받으며 남성들의 뷰티 열풍을 이끌었으며 그룹 에프터스쿨 멤버 유이의 매끈한 허벅지를 일컫는 ‘꿀벅지’와 배우 신세경의 ‘청순글래머’ 등은 여심을 자극하며 바디 열풍을 일으켰다. 여전한 ‘V라인’ 강세 속에 동안(童顔) 열풍 또한 이어져 ‘베이비페이스’라는 단어가 자주 회자됐다.

What were the hot keywords that led trends in the world of entertainment in 2009?

With kkotnam (flower man) and mijoongnam (beautiful middle-aged man), ggoolbokji (honey thighs), babyface and chongsoon-glaemor (innocent glamor) emerging, there were many very distinct trends compared to most years.

From the drama Boys Over Flowers the term “flower man” was on everyone’s lips; from Queen of Housewives the actor Yoon Sang-hyu received a lot of praise for his looks, spawning the word “beautiful middle-aged man” and a strong following among men wanting to emulate him; and women were similarly interested in the After School member UEE’s smooth and velvety thighs known as “honey thighs” and actress Shin Se-kyung’s “innocent glamor.” Finally, in addition to the eternal “V-line,” a strong interest in youthful faces has been shown by the new word “babyface” that is often talked about.

(Source: Unknown)

‘꽃남’·’미중년’, 남성 뷰티(美) 열풍

KBS 드라마 ‘꽃보다 남자’ 신드롬에 힘입어, MBC 드라마 ‘내조의 여왕’ 태봉이 (윤상현 분)가 일으킨 ‘미중년’ 열풍까지 남성들의 뷰티 열풍이 어느 해보다 뜨거웠다. 이를 계기로 남자도 외모 관리를 해야 한다는 인식이 공유되기도 했다.

거친 남성다움보다는 부드럽고 세련된 귀족적인 이미지를 선호하는 분위기로 바뀌며 성형외과나 피부과를 적극적으로 찾는 남성들도 크게 증가했다.

경제 성장을 이루던 90년대에 사회생활을 시작한 현재 30대 후반부터 40대 초반의 중년들은 전통적인 부모 세대와 달리 중년이 돼서도 문화와 여가를 즐기고 자신을 가꾸는 노력에 적극적이기 때문이라는 해석이다.

Combined, the flower man syndrome caused by the KBS Drama Boys Over Flowers and the beautiful middle-aged man craze caused by the character Tae Bong-ee in Queen of Housewives have led to men taking a great interest in their bodies. This is how the notion that men, like women, also have to take care of their bodies and appearance has become accepted wisdom.

In turn, as the preferred image of Korean masculinity has become softer and more polished, refined and noble, cosmetic surgery and skincare clinics are reporting a great upsurge in interest from men.

One additional reason for this is that even though men that grew up and entered the workforce in the 1990s are now in their late-30s and early-40s, they are very different to their parents’ generation, and choose to enjoy culture and their free time more, which includes taking a greater interest in themselves.

‘꿀벅지’ ‘소시지룩’ ‘청순글래머’ 바디 열풍 선도

올 한해 주목할 트렌드는 바디 열풍이다. 소녀시대의 지(GEE) 열풍과 함께 유행한 일명 ‘소·시·지(Gee)룩’. 몸매가 고스란히 드러나는 초절정 스키니진에 타이트한 티셔츠를 입은 여성들이 패션을 주도하면서 여성들의 S라인 욕구는 상승했다.

뒤이어 그룹 애프터스쿨 유이의 건강미 넘치는 탄탄한 허벅지가 주목을 받으면서 꿀이 발린 듯한 매력적인 허벅지라는 뜻의 ‘꿀벅지’라는 신조어까지 탄생했다.

또한 요즘 주가를 올리고 있는 단어는 ‘청순글래머’. MBC 시트콤 ‘지붕 뚫고 하이킥’ 출연하고 있는 신세경은 청순한 매력과 섹시한 관능미를 동시에 지니고 있어 ‘청순 글래머’의 대명사로 불린다. ‘포스트 김혜수’로 주목받으며 휴대전화, 화장품 광고 모델 자리를 꿰차는 등 그 인기를 입증하고 있다.

이에 대해 그랜드성형외과 유상욱 원장은 “과거 여자 톱스타들의 상징이 ‘화장품 모델’이었다면 2009년은 이효리, 신민아, 송혜교, 손담비 등 청바지 모델로 그 중심이 바뀌었다”며 “이 같은 변화는 요즘 대중들의 관심이 바디로 옮겨지고 있다는 증거”라고 설명했다.

2009 was a real year of body trends. First, there was the very popular so called “sausage look” of Girls’ Generation. Hiding nothing, the ensuing fashion of wearing extremely skinny jeans and tight t-shirts among women has sparked an intense interest by women in their S-lines.

(Update — “Sausage look” may be a mistake, as the “소시”, or “soshi”, in “소시지(Gee)룩” is also the Korean shorthand for Girls’ Generation, and the “지”, or “gee”, the name of one of their most iconic songs. So the term may mean “sausage look”, or it may mean, literally, “how Girls’ Generation looked in the Gee music video”, in which they happened to wear skinny jeans. Either way, it’s a good pun!)

Next, as a lot of interest in After School member UEE’s firm, smooth and very healthy-looking thighs emerged, the new word “honey thighs” was coined to describe thighs like them.

Another word that’s stock is rising is “Innocent Glamor.” This comes from the actress Shin Se-kyung that appeared in the MBC sitcom High Kick Through The Roof, described as the icon for women who combine a pure and innocent image with sex appeal. Considered a second Kim Hye-su also, because of her popularity she regularly appears in cellphone and cosmetics commercials.

According to “Grand Cosmetic Surgery Clinic” owner Yu Sang-ok, “in the past the symbol of top female stars was the cosmetic model, but in 2009 women like Lee Hyori, Shin Min-ah, Song Hye-gyo and Son Dam-bi have been mostly modeling jeans instead,” and “this is proof that the focus of people’s attention has moved to star’s bodies now.”

(Source: Naver)

‘V라인’ 강세, ‘베이비페이스’가 위협

올해도 ‘V라인’ 강세는 여전했다. 뭐니뭐니해도 ‘동안’, ‘V라인’, ‘작은 얼굴’은 사람들이 가장 선호하는 이미지이기 때문이다. 갸름하고 부드러운 V라인은 첫인상부터 편안하고 친근한 장점도 있다.

MBC 드라마 ‘선덕여왕’ 미실 역의 고현정은 소름끼치는 연기와 더불어 나이를 가늠할 수 없는 ‘베이비페이스’로 주목을 받았다. 투명한 피부는 물론, 볼륨감이 그대로 살아있는 생기있는 얼굴은 아기 피부 같다는 찬사를 받았다.

‘베이비페이스’는 ‘어려보이면서 입체적인 얼굴’을 말한다. 그 특징은 얼굴 옆이 아닌 앞쪽으로 볼륨감이 살아있는 얼굴로 콧등의 높이와 균형을 이루는 부드러운 곡선 모양의 탐스러운 이마 그리고 갸름하고 조금은 짧은 듯한 턱 선이 생명이다. 이러한 ‘베이비 페이스’의 열풍은 2010년에도 지속될 것으로 전망된다.

Last year, the emphasis on the V-line remained unchanged. After all, the preferred image is to have a dongan “youthful face [for one’s age],” V-line, or jakkun-olgool “small face.” And if you have a long, slender face with a V-line, people’s first impression of you will be softer and friendlier.

Hence the interest in the “Babyface” of actress Ko Hyeon-jeong, who played the character Lady Mishil in the MBC drama Queen Seon Duk, and whose acting was so good that she gave viewers goose pimples. With clear skin and glowing, firm cheeks, she has received a lot of praise for having a face as good as a baby’s.

But a babyface has been described as a “solid, 3D face.” In particular, it’s not just the volume of the cheeks on the side but also the balance with the bridge of the nose, the softness of the curves and the desirability of the forehead that make it look youthful. They look set to remain popular in 2010. (end)

(Source: Naver)

Like I said in an earlier post, I was embarrassed at not realizing how sexist the term honey thighs was when I first heard the term, but I doubt I would have if they’d been described like that instead. And continuing with the theme of  sexual discrimination, I was surprised not to see “chocolate abs” for men also; unlike the commercial that spawned it, perhaps the term itself is more 2010 vintage?

Regardless, please let me know if you can think of any others, and especially if you have alternative explanations for where any of the above ones came from!

Oh? Oh…!

( Source )

Call me old-fashioned, but although music videos can have a huge effect on my enjoyment of songs, I still try to judge them on their own merits.

By that criteria, all of Girls’ Generation’s hits have fallen flat for me, no matter how photogenic the girls are. But then I found a remix of their latest hit Oh! by the Greek trance DJ “Areia”, and I immediately fell in love with it.

Like he says on his blog, he put a lot of work into it. And it shows.

True, it’s actually the only one of his K-pop remixes that I like, that of Abracadabra (아브라카다브라) by the Brown Eyed Girls being particularly disappointing. But I’ve only listened to a handful so far, and his abilities are definitely improving over time. To any other Korea-based trance fans out there, frequently lamenting at how something so popular in Japan could be so completely absent from the cultural radar here, I’m sure you’ll be just as happy as I was to have found him!

For the lyrics (and a translation) to the song, see Yeeun2Grace here, and if you’re interested and haven’t seen it already, then this video (via Extra! Korea) makes a pretty compelling case that the song has been plagiarized from U.S./Barbadian singer Rihanna’s Shut Up and Drive. If you’re disappointed in my not providing my usual critical analysis on this occasion though, then I apologize(!), and by all means read precisely that at Appears.

But if you’d still like to watch the original video, albeit now with the trance remix, then I do understand:

Click on the video itself to be taken to Ariea’s YouTube page, which has a playlist of his other K-pop remixes.

Update: There’s been a lot of speculation in the comments as to why the video’s concept is of cheerleaders hoping to get the attention of American footballers, simply bizarre considering that the sport has virtually no following here. So I posed the question to my two classes earlier today, and the combination of their explanations proves to be quite compelling.

First, my morning class mentioned the success of the movie Bring it On in 2000, particularly the song Hey Mickey from the soundtrack, and this struck a chord with me because men who would have been in their late-teens and early-twenties back then were precisely the demographic that SM Entertainment created Girls’ Generation for (indeed, Girls’ Generation has performed the song many times). While that may just be coincidence though, they also said that high school footballers dating cheerleaders have been a staple of American movies and dramas they’ve watched ever since, and they were at a loss for an equivalent in Korean pop culture.

My afternoon class disagreed that Bring It On was popular however, and this is borne out by the box office figures for that year. Instead, they pointed out that all Korean cheerleaders are adults, and so although the youngest members of the group are in fact turning 20 this year, to have presented them as Korean cheerleaders pining after Korean baseball or basketball players would have clashed with their image of being precocious teenagers. Recall that the song itself is about unrequited love for an older male too, which the exaggerated youth of the women singing it would help to emphasize.

In short, cheerleaders for high school American footballers were the only possibility because there are no teenage cheerleaders in Korea.

But my two classes’ explanations are not mutually exclusive of course, nor with some of the alternative explanations posted in the comments section here either. While I would like to corroborate them though, unfortunately analysis like that is severely lacking on the Korean internet, so that might have to wait until I investigate next month’s music magazines.

Meanwhile, I’m quite convinced personally, but what do you think? Please let me know, and perhaps I can get a dialogue going with my students!

Update 2: Despite 1 billion won (US$860,000) being spent on Girls’ Generations stage costumes last year, apparently there was little money available for making some props for this music video, so some store-bought ones with the Iowa Hawkeyes logo were used instead. You can just imagine the reaction of Hawkeyes fans

Share

Korean Sociological Image #30: Exploiting Koreans’ Body Insecurities

Like everywhere else, Korea has a long tradition of celebrities endorsing government campaigns.

Unlike everywhere else, a “huge proportion of Korean ads depend on famous people,” says Bruce Haines, head of Korea’s largest ad agency Cheil Worldwide, a tendency which in its crudest form degenerates Korean advertising into merely “beautiful people holding a bottle.” In turn, that leads to a scramble for and subsequent overexposure of whichever Korean stars are most popular at that moment, regardless of their inappropriateness for the product(s).

Government campaigns are no different, to my mind the most notorious case still being the National Election Commission’s (중앙선거관리위원회) choice of The Wondergirls (원더걸스) to encourage people to vote in local elections in April 2008. Needless to say, I can’t think of anyone more inappropriate than teenagers (two of whom were only 15), and their choice of outfits simply beggars belief:

Vodpod videos no longer available.

But again, no different to what they wore in commercials at the time. Which is precisely my point: regardless of their merits, major trends in advertising are bound to be reflected in government campaigns sooner or later.

And as long term readers of this blog will be well aware, one trend is encouraging consumers to associate certain foods and drinks with certain desired body shapes. While it is hardly unique to Korea, it is done to excess here.

Is it any wonder then, that with the decline of the domestic rice industy, and concerns food security as a whole, that the government would do the same when promoting the consumption of domestic foods and drinks?

Last year for instance, I gave the example of how the Korean rice wine Makgeolli (막걸리) was being marketed to women on the basis that it is supposedly good for one’s skin. Now, I’ve found two more examples by the Ministry for Food, Agriculture, Forestry and Fisheries (농림수산식품부; MIFAFF), using the new group 4Minute (포미닛) and the Olympic medalist Park Tae-hwan (박태환) respectively:

Vodpod videos no longer available.

Vodpod videos no longer available.

To be clear, I am not saying that either are inappropriate choices. Actually I think they’re rather good: both are very popular, and it turns out that 4minutes’ egg song is a variation of their recent hit “Hot issue” too. I also fully concede that the connections between consumption of the product and obtaining an attractive body are fleeting (4minute) or merely implied (Park Tae-hwan) at best.

But still, they’re there. And given the long-term problems with Korean agriculture as identified above, then I hereby predict that we’re going to be seeing many more public campaigns like these in 2010. In particular, the links made between the products being advertised and obtaining an “S-line” and so on are going to be made more explicit.

Sound like an exaggeration? Well, recall how quickly commercial incentives have transformed decades-old standards for soju advertisements: just three years ago, they overwhelmingly offered virginal images of women, whereas now it’s rather difficult to find ones that don’t present them as eminently sexually available. Moreover, in an effort to appeal more to women, soju companies too are encouraging them to associate new lower-strength brands with maintaining a good body, however implausibly.

But perhaps an even more appropriate example is soy milk. If you’ll bear with me, being allergic to milk means that I follow developments in the soy milk industry here pretty closely, and Starbucks Korea’s belated decision to add soy to its menu in 2005 had a huge impact on my quality of life here! Not unlike the drinks themselves though (anybody know where I can find these flavored ones?) – or, indeed, government campaigns – soy milk commercials tend to be rather bland, so I certainly sat up and took notice when I first saw this one a few days ago:

Vodpod videos no longer available.

Soy milk companies too then, seem to be adopting the tactics of their more popular counterparts now. Lest I appear overly critical though, consider the scene 0:03 from 0:06 where 17 year-old Kim Hyun-ah’s says “[S]라인을 유지하려면 어쩔 수 없어,” or “If you want to maintain your S-line, you have no choice but to [drink] this.” Despite my constant criticisms of that sort of thing, and my earnest desire that my daughters don’t grow up to repeat it, I have to admit that I can’t help but find her expression and tone of voice, well, extremely cute…

Yes, I know: very hypocritical of me, and I await your counsel. But on a final, more serious note, consider Garaetteok Day (가래떡데이), MIFAFF’s scheme since 2006 to get people to eat stick-shaped rice cakes instead of Pepero chocolate sticks on November 11 each year. Promoted mostly as a romantic event for couples, as are most imported and/or artificially created holidays (Christmas Day, for instance, is the date the most condoms are sold in Korea), is it really too much of a jump to imagine that concerns about one’s appearances will be added to that too? Watch this space!

Update: An alternative way of exploiting Koreans’ associations with November 11 (source):

(For all posts in the Korean Sociological Images series, see here)

Share

Open Thread #3

I may be wrong in assuming that public service announcements in Western countries still don’t feature stylized breasts and vaginas(?),  but regardless I love Korea’s no-nonsense attitudes to the body and bodily functions, in this case at least easily trumping any qualms that the Ministry for Health, Welfare and Family Affairs (보건복지가족부) may have had about featuring them in its campaign for people to get regularly checked for cancer.

What I really love though, is that it has been turned into the song and dance below:

Vodpod videos no longer available.

Easily to laugh at perhaps, but are more serious but otherwise rather dull campaigns in Western countries really more effective?

Meanwhile, apologies to all those readers who were looking forward to my promised restarting of the Korean Gender Reader series in the new year,  but after much soul-searching this week – prompted by my catching a cold after writing the last two posts until the small hours – I’ve been forced to admit that I still don’t have the time. I may have next month if some anticipated changes are made to my job, but until then, please feel free to pass on and discuss any Korean gender, media and sexuality-related stories yourselves here!

Update – Seeing as we’re talking about Korean oddities, consider the following advertisement for a cosmetic surgery clinic here in Busan:

From page 18 of the 4th of January Busan edition of Focus newspaper – the entertainment section no less. And don’t get me wrong: with the proviso that Noblesse has a vested interest in fostering insecurities about one’s body image, I’d image that female-like breasts are no laughing matter for the high-school boys with the misfortune of having them.

It is also common for Korean cosmetic surgery clinics to use comics in their advertisements, one that readily comes to mind consisting of a group of people gaping in either awe, lust, or jealousy at a woman who has just received breast implants. You may have seen it on the Seoul subway:

Thanks to reader Marilyn for passing on the photo. And again it is unsophisticated perhaps, but regardless of one’s opinion of cosmetic surgery in general, it was probably effective: it got both Marilyn’s and my own attentions at least!

Granted that the Noblesse advertisement remains just plain bizarre though, albeit a little less so when you realize that the woman featured was either the school nurse or a visiting government health inspector, not simply a new teacher.

Finally, while we’re on the subject of cartoons, here’s one I couldn’t help smiling at a couple of days later (from Focus newspaper again):

In case you don’t get it, the young man is living with his older sister but has to find his own place. At first, he thinks the place the real estate agent shows him is too old for the rent being asked, but he changes his mind when he sees the view from his window. In the final panel, the real estate agent crumbles about how difficult his job is these days…

More problematic in Japan than in Korea perhaps, where I hear that voyeurism is so taken for granted that women can expect their underwear to be stolen if it is hung from the first or even the second floor, or is that just an exaggeration? Alternatively, is it a problem in Korea too?

Share