Pin-up Grrrl #2: Ga-in, Bloom, and why we’ll still be talking about both 30 years from now

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Ga-in shared, “Our previous MVs had received R-ratings and we didn’t understand the reason why. So for my recent MV, I decided to give them one.”

And to help, she watched adult videos from many different countries, finding “that the porn from third world countries fit the most with [her] personal tastes.” Accordingly, Bloom (피어나) has many bed scenes, and—yes really—features her masturbating on her kitchen floor.

In contrast, Miss A‘s (미쓰에이) I Don’t Need a Man (남자 없이 잘 살아) speaks for itself, and the video is so family-friendly that my daughters (demand to) dance to it several times a day.* So to many, it might seem like a much more appropriate, softly-softly feminist anthem for “sexually conservative” Korea. Not least, by those who think the pornification of the media has already gone far enough, and/or that imitating porn stars isn’t something that should be celebrated.

To the latter, I would suggest that they actually take a look at the music video. Because while it is certainly erotic, it is by no means mere sexual titillation masquerading as art, nor is it provided exclusively for the male gaze. On the contrary, as Dana D’Amelio explains in a must-read at Seoulbeats (see this follow-up also):

Essentially, what Ga-in does is take female sexual desire, wrest it from the men who have manipulated it to their own device, and put it back in female hands. Ga-in’s sexuality is something that women can get behind, and that’s something you can’t much say for the rest of K-pop; that she herself is portrayed as taking pleasure as much as she is giving it is unique, fresh, and deeply relatable to female viewers.

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Dana and fellow Seoulbeats writer Mark both compare Bloom to Kim Hyuna’s (김현아) Ice Cream (아이스크림), which is just as sexually-explicit as Bloom, but wasn’t banned by the Ministry of Gender Equality and Family. Arguably, precisely because it did conform to the male gaze and pervasive double-standards of K-pop.

In light of those, the sooner songs like Bloom rock the K-pop boat, the better. And for that reason, I’m going to wager that Bloom will have much more longevity than not just (frankly) vacuous songs like Ice Cream, but also, as explained below, those ostensibly empowering ones like I Don’t Need a Man that actually seem to be about nothing but men. Yet which, unfortunately, now seem to be the dominant from in pop music worldwide:

Lucy O’Brien, author of She-Bop: The Definitive History of Women in Rock, Pop and Soul, thinks the continuing importance of image and presentation is to blame. The key thing that ossified gender roles, she suggests, was MTV, which changed popular culture, leaving feminist punk bands such as the Slits and the Raincoats behind. “Image became the big thing, and angry women who didn’t care about it didn’t really fit that picture,” O’Brien says. There was a brief window of opportunity for women who didn’t fit the MTV template in the early 1990s, she suggests, a time when bestselling artists such as Sinead O’Connor ripped up pictures of the Pope on TV, and Tori Amos sang about her experiences of rape (though, equally, O’Connor’s greatest success came with her most MTV-friendly moment, Nothing Compares 2 U). But then came the Spice Girls, appropriating the vocabulary of riot grrrl, and proclaiming “Girl Power”, but within the conventional model of the pop group manufactured by men for young girls. “Everything became sophisticated and sanitised after that, and the industry has never got over it,” O’Brien says.

(The Guardian, March 25 2010; my emphasis. See Mark’s post “Manufactured Girl Power: Female Empowerment in a Male-Powered Industry” for more on K-pop specifically)

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Which brings me to today’s translation, found via Lost in Traffic Lights. Here’s her summary of it (emphasis in original):

…the main difference is…while Bloom talks about how a woman views herself, free from social constructs and how people view her. However, while Miss A’s “I don’t need a man” looks like it’s gunning for female empowerment, at the end it’s still feeding into a discourse that men made for a “good girl” or a “sensible woman” in Korea.

I see this a lot actually. On the internet, there’s always a guy-or a male figure-who argues that “all women do is buy luxury bags and leech off men blah blah blah” and the women are like “but we don’t. A lot of us don’t. I am special because I’m not like those other girls. I don’t buy luxury bags, I pay for my own stuff” and so on. But at the end of the day though, isn’t that gunning for another gold star from the men who criticize us?

For much more on that theme, see Nabeela’s review of the song (and especially the comments), and — for starters! — here, here, here, here, here, here, and here for more information about the “beanpaste girl” (된장녀/dwenjang nyeo) and “ladygate” discourses being referred to.

As for the translation, frankly I and my long-suffering wife found it exhausting, and there were many parts we found difficult, so we apologize in advance for any mistakes. Also, there’s much to query in both the author’s generalizations and his details, starting with the confusion in the first part as to whether he’s talking about the music video (far above) or a stage performance (e.g. below, on SBS a few days before the article was published), and indeed although he mentions a part where she supposedly pretends to look into a mirror, I can’t find that in either video. But these don’t detract from the author’s main points, and I hope you’ll all agree that comparing Bloom with I Don’t Need a Man is very valuable and worthwhile.

가인이 피워낸 100%짜리 여자의 욕망 / 100% Women’s Desire Blooms With Ga-in

Naver News, October 17 2012; 강명석 칼럼 / Column by Gang Myeong-seog (two@10asia.co.kr; Twitter).

붉은빛 스웨터를 입는다. 다리에는 가터벨트를 착용한다. 혀 끝으로 입술을 핥는다. 가슴을 내민다. 의자에 앉은 채 허리를 뒤로 젖힌다. 손이 온 몸을 훑는다. 가인의 신곡 ‘피어나’의 무대는 남성들에게 온갖 야한 상상을 불러일으킨다. 그러나, 정작 무대 위의 남성 댄서들은 무표정하다. 그들은 로봇처럼 동작을 소화할 뿐 가인의 춤에 반응하지 않는다. 가인은 그들과 한 번도 정면으로 눈을 맞추지 않는다.

She wears a red sweater. On her legs she has a garter belt. She licks her lips with the tip of her tongue. She sticks her breasts out. She arches her back while sitting in a chair. She touches her whole body with her hands.

Ga-in’s new song “Bloom” provokes all sorts of bawdy male fantasies. But those men actually on the stage with her are expressionless, behaving like robots that don’t even notice her dance. She, in turn, never looks any of them in the eye.

대신 가인의 시선은 무대 정면을 향한다. 정면을 바라본 채, 가인은 다양한 포즈들을 취한다. ‘피어나’의 안무는 동작과 동작을 하나의 흐름으로 연결하지 않는다. 대신 섹시한 느낌을 주는 각각의 포즈들을 취할 수 있도록 구성됐다. 댄서들이 사라지고, 가인 혼자 정면을 바라보며 여러 포즈를 취하는 무대 후반의 구성은 가인의 시선이 누굴 향한 것인지 짐작케 한다. 남자들이 사라져도, 가인은 자신의 섹시함을 표현하는 것을 멈추지 않는다. 마치 거울 앞에 선 자신을 보는 것처럼.

Rather, Ga-in looks directly at us, while adopting various poses. In “Bloom,” the choreography isn’t seamless. Instead, each scene is defined by and constructed around a different pose, each providing a very sexy, sensual feeling.

Later in the performance, in which Ga-on looks ahead while continuing to do various poses, making people wonder who she is actually looking at. Then, the dancers disappear again, but Ga-in doesn’t stop expressing her sexiness. She continues as if she’s looking at herself in the mirror.

(Source: Unknown)

Caption: 가인은 남자들의 판타지를 자극하는 방식의 ‘피어나’를 통해 오히려 가장 주체적인 여성상을 그려낸다 / Rather than stimulate male fantasies, Ga-in provides a very independent symbol for women in “Bloom.”

가인, 타인이 아닌 나를 위한 섹시 / Ga-in: The Sexiness is For Me, Not For Others

거의 모든 여성 가수에게 섹시한 댄스는 타인의 시선을 끌기 위한 장치다. 걸그룹이 곡에서 악센트를 줘야할 부분마다 다리를 벌리는 춤을 추곤 하는 것이 그 예다. 섹시함이 콘셉트 그 자체라 해도 좋을 ‘피어나’도 당연히 시선을 끈다. 그러나, ‘피어나’는 특정 동작을 강조하며 시선을 끄는 포인트 춤이 없다. 대신 모델이 계속 포즈를 취하는 듯한 동작들이 이어진다.

Almost all female use a sex dance as a means to attract people’s attention. For example, girl-groups will often emphasize spreading their legs apart in their dance routines. Naturally, “Bloom” could also be seen in this vein. However, “Bloom” doesn’t have ‘point dances’ which are only used for the specific purpose of getting people’s attention; instead, the poses adopted are more similar to the ones real models use.

가인의 소속사 로엔엔터테인먼트 관계자에 따르면 ‘피어나’의 안무에도 원래 포인트 춤이 포함돼 있었지만, 그 포인트를 빼고 지금처럼 다양한 포즈 중심의 안무를 요구한 사람이 바로 가인이었다. 그 결과 ‘피어나’의 안무는 타인에게 어필하는 것이기도 하지만, 그 이전에 여성이 섹시한 표정과 포즈를 마음껏 해보는 구성이 됐다. 또한 ‘피어나’의 뮤직비디오는 황수아 감독이, 가사는 작사가 김이나가 맡았다. 두 여성은 그들의 시선에서 섹시함을 표현한다. 뮤직비디오에 가인의 베드신이 등장하지만, 가인과 관계를 갖는 남자의 얼굴도 제대로 안 나온다. 대신 카메라는 희열을 느끼는 가인의 표정을 잡는다. <김이나의 가사로 표현한다면, 남자는 ‘내가 선택한’ 존재고, 그가 사랑스러운 것은 나를 ‘high’하고 ‘fly’하도록 만들었기 때문이다. 남자가 어떤 매력을 가졌는지는 묘사하지 않는다. 중요한 것은 남성이든 섹시함이든 여성 자신의 욕망이 선택한 결과라는 점이다.

According to a representative of Loen Entertainment, originally the choreography did have point dances, but these were removed and replaced at Ga-in’s insistence. As a result, the choreography appeals not just to other people [men?], but has as many sexual poses and expressions as it could have too [James – That sentence sounds strange in Korean also]. Also, the director of the music video, Hwang Su-ah, and lyricist, Kim Ee-na [both women], express sexiness from their own perspectives. In the music there is Ga-in’s bed scene, but we can’t really see the face of the guy she’s with [James – The screenshot below would be the closest you get]. Instead the camera focuses on her expression of joy and ecstasy. According to Kim Ee-na’s lyrics, “This is the guy I chose,” and the reason is because he makes Ga-in “fly high.” Crucially, why she finds the man attractive is not described; rather, the important thing is that it’s her sexual desire that is paramount here.

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전체적인 윤곽은 남성의 판타지를 충족시키지만, 그 디테일은 섹시함이 ‘(타인의)시선 따윈 알게 뭐니’라고 노래하는 여성의 욕망을 드러낸다. 이 절묘한 공존은 이 곡의 구성원들의 독특한 조합 때문일 것이다. 안무, 가사, 뮤직비디오는 여성이 주축이지만, 프로듀싱과 작곡은 각각 남성인 프로듀서 조영철과 작곡가 이민수가 맡았다. 이들 중 가인을 제외한 네 명의 남녀는 아이유와 브라운 아이드 걸스를 제작한 바 있다. 아이유는 귀여운 여성에 대한 남성 판타지의 극단이었고, 브라운 아이드 걸스는 섹시함에 터프함을 가미한 강한 여자들이었다.

While the whole character of this song fulfills men’s fantasies, contained in the details is a depiction of sexiness and women’s desire that poses the question, “Who cares about the gaze of others?”. This exquisite coexistence is the result of the unique combination of the people involved in its production: the choreographer and lyricist are women, but the producer, Jo Yeong-cheol, and the composer, Lee Min-su, are men [James – What happened to the director Hwang Sun-ah?]. Moreover, in addition to Ga-in’s songs, these men and women have produced songs for the IU and the Brown Eyed Girls. IU projects a cute image that is an extreme men’s fantasy [James – Actually, this cute image is exaggerated and/or very outdated], while the Brown Eyed Girls’ image is a mixture of tough and strong women.

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가인은 이 네 남녀의 정확한 한가운데다. 남성들에게 확실히 어필할 수 있는 섹시한 콘셉트는 남성 스태프가 짠 틀일 것이다. 그러나 여성 스태프는 그들의 시선으로 섹시함을 표현했다. 여성도 성관계에서 오는 육체적, 정신적 쾌감에 대한 욕망이 있고, 그 욕망을 드러내자 가인은 가련한 소녀도, 남성의 시각적 만족만을 위한 쇼걸도 아닌 무대를 지배하는 주인공이 된다. ‘피어나’는 주체적인 여성에 대한 시각을 무엇을 보여주느냐가 아니라 어떻게 보여주느냐로, 바깥의 시선에서 내면의 욕망의 문제로 옮긴다.

Ga-in is positioned firmly in the center of these 4 men and women. Her sex appeal, which definitely appeals to men, would have come from the male staff; the women’s perspective on sexiness, from the female staff. Women too, find sexual relationships physically and mentally pleasurable, and here Ga-in owns the stage with that desire, rather than being turned into a miserable girl or a showgirl for the male gaze for it.

“Bloom” moves the question of what are independent women from not what they show, but how they show it. Or in other words, from outside appearances to inner perspectives.

미스에이, 타인이 만들어놓은 좋은 여자의 기준 / Miss A Conform to the Standards of Good Women Defined by Others

그래서, 미스에이의 ‘남자 없이 잘 살아’가 ‘피어나’와 완벽한 대비를 이루는 것은 흥미롭다. 박진영이 작사한 ‘남자 없이 잘 살아’의 여성은 ‘내 돈으로 방세 다 내’고, ‘내 차 내 옷 내가 벌어서 산’다. ‘남자 믿고 놀다 남자 떠나면 어떡할’거냐는 걱정을 하기 때문이다. 가사만 보면 ‘남자 없이 잘 살아’는 주체적이고 독립적인 여성을 칭송하는 것처럼 보인다. 그러나 남에게 폐 끼치지 않는 인생은 남자 역시 필요하다.

So, “Bloom” and “I Don’t Need a Man” provide a perfect, very interesting contrast. The lyrics to “I Don’t Need a Man”, written by JYP, say “I pay the rent with my own money,” “I bought this car and these clothes with my my own money,” and that “If you trust and fool around with a man and then he leaves, what will you do?”, which is a constant worry of women.

If you only look at the lyrics to the song, they do praise self-reliant and independent women. [Although] men, too, need a way of life that isn’t dependent on others.

(Sources: top, bottom)

Caption: 반면 ‘남자 없이 못 살아’를 발표한 미스에이는 타인의 시선에 의해 결정되는 여성의 단면을 보여준다 / On the other hand, with “I Don’t Need a Man,” released by Miss A, they show a side of women defined by others

그리고, 이런 경제생활이 당당한 여성의 기준은 타인의 시선이다. ‘남자없이 잘 살아’의 뮤직비디오에서 멤버들이 콧수염을 붙여보거나, 이두박근을 강조하는 것은 우연이 아니다. 미스에이가 노래하는 독립적인 여성은 사실상 남성들이 요즘 ‘개념녀’라고 말하는 이상적인 여성이다. ‘피어나’가 남성들에게 어필하는 코드로 여성의 욕망을 말한다면, ‘남자 없이 잘 살아’는 당당한 여성을 어필하면서 ‘된장녀’와는 정반대인 ‘개념녀’라는 남성의 욕망을 말한다.

Also, these financially confident women are conforming to the standards of others. In “I Don’t Need a Man,” it is no accident that the members of Miss A stick on a fake mustache or emphasize their biceps. The independent women that they are singing about are actually the gaenyeomnyeo, or “good girls,” that men say are their perfect women these days.

While “Bloom” appeals to men while also articulating female desire, “I Don’t Need a Man” provides an image of confident women and also the good girl image that males desire, an opposite of the dwenjang-nyeo, or “bean-paste girl” one.

(“miss A I Don’t Need A Man Chibiby,” by jinsuke04)

‘피어나’는 타인의 시선 대신 내면의 욕망을 더 적극적으로 드러내는 여성의 목소리를 반영하고, ‘남자 없이 못 살아’는 남자, 또는 사회가 원하는 좋은 여성의 기준을 더욱 더 강화한다. 출산과 결혼을 선택하지 않는 여성에 대한 논의가 사회적 화두로 떠오르고, 인터넷에서는 남녀가 수많은 문제들로 논쟁을 하는 이 시점에서 두 곡의 등장은 어떤 징후처럼 보인다. 많은 남자들은 명품 백을 사느냐 마느냐에 따라, 결혼할 생각이 있느냐 없느냐에 따라 ‘개념녀’와 그렇지 않은 여성을 가른다.

Rather than emphasizing the male gaze, “Bloom” reflects more the inner desires and voices of women, whereas “I Don’t Need a Man” does more men and/or society’s standards for women. These two songs are a reflection of how many women choosing not to get married and/or have children has become a hot topic of debate in Korean society, and of the discussion, arguments, and problems as many men and women discuss that on the internet. In which many men are dividing women into good girls or beanpaste girls, or who want to get married or not, [simply] according to whether they buy brand-name bags or not.

반면 많은 여성들은 타인에게 폐 끼치지 않는 한 돈을 쓰고 싶은 곳에 욕먹지 않고 쓸 권리와 결혼과 출산을 하지 않을 자유에 대해 말한다. 주체적인 욕망과 타인의 시선이 정한 기준 안에 들어오는 것 사이의 대립. 남녀 모두 주체적인 여자에 대해 말하는 것 같지만, 그 층위는 전혀 다르다. ‘피어나’가 예상치 못했던 카운터펀치인 이유다. 인터넷에서 끝없이 반복되던 남녀의 가장 중요한 논쟁점이 흥미로운 방식으로 수면 위로 떠올랐다. 그것도 모두가 답 없는 논쟁을 할 때, 여성의 욕망을 놀라울 만큼 잘 드러내면서 남성도 즐길 수 있는 판타지의 접점을 만들면서 말이다.

(Source)

But as long as women do not trouble others with their spending choices, then they have a right not to be sworn at and criticized by others, and the freedom not to choose marriage or children. [However], there is a contradiction between the desire for self-reliance and the standards set by the male gaze. Men are women are talking about the same self-reliant women, but the amount of what they say about them are totally different.

This is the reason why “Bloom” has a surprising counter-punch. The most important thing men and women are unceasingly arguing about on the internet [James – What is that?? Sex?] arose in an interesting and amusing way. That is, in an argument which has no answers, this song provides a rare point of contact in which women can enjoy their desires just as much as men have their fantasies fulfilled.

강하거나, 세거나, 독특한 여성 걸그룹들의 노래들이 하나의 흐름을 형성한 지금, ‘피어나’가 대중음악 시장에서 얻는 반응은 지금 이런 목소리에 대한 수요를 알 수 있는 척도가 될 수도 있을 것이다. 그것은 반대로 ‘남자없이 잘 살아’에 대한 반응도 마찬가지일 것이다. 지금 우리는 주류 대중음악, 또는 걸그룹으로 대표되는 아이돌 시장에서 여성을 표현하는 방식이 아주 조금은 달라진 순간을 보고 있다. 그게 결과적으로 누구의 목소리가 더 크게 멤돌지는 알 수 없지만 말이다.

Now, bold, strong, and unique girl-groups are forming a new trend, and how well “Bloom” does commercially will demonstrate how much of a demand there is for this new voice. The same goes for “I Don’t Need a Man.” Now, in popular music, we are seeing the beginning of a new phase in the way women express themselves. Ultimately, whose voice will be loudest? (end)

(Source)

*Truth be told, I let my daughters watch Bloom as well, which isn’t that explicit at all really; they love the song and pastel colors, and at 4 and 6, they’re much too young to understand what’s really going on anyway. And I hope that their happy childhood memories of it spur a renewed interest in it much later, just like mine of She-Bop (1984) did for me!

Update: While I’m at it, see here for 10 more songs about female masturbation.

Update 2, November 2013: With the benefit of a year’s hindsight, Gang Myeong-seog and I were much too harsh in our critique of I Don’t Need a Man, which definitely has its merits. See here to learn more.

Update 3, March 2014: Here’s another article about more recent songs about female masturbation (or that mention it in passing).

Related Post(s):

Lee Hyori: Korean Pin-up Grrrl #1?

Lee Hyori: Korean Pin-up Grrrl #1?

(Source)

Out of all this week’s stories, up tomorrow in the Korean Gender Reader, probably one of the most important — but also the most under-appreciated — is the news that Lee Hyori (이효리) will no longer be doing any commercials for products that conflict with her animal rights, environmental, and/or vegetarian beliefs.

This excludes her from working with so many companies, that her agency had to clarify that she hadn’t given up modelling or endorsements altogether.

Certainly, she’s already well known — and liked — for being so outspoken and sassy, which is very rare for female celebrities here. But this is still a significant step, because it’s difficult to think of any other Korean celebrity explicitly rejecting the endorsement culture upon which their agencies so heavily depend. Let alone someone who was once the country’s biggest sex-symbol.

(Source)

Moreover, while she’s open to charges of hypocrisy, as it’s undoubtedly much easier to take an ethical stance on endorsements after years of making millions from them, she did at least acknowledge this contradiction in a recent interview, and at only 33 could have continued to do them for decades. Also, with “We can’t help but be subjected to the power of the companies when we sign a contract. Hara, please don’t forget my words,” her tweet of advice to Goo Ha-ra (구하라), one of her replacements as a soju model, she indirectly criticized companies’ excessive power over their endorsers — recall Ivy (아이비) being sued for an completely non-existent sex-tape for instance, or Choi Jin-sil (최진실) being sued for going public about being a victim of domestic abuse, and then being sued again after she committed suicide — and/or entertainment agencies’ willingness to enter into such arrangements regardless. And, albeit perhaps unfairly, has put the onus on much younger celebrities to be more discerning with their own choices (or, rather, to challenge their agencies’ choices).

Can anybody think of any other Korean celebrities that have made similar ethical stands and/or critiques of the media and entertainment industries? I admit I don’t have much time to follow Korean celebrity news, and would be happy to learn that Lee Hyori isn’t as exceptional as I thought!

(Update: Also, if anybody come across a Korean source that places Lee Hyori’s decision in that above context, that would also be appreciated. Unfortunately, apparently they’re just as rare!)

Related Posts:

SNL코리아 Does Sexual Harassment Prevention Video

From back in June. Here’s the original US version, from April 2005:

This blog being what it is, my first thought was that many ~~men~~ people really do think that dealing with sexual harassment just requires a simple phone call to HR. So, however funny, ultimately these videos just perpetuate that dismissive stereotype.

But I already made that point last year, about a similar joke in a popular newspaper cartoon, so I don’t really need to repeat it here. Instead, it’s more interesting to compare the 2 versions of the video.

For instance, naturally the Korean version doesn’t begin with:

“…businesses are filled with working women, with corresponding breasts and vaginas. As a man, you want to have sex with ALL of them.”

And the US version, again just as naturally, doesn’t feature a scene in a women’s toilet.

What do you think of them? Any other (cultural) differences you can think of?

The More Risqué, The More Boring (OR, Something You Didn’t Know About the Horse Dance!)

(Source: The Cinehound Forum)

Sorry, but I just can’t help it: I get very excited when I see the words “성 상품화” (sexual objectification) and “걸그룹” (girl-group) together.

That’s because I struggled for years to find critical Korean commentary on either. Whereas now, I’m just inundated with articles to translate, with or without relying on my “성 상품화” Google News Alert. And, if nothing else, this recent column of Jo Woo-yeong’s I’ve translated below is testament to that greatly increased public interest and discussion.

Unfortunately though, frankly it says little that is new either, and provides no evidence for its numerous assertions. But on the plus side, I did learn of popular-music critic Kang Tae-gyu’s twitter and blog through it. What’s more, in the process of figuring out what on Earth Jo Woo-yeong meant when she talks about Gangnam Style in the 6th paragraph, I also learnt what apparently every Korean over 30 already knew: the word “horse” (말/mal) has sexual connotations.

No, I never thought to ask Korean friends their feelings about horses either. And yes, it’s more what the word reminds them of really: the movie Madame Aema (에무 부인; aema buin) to be precise, and/or its numerous sequels. As Andrei Lankov explains in The Korean Times:

In early 1982 Madam Ema, the most explicit of Korean movies ever made, hit the theaters. Not much can be said about its plot which is, for all practical purposes, absent. It was an erotic movie, often bordering on the pornographic….

….To everybody’s surprise, the censors did not ask too many questions. Actually, the only change they demanded was a change in the movie title. The title….was deliberately conceived in a way which hinted at Emmanuelle, the [French] erotic classic which was also a great hit in Korea of the late 1970s….

….Ema was a huge success. In March 1982 the movie was put on at an experimental late night show which attracted a huge crowd. The late night shows were another invention of the military regime which was preparing to lift a decades-old curfew….

….The pioneering Ema had 12 sequels, which were shot until the early 1990s. This makes it the longest series in the history of Korean cinema. It was very successful commercially as well ― the “first” Ema was seen by 310,000 people during the first year, and it became the box office champion of 1982. Some of the copycats were doing almost as well as the original.

(Update: After seven years in Korea, this Emma is a little tired of older Koreans explaining the connotations of her name to her!)

I’m a little confused by the censors’ ultimate title-change though (see the article and/or here for details), and would appreciate it if anybody could clarify. In return, for anyone further interested in sexuality and gender roles in Korean cinema in the period, Yu Gina of Duksung Women’s University mentions that (source, right):

The early 20th century, in the movie, <The Vow Make below the Moon, (1923)> the woman has the role of a good wife that rescues her husband from a gambling addiction. The woman dedicates to her husband, and this women’s character became the origin image of a ‘good wife.’ However, the heroin of <Sweet Dream-Lullaby of Death (1936)> is the opposite of that good wife. She resists her oppressive husband and her desire hits her daughter with a car and poisons herself because of the guilt. The ending contains the message that a woman who refuses to be a ‘good wife’ is going to be punished. This flow is maintained in other movies such as <The Ae-ma Woman and Madame Freedom>. These movies imply that women who pursue their desires are punished and vilified.

I’ve highlighted that last part because of its familiarity: as I explain in depth here, that dominant narrative wouldn’t be challenged until the mid to late-1990s, which proved to be a watershed in Korean cinema history. As might all the radical changes occurring today too, at least in terms of censorship, sexuality, and free speech.

And on that note, here’s the translation. Resolving to be more discerning with my choices in future though (even if this one did result in an interesting tangent), this will be the next one, which sounds very interesting according to Lost in Traffic Lights’ description!

점점 야해지는 걸(girl), 점점 식상해질 걸 / The More Risqué, The More Boring

Jo Woo-yeong, E Daily Star IN, 5 November 2012 (duplicated at Domin.com, 6 November; all images from these 2 sources)

‘란제리룩 의상을 입은 여성이 허벅지에 가터벨트를 착용한 채 봉춤을 춘다.’ 성인용 비디오물에 흔히 등장하는 장면이 아니다. 요즘 섹시 콘셉트를 내세운 일부 걸그룹의 단면을 모아놓으면 이런 모습이라는 얘기다.

Wearing a lingerie-style outfit and a garter belt on the thigh, then pole-dancing, is not a common scene in adult videos. But it has become routine for some girl-groups to do so as part of their “sexy concepts.”

점점 야해지고, 점점 섹시해지고 있다. 속살로 착각을 일으키는 살구색 천이 덧대인 시스루 스타일 의상은 ‘귀여운 꼼수’다. 핫팬츠를 입은 채 다리를 과도하게 벌리는 일명 ‘쩍벌춤’이나 야릇한 상상을 부추기는 교태 섞인 몸짓은 웬만한 걸그룹이 거쳐야 할 필수 코스가 된 지 오래다.

Things are getting sexier and more risqué. Wearing apricot-colored clothing that gives the illusion of skin normally hidden by clothing, faux see-through clothing as it were, is known as a new “cute tactic.” Also, adopting flirty sexual poses that stir up people’s lecherous imaginations, such as dancing with your legs wide open while wearing hot pants (known as the “spread-leg dance”), has long been a requirement of girl-groups.

심지어 남녀간 성 관계 체위를 연상케 하는 커플 댄스도 빼놓을 수 없는 퍼포먼스 아이템이다. 실제 본 무대는 그렇지 않더라도 활동에 앞서 공개하는 뮤직비디오 티저 영상이나 이미지에는 ‘19금’, ‘침대 셀카’, ‘키스’, ‘목욕신’, ‘파격 노출’ 등의 수식어 정도는 붙어줘야 한다.

Worst of all, couple dances with moves that look like sex positions are also performance items. And even if they’re not ultimately done on stage, teaser videos and images beforehand have to have descriptions like “R18,” “photographed in bed,” “kiss,” “bath scene,” “excessive exposure,” and so on attached to them.

애프터스쿨, 카라, 시크릿, 안다미로, 현아, 지나, 걸스데이, NS윤지 등 수많은 여가수가 올 하반기 한 번쯤 선정성 논란에 휘말렸거나 혹은 이를 자처했다. 걸그룹들의 과도한 노출•선정적인 춤에 대한 비판과 이에 맞서 표현의 자유를 부르짖는 목소리는 서로 메아리가 돼 잊을 만하면 돌아온다.

After School, Kara, Secret, Andamiro, Hyuna, G.Na, Girls’ Day, and NS Yoon-G are just some of the female singers and girl-groups that have been embroiled in controversy about their excessive exposure and/or sexual provocation at least once in the second half of this year, or have sought it. But if you criticize either, invariably the rejoinder is that it is merely freedom of expression.

대중은 각박한 현실에서 판타지(Fantasy)적인 이야기와 동경의 대상을 찾기 마련이다. 대중은 일탈하고 싶고, 내가 하지 못하거나 할 수 없는 것들을 해내는 연예인을 보면서 대리만족, 카타르시스를 느끼기 때문이다. 앞서 소녀시대, 씨스타, 나인뮤지스 등은 특정 직업 ‘제복’ 같은 무대 의상으로 일종의 ‘타부(Taboo)’와 로망을 절묘히 배합해 대중의 욕망을 건드리기도 했다.

Wanting to escape from their harsh reality, it is natural that the public yearns for fantasies. So, while watching entertainers doing what they can’t do or won’t do, they gain a vicarious satisfaction and feeling of catharsis. Previously, groups like Girls’ Generation, Sistar, and Nine Muses did this by specializing in a uniform look, provoking the public’s desire with an exquisite combination of taboo [breaking?] and romance.

강태규 대중음악평론가는 “치열한 경쟁 속 대중의 이목을 끌기 위한 방송사나 연예기획사가 결국 대중의 판타지를 쫓고 있다”고 말했다. 스무 살도 안 된 미성년자 연예인을 ‘청순 글래머’, ‘베이글녀’ 등으로 성 상품화 하는 세태가 현실이다. 방송 카메라는 무대 아래서부터 위 방향으로 걸그룹 멤버의 몸을 훑고, 신체 특정 부위를 클로즈업해 촬영한다. 그는 “보다 자극적인 것을 요구하는 사회에서 시청률을 추구하는 방송과 ‘생존의 몸부림’ 치는 연예기획사가 성적 판타지를 쫓는 것은 당연한 수순일지 모른다”고 씁쓸해했다.

Kang Tae-gyu, a popular-music critic said, “In an intense war for the public’s attention, the media and entertainment agencies ultimately provide fantasies.” Yet it’s not just 20-somethings that are sexually-objectified with terms like “Innocent Glamor” and “Bagel Girl,” but even teens. Cameras will go over their bodies from bottom to top while girl-groups are on stage, lingering with close-ups on certain body parts. Kang continued, despairingly, Providing sexual fantasies may be natural with the media and entertainment agencies’ relentless pursuit of higher viewer rates.”

일부 매체 역시 어느덧 가수의 음악을 분석, 무대 전체를 평하기보다 그들의 선정적인 의상•퍼포먼스에 주목한다. 그게 쉽고 편해서다. 수요자(대중)와 공급자(방송•기획사)가 서로에게 원하는 것만을 주고 있는 ‘필요악’인 존재가 되어가고 있다.

But almost before we know it, we have some elements of the media not paying ever paying attention to singers’ music or what’s on stage, but only taking notice of sexually suggestive costumes or performances. This is because it is easy and convenient to do so. Both the public consumers and producers (both in broadcasting and in entertainment agencies) are only giving each other what they want, so in effect this is a necessary evil of the music industry.

역설적으로 코믹한 춤으로 세계적인 인기를 끌고 있는 싸이는 보는 음악뿐 아닌 듣는 즐거움까지 안겼다. 국내 가요계의 큰 수확이다. 하지만 싸이의 ‘말춤’ 역시 그 특유의 유쾌함으로 상쇄됐을 뿐 그 안에 ‘말’이라는 동물이 갖는 묘한 성적 상징성이 담겼다. 사실 ‘섹시한’ 매력은 남녀 누구나 갖고 싶은 본능이라 할 만하다.

Paradoxically though, Psy gained worldwide popularity [not by providing something sexual, but] by providing both a funny dance and listening pleasure, and the Korean music industry in general has benefited greatly from this popularity. Yet while Psy’s comedic “horse dance” is unique, ironically even the word “horse” has sexual connotations. Moreover, man or woman, who doesn’t want to be more sexually attractive?

대중음악 가수에게 순수예술을 바라서도 안 되고 그럴 필요도 없다. 퍼포먼스도 실력이고 잘 생기고 예쁜 외모도 개인이 가진 하나의 능력이다. 문제는 그들이 내세우는 ‘섹시’가 얼마만큼의 당위성과 명분을 갖느냐다. 단순히 눈길을 끌기 위해 속살을 드러내고 몸을 흔드는 것이라면 ‘예술’이 아닌 ‘외설’에 가깝다는 비판을 피하기 어렵다.

We cannot expect singers of popular music to only produce pure art, and not be influenced by commercial imperatives. Also, there is nothing wrong with performing well, and/or being physically attractive. The problem is when sexiness is presented where it is uncalled for, with no justification. Simply showing singers dancing in tight and/or faux nude clothes isn’t art but rather obscenity, and isn’t difficult to criticize.

성시권 대중음악평론가는 “국내 대중의 인식이 많이 변해가고 있으나 마돈나, 레이디 가가 등 유명 팝스타들과 지금 국내 걸그룹들을 비교 대상으로 삼기에는 무리가 있다”고 말했다. 음악과 퍼포먼스, 주객이 바뀐 경우가 많다는 게 그의 주장이다. 그는 “퍼포먼스는 음악에 담긴 메시지를 조금 더 잘 표현하기 위한 수단이어야 하는데 일부 걸그룹이나 여가수의 무대가 과연 그러한지 의문”이라며 “몇몇 그룹이 비슷하게 돌고 도는 섹시 콘셉트는 계속 양산되고 시장서 꾸준히 소모되겠지만, 갈수록 식상함이 더해져 그들 스스로를 가둘 것”이라고 평했다. 그는 “그들은 물론 더 나아가 K팝 발전을 위해 방송•언론•평단과 각 연예 기획사의 각자 역할에 대한 고민이 필요한 시점”이라고 말했다.

Song Shi-kwon, a popular-music critic, said “In Korea, perceptions are changing, but you still can’t really compare them to famous stars like Madonna or Lady Gaga.” But in many cases, girl-groups’ performances are now more important than their music. He continued, “Performance should be a tool to convey the message in the music a little better, but I have to wonder if some girl-groups and female-singers’ stages really do that,” and judged that “by all copying each other in providing a sexy concept, their music and performances will certainly be consumed in the market, but in the process people will becoming bored with it, and so the groups will come to limit each other’s’ development.” Ultimately, “For the further development of K-pop, broadcasters, the media, critics, and entertainment agencies need to seriously think about their own roles in it.”

“The less you wear, the bigger the discount”

(Sources, edited: left, right)

“Want to talk third wave feminism, you could cite Ariel Levy and the idea that women have internalized male oppression. Going to spring break at Fort Lauderdale, getting drunk, and flashing your breasts isn’t an act of personal empowerment. It’s you, so fashioned and programmed by the construct of patriarchal society that you no longer know what’s best for yourself. A damsel too dumb to even know she’s in distress.”

Chuck Palahnuik, Snuff (2008)

Via Genderly Speaking, a typically provocative quote from Palahnuik to ponder. Not least, when you’ve just translated today’s article, about a clothes company offering discounts to customers for wearing mini-skirts and hot-pants.

Cancelled for being too lewd, I think the event should have gone ahead, and not just because I wasn’t all that impressed by Levy’s Female Chauvinist Pigs (2005) either. Rather, it’s mainly because I completely reject the notion of any woman— or man—as a mere unthinking pawn of the patriarchy. Also, heavily promoted by the media, there’s already a huge demand for such revealing clothes, so this event stood out only for being more explicit than most.

While there are legitimate issues of sexual objectification that can be raised in light of that, another problem is that the writer of the article (or the parties involved—it’s unclear) implies that it was the “sexual provocation” or “sexual suggestiveness” (선정성) that was the greatest concern. Whether she was talking about the clothes or the event as a whole though, is a little vague, but if the former then I imagine that many women would take offense at the implication that they should never wear revealing clothes? (Source, right)

Had the event gone ahead as planned though, I do realize that it would have been just as empowering and tasteful as, say, a wet t-shirt competition. (Seriously, I’m wincing at the thought of lecherous cheering and the flash of cameras as customers are revealed to have over 30cm of skin showing above their knees.) Also, even if this did all happen a month before the first Slutwalk in Toronto, and 4 months before Korea’s own, it was still disappointing that the company representative only offered platitudes in defense of the event.

Is it hypocritical of me to intellectually support such an event, but — were they old enough to attend — hope that my own daughters would avoid it like the plague? Or merely honest? Or both?

Sigh. Like Peggy Orenstein explains in the first chapter of Cinderella Ate My Daughter (2011), sons sound so much easier to raise!

“벗는 만큼 세일” 의류업계 ‘막장’ / Just Typical For The Clothing Industry: “The less you wear, the bigger the discount”

코오롱인더스트리 이벤트 ‘성 상품화’ 논란…결국 행사 취소 / Kolon Industries event leads to sexual objectification controversy, is ultimately cancelled

Consumer Times, 9 March 2011, by Choi Min-hye (최미혜), choimh@consumertimes.net

코오롱인더스트리가 최근 치마길이에 따라 옷 값을 깎아주는 행사를 기획한 가운데 선정성 논란이 일자 다급히 취소하는 촌극을 벌여 소비자들의 눈살을 찌푸리게 하고 있다.

While planning an event in which customers would receive discounts depending on how high their mini-skirts were, Kolon Industries abruptly cancelled it in light of the controversy over its sexual provocation and the [anticipated] negative reaction from consumers.

참여자들의 과다 노출과 같은 부작용을 우려하는 목소리와 함께 ‘성상품화’라는 지적도 나와 행사를 예정대로 강행하기는 무리라는 업체 측의 판단이 작용했을 것이라는 분석이다.

As voices of worry were raised about the sexual objectification and such side effects as participants’ sexual objectification, the company judged that to go ahead with the event as planned would be unwise.

(Source)

◆ 할인권 걸고 ‘여성 노출’ 부추겨? / Encouraging Women to Expose Their Bodies via Discount Coupons

코오롱인더스트리는 오는 13일 자사 패션 브랜드 매장인 ‘조이코오롱’에서 길이가 짧은 하의를 입은 고객들에게 제품 할인권을 증정하는 ‘하의실종 종결자를 찾아라’ 이벤트를 진행키로 했다 돌연 취소했다.

Kolon Industries abruptly cancelled an event titled “Who has the shortest?” that was to be held on the 13th at one of their stores, in which customers would have been offered discounts on clothes like hot-pants or mini-skirts if they arrived already wearing really short ones.

연예계를 중심으로 유행처럼 번지고 있는, 하의 길이가 매우 짧은 이른바 ‘하의 실종’ 패션을 제품 할인이벤트에 접목시켰다 여론의 뭇매를 맞은 탓이다.

While the entertainment world has spread this so-called “Disappearing Lower Body” trend of wearing very short clothes, Kolon Industries was roundly criticized by the public for grafting a sales event onto it.

당초 이 업체는 행사에 참여한 고객의 무릎부터 하의까지의 길이를 재 5cm까지는 50%, 10cm까지는 60%, 20cm는 70%, 30cm가 넘으면 90% 할인 쿠폰을 제공하겠다는 계획이었다. 다리 노출을 많이 할수록 옷 값을 더욱 깎아준다는 얘기다.

The intention of the company was to offer customers a 50% discount on clothes if they arrived exposing 5cm of their legs (from their knees), 60% for 10cm, 70% for 20cm, and 90% for 30cm. Or in other words, the more they exposed their legs, the greater the discount.

행사에 참여키로 예정돼 있던 이 회사 의류 브랜드는 ‘헤드’, ‘쿠아’, ‘쿠론’ 등이다. 헤드는 스포츠브랜드지만 쿠아와 쿠론은 각각 여성복, 핸드백 등 액세서리 전문 브랜드다. 행사의 주요 타깃이 여성이라는 분석이 가능하다.

Clothing brands that planned to participate in the event were Head, Qua, Couronne, and so on. While Head is a sports brand, Qua and Couronne sell women’s clothes and handbags and accessories respectively. Women were clearly the target of the event.

일각에서는 국내 대표 의류업체가 할인권을 내세워 여성의 노출을 부추긴다는 곱지 않은 시선이 쏟아져 나왔다.

(Source)

Some people are critical of the famous national company for planning an event that will encourage women to expose themselves.

코오롱인더스트리는 선정성 논란은 ‘기우’에 불과하다며 패션 트랜드를 반영한 행사라는 사실을 강조했다.

[But] Kolon Industries emphasized that to describe this event as sexual provocation is misguided, as it merely reflects current fashion trends.

이 회사 관계자는 “다른 업체에서 (하의실종 종결자 이벤트를) 하면 문제가 될 수 있겠지만 우리는 패션회사”라며 “패션업계에서 핫 이슈인 ‘하의 실종’ 패션을 깜짝 할인행사에 접목시킨 것”이라고 해명했다. 선정성 논란 등 행사의 부정적 효과는 이미 기획단계에서 내부적으로 논의됐다는 부연이다.

A company representative explained “If other [non-clothing] companies had hosted an event like this, it would have been a problem, but we are a fashion company.” Also, that “possible reactions like controversy about sexual provocation were anticipated and already taken into account before deciding to host the event.”

(Sources: left, right)

◆ “패션업계 ‘핫 이슈’ 행사에 접목 시킨 것”…결국 이벤트 취소 / In the end the event was cancelled

이어 이 관계자는 “평소 소비자들이 입고 다니는 반바지나 치마를 입어도 할인권을 받을 수 있다”며 “하의를 최대한 짧게 입고 오라는 취지는 아니다”라고 강조했다.

The representative added “Customers that wore normal-length shorts and skirts would also have been able to receive discounts, so the intention was not to encourage them to wear as short clothes as possible.”

“과열 경쟁 등으로 지나치게 노출이 심한 옷을 입은 참가자가 등장하면 문제가 되지 않겠냐”는 기자의 질문에는 “상황에 따라 대처하겠다”고 두루뭉술하게 답했다. 사진촬영도 막지 않겠다는 입장이어서 현장 단속이 사실상 전무한 것 아니냐는 추측이 나온다.

When asked by a reporter if people wearing too revealing clothing [in order to get a bigger discount] would be a problem, the representative replied “We don’t anticipate that, but will deal with any problems if and when they occur.” [However] it will be too difficult to police the event and prevent people from taking pictures.

이 관계자는 “기본적으로 신분증을 지참한 성인남녀만 참가할 수 있도록 했지만 행사 자체는 모두에게 공개된다”며 “(지나친 노출 등) 누가 봐도 문제가 될 상황이 발생하면 현장에서 해결할 것”이라고 말했다.

The representative also said that “the event will be open to the public, but only adults (we will check IDs) will be allowed to participate,” and again that “we will deal with any problems of excessive exposure if and when they occur.” (source, right)

업체 측의 해명에도 불구하고 ‘선정성 논란’은 수그러들지 않았다. 결국 이 업체는 문제의 행사를 열지 않기로 입장을 선회했다. 소비자들의 반응은 냉담했다.

Despite these explanations, the controversy about the sexual provocation didn’t die down. In the end, the company decided not to hold the event in question. But consumers’ feelings about it are still cool.

한 소비자는 “결국은 짧은 치마를 입고 와야 옷을 싸게 살 수 있다는 것 아니냐”며 “성 상품화에 대한 논란도 많은데 코오롱인더스트리가 꼭 이런 행사를 기획했어야 했는지 모르겠다”고 지적했다.

One consumer complained that “Why would we have to come to the store in high mini-skirts in order to receive the discount,” and wondered “why did Kolon Industries plan such event when sexual objectification is such a controversial issue?”

또 다른 소비자는 “의류업체에서 유행 아이템을 반영한 행사는 개최할 수 있다”면서도 “다만 행사 내용이 지나치게 선정적으로 비춰지면 소비자들이 거부감을 느끼지 않겠냐”고 말했다.

Another consumer said “A company can certainly hold an event that reflects current fashion trends,” but “if it is too sexually provocative, won’t people reject that?”

한편 코오롱그룹 모기업인 코오롱인더스트리는 ‘캠브리지멤버스’, ‘헤드’ 등의 브랜드로 유명한 패션 전문기업이다.

The Kolon Group, the parent company of Kolon Industries, is well known for fashion brands like Cambridge Members and Head (end).

Update — Via this blog, a video promoting the event:

Related Posts:

Sex and Gender Stereotypes in Korean Advertising

Thanks to the students at Dongseo and Pusan National University for being such great audiences last week, and here is the presentation as promised. Sorry that the animations don’t work in the online version, but there weren’t too many.

For regular readers, unfortunately the slides may make little sense in themselves, but I’m happy to elaborate on any of them if you’re interested. The purpose of the first few, for instance, is not so much to illustrate the numerous subliminal sexual messages found in advertisements (although I certainly could spend an hour talking about those!), but more to make the point that nothing in an advertisement is accidental, and that it’s very naive to think otherwise. In turn, the picture of all the Korean churches is to provide a parallel to Normal Lewis’s point here, which is that if, say, my mother comes to Korea and notices all the neon crosses around, does that somehow make her a fundamentalist Christian? Or simply that there’s a lot of churches here? Likewise with noticing sexual themes in ads, no matter how perverted some people think that is.

Much better than me explaining here though, is for me to give a presentation at your own university or institution instead. Just give me a buzz — I’m pretty cheap!

Korean (Movie) Censors in Retreat?

(Sources, edited: left, right)

With so much attention on restrictive censorship in K-pop these days, it’s easy to overlook how much standards in movies have actually been relaxed in recent years. See my latest column in Busan Haps for more information, especially if you’ve never heard of Shortbus before…

But please let me reiterate here though, that the freedom to show more sex and nudity in popular culture is just one aspect of becoming a more sexually liberal society. For sure, it’s a step in the right direction, and can have positive knock-on effects, just like the first kiss in a Korean ad in 2009 lifted the taboo on PDA for a lot of young couples for instance. (Yes, only anecdotal; but prove me wrong). But on the other hand, with the (re)criminalization of abortion by the Lee Myung-bak administration, recent attempts to limit access to the contraceptive pill, and the continued stigmatization of single mothers, you could reasonably argue that Korea is really just as sexually conservative as ever. No matter how much T&A you can see on the silver screen now, and which is often (usually?) just for financial reasons anyway.

In short, it’s complicated. Anyone that’s been here more than a couple of years, what impressions do you get? And how do you think things will change after the elections?

From the Archives: Bagel Girls, Banking, and Babies!

(Source)

…[the character of] Chi-Yong’s mother sees marriage as a way to achieve social advancement and material prosperity, as it was in the Victorian era. These ambitions have come to the forefront in Korea since the 1970s, due to rapid economic development and consequent aspirations to class mobility and consolidation during the last thirty years. This novel [Marriage/결혼 by Kim Su-hyeon, 1993] is a good illustration of how, given the pace of change of change in Korea, everybody has a different point of view on marriage, depending on their gender, class, and generation. The issue of communication across generations has become a serious matter. Generation is an important attribute of identity in Korea, like race in the United States. (My emphases.)

(So-hee Lee, “The Concept of Female Sexuality in Popular Culture” in Under Construction: The gendering of modernity, class, and consumption in the Republic of Korea, ed. by Laurel Kendell, 2002; page 146 of 141-164)

With apologies to So-hee Lee for variously attributing that quote to either her editor, to Hyun-Mee Kim, or to Nancy Abelmann over the years, it still very much applies 10 years later. It’s also why studying and living in Korean society can be so exciting sometimes.

For someone who’s been writing about the place for over 5 years though, it means that many of my posts need updating. Let alone mercifully deleted as reader feedback, further research, and greater use of Korean sources have exposed gaping holes in my knowledge and confident preconceptions. And from a practical standpoint too, links will die, embedded videos will get deleted, and my theme will always highlight recent posts at the expense of older ones, no matter how good they may be after going through my culling process.

With all that in mind, once a month I’ll be highlighting posts from the corresponding month in previous years. Not all of them of course (hey, I’ll still like some material to work with in September 2013 and 2014), and to some there’s no new news to add; I include them just to draw attention to for new and old readers, especially as they’ve since been slightly edited for this post with the benefit of several year’s of hindsight. Others though, I’m adding a great deal of new news and commentary below, as you’ll see.

Please let me know what you think!

2011

Bust Magazine on “Bagel Girls” (베이글녀)

Alas, not really my own article, but about Grace Duggan’s for Bust Magazine. While I’d often criticized the body-labeling craze in South Korea previously, I didn’t realize just how offensive this particular term was until she pointed it out (source, right):

Sexualizing young women for having childlike features sets off all kinds of alarms, regardless of whether or not they are over 18. The “bagel girl” label does more than infantilize women. It compartmentalizes them by applying two irreconcilable ideals: looking like a baby and a full-grown woman at the same time.

Granted, that may make it sound no more harmful than any other “line.” But, as I explain in a later comment, in the context of how it’s actually used it ends up sounding almost pedophilic:

…there’s nothing wrong with looking young per se.

But consider who the label is applied to: not, say, women in their 30s and 40s and older, for whom – let’s be real – wanting to look younger than they are is understandable (hell, for a 35 year-old guy like me too), but rather it’s women barely on the threshold of adulthood that are being praised for looking like children. And, not to put too fine a point on it, what the FUCK is great about a 21 year-old looking younger than she is? And when her body is simultaneously praised for being developed? That is a seriously flawed ideal to aspire to, and, moreover – as I hint at in the post – it’s no coincidence that it occurs in an environment with strong expectations of childish behavior from women too. Indeed, the end result strongly reminds me of child and teenage female manga characters, with personalities appropriate for their age, but somehow the sex drives and physiological development to act on them of women 10-15 years older.

(Source)

Meanwhile, by coincidence just yesterday I finished the excellent An Intimate Affair: Women, Lingerie, and Sexuality by Jill Fields (2007), which explains how the word “glamour” — where the “gul/글” in Bagel Girl comes from — came to be closely associated with large breasts by Hollywood in the 1930s to 1950s. Something I’d previously chalked up to a Japanese and then Korean mistranslation of the word, see the above pages for more on that, or all of Chapter 3 on brassieres at Google Books here.

Syndrome (신드롬) by ChoColat (쇼콜라): Lyrics, Translation, and Explanation / Reading The Lolita Effect in Korea, Part 5

If I do say so myself, I’m very proud of the way I describe my feelings when child singers do aegyo:

…cutesy aegyo is bad enough coming from a 21 year-old singer, but simply surreal when you see it done by a 14 year-old.

Yes, surreal, not merely awkward and inexperienced: essentially, you’re watching a child pretending to be an adult pretending to be a child.

Thank you very much.

Getting an Abortion in Korea

Thanks again to the (necessarily anonymous) reader who wrote about her experiences, and I’ve had dozens of inquires about the Seoul clinic she used since. Please just email me if you ever need to know the details yourself.

(Source)

2010

Women’s Typical Poses in Advertisements: A Pain in the Neck?

Once someone points out the “head cant” to you, it just can’t be unseen. Usually inoffensive in itself though, and frequently done simply for photographic and stylistic reasons (which I’ve under-acknowledged in the past), it’s the fact that it’s overwhelmingly women it that makes it problematic. Just one of a number of typical poses for women in ads, ultimately it serves to reinforce gender stereotypes.

Probably, that’s why these recent Giordano ads stood out to me: in the example above for instance, Shin Min-a (신민아) is the one in control, staring at the viewer, while So Ji-sub (소지섭) is distracted (it’s usually the guys that are presented as more focused). And, desperately seeking examples of pro-feminist advertisements for a TED presentation I may be giving next month, in which I have to — grrr — conclude with a positive message rather than just criticize, this made me realize that feminists and advertisers don’t necessarily have to be at odds with each other. Just a sense of balance by the latter would be a huge step forward.

“Want to Sleep With a Foreign Girlfriend?”

Really about “lewd” advertisements, 2 years later (this June) I translated another article about how their numbers had surged 3 times over the previous 12 months. With no apparent sense of irony, just about every news site that reported on that had so many examples themselves that the text was difficult to read.

Groping in Korea: Just How Bad Is It?

One of my most popular posts, anybody (especially men) who thinks street harassment isn’t a problem should just reflect on the opening cartoon, let alone female readers’ comments about their own negative experiences.

(Source: unknown)

2009

Korean Sociological Image #19: Gee, Gee, Gee…Using Girls’ Generation to Study Gender Roles in Korean Advertising

A short, harmless commercial for Shinhan Bank at first glance. But, once you take the time to analyze it, it has a clear message that men do the thinking at Shinhan while the women simply look good. Indeed, it’s such a classic example of gender stereotyping that I’m still using it in presentations today.

Here’s the slide I would present after providing that analysis:

But in the next presentation, I’ll be updating it with the recent news that the banking industry still has the largest gender pay gap in Korea, with women making an average of only 57% of what men make.

No Skin Required: Healthy Images of Couples in the Korean Media

Not that I’m against skin by any means. But these remain very sweet ads!

Korean Sociological Image #18: Sexualizing Caucasian Women

Again one of my most popular posts, ironically soon after writing it trends in the Korean entertainment and music industries meant that Koreans would replace Caucasians in many of the modelling roles that sustained those Occidentalist stereotypes. Also, in my own (admittedly limited) experience, there’s far fewer Korean male – Western (invariably Caucasian) female pairings in popular culture now, after a spate of them in the years after Misuda first appeared. (There were never very many of the opposite.)

However, of course many of the stereotypes still do remain.

(Sources: left, right)

2008

Pregnancy, Caesareans and Body Image in Korea

When I read on Yahoo! Korea this week about pregnant Hollywood star’s “D-lines”, for a moment I did try to hold my tongue about seeing the label.

After all, this, for example, is just an advertisement for an event for expecting mothers (albeit one where likely body-shaping products are promoted); these D-line fashion shows were surely perfectly harmless; many of those Hollywood stars were indeed glowing, as was pregnant Moon So-ri (문소리) in Cosmopolitan last year; and finally, yes, I can see the humorous side — it is often applied to extremely obese men.

But although the Western media too promotes pampered celebrity mothers-to-be as ideals to follow, and I can certainly accept that pregnant women overseas may likewise feel under some indirect pressure to watch their weight, that post is about how pregnant Korean women were dieting as early as the late-1990s. One can only shudder at what things are probably like now.

Suddenly, talk of D-lines sounds a lot less funny.

Resources on Evolving Korean Ideals of Male Beauty

One of my first attempts to grapple with the origins of the kkotminam phenomenon (꽃미남; lit. flower-beauty-man), which culminated in this piece by friend and ANU professor Roald Maliangkay 2 years later.

By coincidence, both of us will be quoted in a related news article to be published next week. Watch this space! (Update: and here it is!)

2007

Paternity Leave in Korea from Next Year?

And indeed there was. Unfortunately however, attitudes didn’t change with it, so fathers feel compelled by management to either ignore it entirely or to come back to work early, despite it only being 3 days (source right: unknown).

Note though, that the “paternity leave” in the original article I translated was a bit of a misnomer, it really meaning time off for a child’s birth. “Real,” paid paternity leave has been available since 2001 (or possibly 1995), but sources vary on specifics. Sung So-young in the Korean Joongang Daily, for instance, wrote in April 2011 that:

According to Korean law, all employees with a child under the age of 3 are eligible to take a year off to care for their children. Up to 1 million won ($919) in salary is provided monthly.”

But that is contradicted by a slightly later report in the Chosun Ilbo, which states that:

…those on leave can get up to 40 percent of their salary, or a minimum of W500,000 and a maximum of W1 million, and parents can take leave until the child is 6 years old.

And both in turn are contradicted by Lee Hyo-sik’s earlier report in the March 4 2011 Korea Times, which says:

Regardless of income levels, both male and female salaried workers are currently given 500,000 won per month during parental leave. This is expected to go up to one million won next year.

As for the maximum age of the children in order to be eligible, the same article states that it was 6 rather than 3. This is confirmed by an earlier February 2010 article by Kwon Mee-yoo, again in the Korea Times, which stated:

The Ministry of Labor passed a revision on Wednesday to the Act on Equal Employment and Support for Work-Family Reconciliation, or the Employment Equity Act for short, which will expand the range of workers eligible for parental leave. Now parents with preschoolers under six years old can benefit.

The leave allows employees to take a certain number of paid days off from work to care for their children. The parents can also take unpaid leave if they use up all of their paid days. This includes maternity, paternity and adoption leave. Currently, at private firms only workers with children 3 years old or less qualify for the leave.

Surprisingly, parents with adopted children weren’t eligible before this revision, and still, “only those who gave birth to or adopted children after Jan. 1, 2008 [were to be allowed] parental leave,” despite those (then) 2 to 6 year-olds obviously being of age. Which all sounds very tight-fisted, although logical during the worst of the financial crisis.

Kwon Mee-yoo also notes that it was in 2008 that the government increased the age restriction for (only) public servants, allowing them “to take time off for parental purposes if their children were under 6 years old.” I’ll assume that it previously only applied if their children were under 3 years old, like Kwon notes was the case for employees at private firms.

Finally, quibbles over details aside, Sung So-young’s and Lee Hyo-sik’s articles in particular remain excellent discussions of why Korean fathers are forced to avoid taking paternity leave, despite wanting to spend much more time with their kids. Against that though, just like in most other countries there’s still a pervasive attitude that childcare is primarily women’s work, with insidious manifestations in our daily lives.

And on that note, have a good weekend, and the Korean Gender Reader post will be up on Sunday!

The Economist on K-Pop’s Role in Celebrity Endorsements

(Source)

Well, I covered it in passing in an opinion piece in The Korea Herald over a year ago, and many times on the blog (and on Busan Haps) since, but hey: I admit that The Economist is probably a more authoritative-sounding source. See here then, for a discussion of how the dynamics of the Korean digital music industry are forcing labels to financially rely on celebrity endorsements, and which is a big factor behind why 2 out of 3 Korean advertisements feature them, one of the highest rates in the world.

While frustratingly brief, it does have some money quotes:

…SM Entertainment’s boss complains that even 1m downloads cannot cover the cost of making a music video….

….SM Entertainment and other purveyors of K-pop cover this shortfall at home by having their stars hawk the latest phone, or appear on television variety shows. The biggest labels have become adept at squeezing cash out of their pop stars’ names, rather than their music. But only a handful of musicians are famous enough to benefit.

South Korea’s old business model, perfected by its carmakers, was to use a captive home market as a launch-pad from which to invade foreign shores. The country’s pop musicians have turned this model upside down: they have to export their tunes to make up for meagre pickings at home.

(Source)

See bloop69’s comment also, who contends that things are not as dire as they seem (for a similar discussion between abcfsk and myself, see here):

A huge chunk of the money is made in “collectable” CDs and DVDs, which can run north of $150 per shot and are constantly churned out. It’s not a case of INVADING other shores you clueless dolt. It’s a case of using Youtube and videos as LOSS LEADERS to capture a small number (tens to hundreds of thousands) of hardcore fans who spend $100s US EACH to support their “fandom”

You don’t even begin to perceive it but in fact the Koreans are using a very progressive model… similar to League of Legends or FarmVille to give customers a free “taste” of the music. Like Kpop free to play MMOs also rely heavily on “whales” and heavily invested customers to carry the rest of the customer base. It has nothing to do with “invading” other shores. This is the strategy they have been using in Korea and are using around the world.

Finally, a quick request: please ask your Korean partners, friends, colleagues and so on if they know what “celebrity endorsement” is in Korean. If they struggle to answer, as my wife did, then I think that will be testament to just how pervasive they are here! (Eventually, she came up with “유명인 보증”).

Essential Reading: “Multiple Exposures: Korean Bodies and the Transnational Imagination”

(Sources — left: unknown; right)

See The Asia-Pacific Journal for the article. Covering many of the themes discussed on the blog, and much more besides, expect to see me linking to it for many years to come!

Korean Sociological Image #72: Girl-group performances for the military

In the commercial above, a conscripted soldier is happy that his girlfriend is coming to visit him. What really gets him and his buddies running though, in a play on the faster downloading speeds of KT’s 4G LTE network, is the arrival of a girl-group on his army base.

With 300-350,000 new conscripts annually, one of the longest conscription periods in the world, and a grisly — but improving — record of bullying and abysmal living conditions, keeping the troops entertained can safely be assumed to have long been a big concern of the South Korean military. Accordingly, televised visits by girl-groups and entertainers have become a recognizable part of Korean popular culture (although they originally performed for US soldiers). Here’s an example with actress Shin Se-Kyung (신세경), performing on an army base as part of the very popular Infinity Challenge (무한도전) show last year (episode 269, aired October 1):

For those many more conscripts not lucky enough to have pretty female celebrities come to their own base though, the blog Sorry, I was drunk provides an interesting, *very frank* insider account of what they thought of girl-groups, as well as prostitution, cheating on partners, Caucasian girlfriends, and marriage. Here’s what the author wrote about the former:

…I knew Korean guys, especially sexually deprived conscripts, liked female celebrities (duh, right?), but I didn’t know how bad that affection was. I learned that Korean conscripts in general are obsessed with K-Pop girl groups, in particular Girls’ Generation. By obsessed, I mean really obsessed. A good example of this is rapper Psy’s description of his military service.

In this show, Psy says he was made to stand guard while watching the TV so he could alert senior conscripts that Girls’ Generation was on it. While it wasn’t that extreme in my unit, it was quite normal to see guys flock to the TV whenever GG or other good looking female celebrities were on air. Every Friday and Saturday, when the major networks have those “music” shows parading group after group, entire units would stay glued to the TV. Guys would watch the same music video or performance repeatedly so they could oggle at the girls. Their bare legs exposed, sexy dancing, and terrible music (not a secret among conscripts either), it was pretty obvious there was only one reason for these “musicians” to exist. These girls are glorified strippers, covered in the thin veil of “music” so it doesn’t seem as creepy and sad as going to a strip club. For conscripts, it’s usually the only form of sexual gratification they’re allowed while on base.

See also:

From the Korean Army to Being Published by Holden Beck, a blog by a Korean-American who was forcibly conscripted into the Korean military because of this Korean background, despite being a US Citizen.
Korean Sociological Image #41: Mothers of Warriors
Sex as Power in the South Korean Military

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

If you reside in South Korea, you can donate via wire transfer: Turnbull James Edward (Kookmin Bank/국민은행, 563401-01-214324)

Korean Sociological Image #71: “Specs” for the perfect Korean wife or husband

(Source: Slutwalk Korea)

When I lived abroad in Korea, I spent a lot of time doing work in cafes. Probably a 100 or more during my 2 years there. As such, I eavesdropped on thousands of conversations. And nearly every one of those conversations was about two topics: complaints re studying English and complaints re losing weight.

(Patricia Park, Korean Bodega, June 15)

Maybe I’m just nostalgic for my bachelor days, but it’s conversations about “specs” (스펙) that I’ve really noticed myself. A Korean term for the criteria used to evaluate a potential spouse on, it’s also my experience that it’s almost exclusively used by women, although that may just be because there’s usually more women than men at my local Starbucks.

Either way, in February Kim Da-ye at the Korea Times argued that looking at marriage this way is a relatively new phenomenon, and that it’s “matchmaking companies that rate spouse seekers by specs [that] have fueled [such] materialism.” And, as if to bolster that point, Donga-Reuters would report on exactly the same phenomenon emerging in China after I’d already begun writing this post.

But as discussed below, matchmakers have been encouraging such pragmatism for decades, so they can hardly be described as driving that change in outlook. Rather, it’s economic factors that are responsible, as Kim later acknowledges in her article:

…today’s buzzword “Sampo” generation (삼포세대) …indicates a 30-something who has given up dating, marrying and giving birth because of the lack of financial means…

Contrast the “880,000 won generation”, which generally refers to 20-somethings. Continuing:

….What’s interesting about such preferences for the partner’s economic qualification is that they don’t come from conservative parents or rigid social structure but independent, young individuals….

….The near obsession with fine lifestyle is a contrast to the attitude of the baby boomer generation, many of whom used to say that they can start from a small rented room….

When asked why the younger generation isn’t willing make such a humble start, Lee, a single woman in her mid-30s working at a media firm, said, “Back then, amid fast economic growth, people had hoped that they would be able to climb up the social ladder and afford a bigger place in the future. Nowadays, people feel that if they start in a small room, they will be stuck there for the rest of their lives.”

The high cost of getting married naturally leads to some couples to be heavily indebted after the honeymoon ends. In addition to the Sampo generation, another phrase linked to both the economy and marriage has emerged — “honeymoon poor.”

And Kim — whose article is still very informative overall — gives several examples of engaged couples’ fights over money, some of whom ultimately break up. Yet those would not be out of place in popular discourses of marriage in, for example, the 1980s, when women’s magazines were similarly promoting the virtues of arranged ones. Presumably, at the behest of their advertisers:

(Source: Google Books)

Passage Rites Made Easy [A 1982 Korean book by Ko Chonggi] describes marriage through an arranged meeting as more “rational” behavior than simply falling in love because the candidates for romance and matrimony have already been carefully scrutinized by parents and matchmakers. Korean women’s magazines also emphasize the value of prior screening in choosing a mate, suggesting by the frequency with which they address this topic that their youthful readership is by no means convinced of the merits of matchmade matrimony:

Today, with the trend towards frankness in sexual matters, talk of “arranged meetings” or “matchmade marriage” might sound excessively stale. Even so, in marriage the conditions of both sides enter into things. Matchmade marriage, where you can dispassionately investigate these considerations beforehand, has some advantages that cannot be ignored (“The Secrets of a Successful Arranged Meeting,” Yong Reidi, 3 March 1985: 347).

From pages 89-90 of Getting Married in Korea: Of Gender, Morality, and Modernity (1996), by Laurel Kendall, the next page sounds a little ironic 18 years later:

The evolution of Korean courtship practices provides one excellent example of how notions of progress, of an enlightened “now” versus a repressive “then”, mask the particular disadvantages for women in new forms of matrimonial negotiations, be they “matchmade” or “for love” — a mask which sometimes slips in angry conversation or social satire. Through courtship and through all of the talk about getting married, notions of ideal “man” and “woman”, “husband” and “wife”, “son-in-law” and “daughter-in-law” are constructed, reinforced, and resisted….

….In Korean popular discourse, the evils of old-fashioned matrimony, in which near-children were forced by the will of their elders to marry total strangers, have been replaced by more enlightened practices. The “old days” are still on the horizon of living memory, but are recalled as from an utterly vanished time. In confessing that he never saw his wife’s face until his wedding night, the writer Cho P’ungyon states [in 1983] with a touch of hyperbole that “Today’s young people would consider this laughable and the faint-hearted might swoon away, but in my day these procedures were considered natural.”

(Source: Korea Portal)

The difference being that in 2012, financially-strapped singles can no longer afford to be so dismissive (nor Japanese ones either). Moreover, while they’re not marrying complete strangers perhaps, many Koreans do marry people they’ve only known a few weeks, as discussed in an earlier post. Also, some mild social coercion can indeed be involved, as Gomushin Girl explained:

It’s important to differentiate between different kinds of matchmaking arrangements…lots of Koreans use services that are similar to eHarmony, It’s Just Dinner, and other similar paid and unpaid services. Just like in the US, there’s free and paid computer matching sites, and more expensive and comprehensive personalized dating services. These offer a great deal of flexibility, and allow you to reject partners at many stages of the process – the worst consequence being that the agent in charge of finding you matches will decide you’re too picky, and start sending you “lower quality” matches. You’re free to meet multiple people at once, and they’re basically meant to facilitate dating.

However, 선 (Seon) matches are pretty different. Most of the time the people proposing the arrangement are close family or friends (of your parents), and parties are expected to make up their minds pretty quickly. Delaying too long or changing your mind after the first few dates is strongly frowned upon, and may even cause major social riftts. This means that women especially are pressured to marry people before they’re comfortable with them, and even if they’re not really what they’re looking for. Seon is serious, and you’re expected to commit yourself pretty quickly.

It’s also expected to override existing social relationships. My Korean host mother once called me up to ask if I’d go down to Busan to meet a friend’s son, who was interested in a seon meeting with me. I told her I’d just started dating someone, and her response was essentially, “That’s wonderful! When can you come to Busan?”

(Source: Sinbustory)

And on that note, let me leave you with a translation of the image that prompted this post, a poster for last week’s Slutwalk in Seoul. The slogan reads, roughly, “Let’s stop these fantasy gender roles now. Let’s play at being ‘masculine’ and ‘feminine’, 2012 Slutwalk Korea.” Many of the specs it mentions would be shared by people the world over, but there are also some quintessentially Korean ones:

For the “man” (literally, it says “manliness”):

키180이상 Over 180cm in height
전문직 A professional
대기업정규직 Regular worker at a big company
인서울4년제 Went to a 4-year university in Seoul
자차소유 Owns a car
장남아닐것 Not a first-born son
데이트비용 Pays for everything on a date
신혼집구입 Buys a home after marriage
사회생활잘함 Good social skills
성격좋음 Good personality
술잘마심 A good drinker
정력왕 Good sexual stamina

For the woman (“womanliness”):

키170미만 Under 170cm tall
몸무게50미만 Under 50 kg
가슴C컵이상 A C-cup or over
30살이하 30 or under
날신한몸매 Thin body
작고하얀얼굴 Small and white face
화장은기본 Always wears make-up
제모는상식 Shaves legs and underarms
명품백하나쯤 Have at least one brand-name handbag
애교있는성격 Have aegyo
시댁을부모처럼 Treats parents-in-law like her own parents
섹스경험없음 Be a virgin

Are there any others readers would add? Especially Korean ones?

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

Korean Sociological Image #69: Attitudes Towards Sexual Objectification, 2004 vs. 2012

Back in 2004, I would study Korean by translating articles about Lee Hyori’s breasts. Because that was much more interesting than reading about the joys of kimchi-making in Korean textbooks.

So, I hardly romanticize that era as more innocent and chaste than today’s. Nor, by highlighting just one complaint by one women’s group from then, do I mean to imply that the Korean public was necessarily more prudish back in 2004, or that it’s necessarily more permissive today. After all, my Google News Alert for “성상품화” (sexual objectification) still provides me with fresh critiques of the recent Miss Korea Pageant every day. And who can forget the role “Bikini Girl” played in April’s congressional elections?

Having said that, things definitely have changed in 8 years:

Starting about 2006, ubiquitous soju ads started featuring women in revealing clothing after decades of almost exclusively using demure, virginal-looking models.
A little later, dominant media narratives about girl-groups, depicting middle-aged male fandom as platonic rather than sexual, provided a window for their objectification to flourish.
Men have also been increasingly objectified, particularly after the “chocolate abs” label was coined in 2009.
The number of smutty online-ads has surged, especially in the last year.
And last but not least, it’s difficult to find an advertisement for water-parks (also ubiquitous) that doesn’t feature a scantily-clad girl-group, with one—Ocean World—even inventing a group specifically for that purpose. (Boy bands and male models are used also, most notably by Caribbean Bay below, but my strong impression is that there’s much less of them than women)

In short, it is via the increasing objectification of (especially) girl-groups that you can see a clear McDonalidization of Korean cultural industries in recent years (see here, here, here, here, and here for more on the hows and whys). And, because of that shift, it’s difficult to imagine a complaint like this being given much attention in 2012:

전남관광 책자 두고 ‘여성상품화’ 논란 일어 / Controversy over Sexual Objectification of Women in Jeollanam-do Tourist Brochure

Oh My News, June 15 2004. By Gang Seong-gwan.

지난 6월초 전남도가 여름 관광객을 겨냥해 제작배포한 관광 홍보책자 ‘남도스케치’에 사용된 비키니 차림의 여성사진이 논란이다. 광주여성민우회는 14일 성명을 통해 “남도스케치 배포를 즉각 중단하라”고 요구하고 나섰다.

Controversy has arisen over the use of women in bikinis in the June edition of tourist brochure Namdo Sketch, a widely-distributed brochure aimed at summer tourists . In an announcement on the 14th, the Gwangju branch of Womenlink demanded that it stopped being distributed immediately.

(Source: James Turnbull)

전 남도는 ‘남도스케치’를 제작하면서 책 표지, ‘전남이 추천하는 여름 여행지 BEST’ 중 완도 명사십리 해수욕장 등 7곳을 소개하면서 비키니를 입은 여성의 사진 10여장을 게재했다. 이 책자는 겉표지까지 총 85페이지로 구성됐으며 비키니 사진은 책자 앞 부분에 게재했다. 전남도는 제작된 책자 2만여부를 터미널 등 공공장소와 전남도내 기초단체 등지에 배포를 마친 상태이며 조만간 2쇄에 들어간다는 계획이다.

이에 대해 광주여성민우회는 “여성을 성 상품화했다”면서 전남도의 공개사과는 물론 책자 배포 중단을 요구하고 나섰다.

With a cover title of “Best Recommended Tourist Sightseeing Areas in Jeollanam-do” [James – I can’t see that title myself, but unfortunately that opening photo was very small], Namdo Sketch introduces 7 tourist sights, including Wando and Myeongsashibri Beach, and uses a total of 10 pictures of women in bikinis on the front cover and in the first part of the brochure, out of 85 pages. By the end of its first printing, the Jeollanam-do Provincial Government had distributed roughly 20,000 copies to transport terminals, public places, and civic groups, and planned to make a second printing.

Gwangju Womenlink said that the brochure sexually objectified women, and demanded a public apology as a matter of course, as well as a halt on further distribution.

“여성 성 상품화 한 것, 배포 중단”…”문제제기 이해하지만, 시원한 여름을…” / “This is the sexual objectification of women, distribution must stop”…”We understand, but hey: this is summer…”

광주여성민우회는 “전남 관광홍보는 여성의 비키니만이 유일한 대안인가”라며 “공공기관에서 나온 책자인가 할 정도로 낯뜨거운 장면이 많이 실려 있어 당혹스러움과 황당함을 느낀다”고 밝혔다.

Gwangju Womenlink argued that “Are women in bikinis the only option for a tourist brochure?”, and said “We are embarrassed and perplexed that a public institution would go so far as to use such crude [James – I think this is a better translation of “낯뜨겁다” than “obscene” or “rude”] images in a tourist brochure.” (source, right)

이어 “지역에 관광객을 유치하기 위해 명소를 소개하는 것은 좋지만 관광지역의 구체적인 정보와 특색 있는 프로그램의 홍보 대신 여성의 비키니 복장을 내세워 시선을 끌어보고자 하는 공무원의 얄팍한 속셈은 용납될 수 없는 행위”라고 비판했다.

Continuing: “It is good that tourists are being attracted to this area by having places of interest introduced to them. But instead of providing concrete information and unique tourist programs, the PR simply consists of pictures of women in bikinis, designed to attract one’s attention. This is both shallow and misguided of Jeollanam-do officials, and can’t be forgiven.”

또 여성민우회는 “지역의 명소를 알려내기 위한 기본 조건은 다른 지역과 차별되는 테마를 만들어 남도만의 색다른 맛을 느끼게 하는 것이다”면서 “노력해야 할 것은 따로 있는데 엉뚱한 것으로 메꾸려는 것은 직무유기”라고 주장했다.

여성민우회는 “여성의 성 상품화를 부추기는 공공기관의 홍보책자는 결코 용납될 수 없다”면서 ‘남도스케치’의 배포중지를 요구했다.

Also, Womenlink emphasized that “What should have been done to inform tourists about places of interest was showing them how different they were to other ares and what unusual tastes, experiences, and feelings Jeollanam-do has to offer. Instead of making an effort and doing their duty though, officials offered this rubbish.”

It added that “Promoting the sexual objectification of women is never acceptable”, and so demanded an immediate halt to the distribution of the brochure.

(Sources: left, right)

이에 대해 전남도청 한 공무원은 “문제제기는 이해한다”면서도 “여성의 사진을 표지에 넣는다고 해서 이 책자가 눈길을 끌고 있는 것은 아닌 것 같다”고 말했다.

그 러나 또 다른 공무원은 “여성의 비키니 사진을 두고 상품화까지 이야기하는 것은 지나친 것 아니냐”며 “오히려 여성단체들이 그렇게 주장하면서 폄하시킨 것은 아닌지 모르겠다. 물론 어느 정도는 이해할 수 있지만 이런 사진을 많이 사용한 것도 아니지 않느냐”고 주장했다.

In response, a Jeollanam-do official said ” We understand the concerns, but it’s not because of the women in bikinis on the cover that people are drawn to the brochure.” Another emphasized that “It’s a complete exaggeration to claim that just pictures of women in bikinis is objectification. Rather, it’s women’s groups that are degrading women by doing so. And it’s not like we used many in the brochure.”

관광책자 제작 담당부서인 전남도청 관광진흥과 이명흠 과장도 “여성단체의 지적사항에 대해서 전혀 모르는 바는 아니다”면서도 “행정관청에서 발행한 책자여서 그럴텐데 여름에 맞춰서 시원한 해수욕장과 수영복을 입은 모습의 여성을 모델로 했을 뿐이다”고 말했다.

이어 이 과장은 “행정기관이 발행했다는 느낌이 들면 잘 보지 않는다. (관광객들의) 눈길을 끌 수도 있다는 생각에서 진행한 공격적인 마케팅의 일환이다”며 “너무 한쪽으로만 생각하지 말고 발상을 바꿨으면 좋겠다”고 주장했다.

(Source: Metro Seoul, 31 May 2012, p.49)

Lee Myung-hum, the head of the Tourism Promotion Office of Jeollanam-do Provincial Government that produced the brochure, said “It’s not like I don’t understand women’s groups concerns. But only swimsuits are appropriate for female models promoting cool swimming areas in the summer.” He added that “No-one ever pays attention to anything produced by a council tourism promotion office. The images were simply part of an aggressive marketing technique designed to get the attention of tourists, and shouldn’t be overanalyzed.”

한편 ‘남도스케치’ 표지모델은 전남도청 여성 공무원 중 희망자들이 참여하기도 했으며, 지난해에도 전남도는 여름 관광홍보 책자를 제작하면서 표지 등에 비키니을 입은 여성 사진을 게재한 바 있다.

The models used in the brochure included Jeollnam-do female officials [James — it says only the cover, but there were only 2 women on that], and a similar brochure was produced the previous year (end).

James — While the Jeollanam-do officials didn’t sound too sympathetic in that June 2004 article, another from the next month points out that in the second printing the bikini models were removed from the cover and 2 more pages, although some did still remain. It’s from that article that the before and after covers came from.

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

The Male Gaze and the Korean Mass Media (Or: Ways of Seeing Son Ye-jin as Fat…)

(Sources: left, right)

Another week, another group of perfectly healthy women fat-shamed on Korean television. Yes, even Son Ye-jin too, no matter how disarmingly attractive she looks above.

It was such a pleasant surprise then, to see the following denouncement from Entermedia reproduced in the entertainment and celebrity sections of Daum and Yahoo! Korea too. The first time I’ve ever comes across a lengthy critique about the male gaze and impossible body ideals alongside, well, numerous examples of exactly those, the optimist in me hopes that this represents some kind of turning-point. Or, at the very least, a consensus that the offending programs clearly overstepped a line, even by the Korean media’s standards!

손예진 몸매 논란, 무엇이 문제일까 / Controversy About Son Ye-jin’s body; What is the Problem?

by Bae Guk-nam, Entermedia, July 2 2012

– 손예진이 통통하면 이득보는 사람들 / There are people that profit from Son Ye-jin being fat
– 미디어, 이 땅의 여성들 말라깽이 강박증 환자로 내몰아 / The media encourages Korean women to be obsessed with thinness

처음 제 귀를 의심했습니다. 다음에는 설마 그럴까라는 생각을 했습니다. 그리고 파급 효과가 엄청나다는 인식에 이르렀습니다. 바로 여성 몸매를 제시한 세 개의 방송 프로그램을 보면서 느낀 제 반응과 생각입니다. 그리고 세 개의 프로그램을 보면서 여성 몸매에 대한 매스미디어와 일부 남성의 편견에 찬 시선의 현주소를 알 수 있었지요. 그러한 시선은 이 땅의 수많은 여성들로 하여금 몸에 대해 과도한 집착을 하게 할 뿐만 아니라 육체에 대한 불만과 취약성, 결핍을 끊임없이 느끼게 만들어 지극히 정상적인 자신의 몸에 대해 비정상으로 바라보게 만드는 병폐를 심화시키는 문제를 야기 시키고 있다는 것도 절감하게 됐습니다.

At first, I doubted what I was I really seeing. Then I thought “Really? OMG”, and realized how much of a controversy would be raised. That was my reaction when I saw three recent programs about women’s bodies.

While watching, I got to know the reality of the deep prejudice with which the mass media and some men viewed women’s bodies. I realized that through this, Korean women don’t just get excessively attached to their body image, but are also disempowered through continuously feeling frustrated with their bodies, and coming to feel that theirs are abnormal .

여성의 몸에 대한 미디어와 남성의 시선, 그리고 그 병폐를 적나라하게 노출시킨 방송이 바로 지난 6월23일 방송된 MBC < 세바퀴 > 입니다. 이날 방송에서’남자들이 통통한 여자를 좋아한다는 말이 사실인가?’라는 설문에 대한 이야기를 나누던 중 이혁재는”출연진 중에서는 안선영과 안문숙 정도가 통통한 것 같다. 이경애는 통통한 게 아니고 고도비만이다”라고 말해 충격을 주더니 지상렬은 통통의 기준이 되는 연예인이 “손예진이다”라고 답해 출연자 뿐만 아니라 시청자들을 경악하게 만들었습니다. 헬스 트레이너 숀리는 여기에서 더 나아가 “조여정, 송혜교를 통통하다고 하는데, 저는 예전부터 그런 몸을 좋아했다”라며 안방 시청자의 몸매에 대한 인식에 대한 생각을 다시 한번 하게 만들었지요.

The problems of this media and male gaze were very evident in the June 23rd episode of World-Changing Quiz Show, broadcast on MBC [James — see here and here for Part 1 and 2]. On that show, the discussion topic for the panel was “Is it true that men like fat women?”, and comedian Lee Hyeok-jae (male) not only remarked that two female members of the panel — comedians Ahn Sun-young and Ahn Moon-sook — were fat (literally, he said “Fat like them you mean?)” , but that a third— Lee Kyong-ae — was extremely so, shocking other panel members and the audience. Then comedian Ji Sang-ryul (male) opined that among women in the entertainment industry, Son Ye-jin was the standard [James – upper limit?], further adding to everyone’s astonishment. Finally, health trainer Sean Lee mentioned that people say that Jo Yeo-jung and Song Hye-gyo are fat, but that he has liked such body types for a long time, again making viewers at home dwell on the subject of fatness.

6월25일 방송된 KBS < 안녕하세요 > 에선 46Kg의 몸무게를 유지하라는 남편 때문에 고민이라는 한 여성이 출연했습니다. 남편이 연애시절부터 마른 여자를 좋아해 75Kg체중을 46Kg으로 만들어 결혼했다는 황은미씨는 “결혼한 지금도 46kg의 체중을 유지하라는 남편의 감시를 받고 있다. 매일 배가 어느 정도 나왔는지 남편에게 검사를 받는다”며 몸무게 대한 남편의 기준을 완화해 달라고 부탁을 했고 이에 황씨 남편은 “(애프터스쿨) 유이씨 정도면 좋겠다. 나이가 좀 있으니까 양보해서 48kg 유지해라”라고 답했습니다.

Then on the 25th, a woman called Hwang Un-mi appeared on Hello! on KBS, describing the suffering she’s endured because of her husband demanding she stay at a weight of 46kg. He’s liked thin women ever since they started dating, so she went from 75kg to 46kg before she they got married, and she said that “Since then, he still insists I stay at 46kg, and checks my belly thickness every day to make sure.” When she asked her husband on the show for some relaxing of his standards, he replied “I like a body like that of Uee’s from After School. But seeing as you’re older, I’ll let you go up to 48kg.”

6월19일 방송된 tvN’화성인 바이러스’에는 압박붕대로 얼굴에서 발끝까지 온몸을 감으면서 생활하는 일명 ‘미라녀’김유정씨가 출연했지요. 압박붕대로 체중 10kg 감량에 성공했다는 김유정씨는 “3~4년간 계속 압박붕대를 감다 보니까 요령을 터득하게 됐다. 살 많은 곳을 세게 감을수록 (다이어트)효과가 좋다”며 다이어트를 위해 몸에 사용하는 압박붕대는 복부 4개를 비롯해 23개에 달한다는 충격적인 설명을 태연스럽게 했습니다.

이 세 개의 프로그램은 여성의 몸에 대한 남성의 시각과 그리고 미디어의 행태, 그 결과의 양태를 단적으로 보여준 것입니다.

And earlier, on the 19th, “Human Mummy” Kim Yu-jeong appeared on Martian Virus on TvN [James — this show highlights strange and unusual people], who wraps herself in pressure bandages from head to toe in order to lose weight. She matter-of-factly explained “I’ve successfully lost 10kg this way, and have figured it out while I’ve been doing it over the last 3-4 years. It’s very effective if you have a lot of weight to lose,” and that she applied 4 pressure bandages to her abdomen each time, and 23 on her body overall.

These three programs clearly showed the male gaze on women’s bodies, and the media’s views on them too.

대상을 바라보는 방식은 우리가 알고 있는 그리고 우리가 인식하고 있는 것과 깊은 관련이 있습니다. 여성의 몸매에 대한 것도 마찬가지입니다. 안선영 안문숙 손예진 조여정 송혜교등이 통통하다고 바라보는 이혁재 지상렬 그리고 숀리의 언급은 상당수 남성들의 여성의 몸에 대해 바라보는 방식을 드러냈다고 봅니다. 이상적인 여성의 몸매마저 통통하다고 인식하는 이러한 남성들의 여성의 몸에 대한 문제 있는 시선은 방송, 신문, 인터넷 등 매스미디어를 통해 확대재생산되고 수많은 사람들에게 여성의 몸매를 바라보는 인식의 토대를 마련해줍니다.

The way we see things is deeply related to what we already know and what we recognize. And it’s same with women’s bodies.Through the mass media, the problematic viewpoints of these male entertainers, who believe even those women with ideal bodies are fat, has spread extensively. This has laid the groundwork for how many people view women’s bodies (source, above).

매스미디어와 상당수 남성들은 끊임없이 여자 연예인으로 대변되는 몸매의 이상형을 제시하며 수많은 여성들에게 몸매에 대한 채워지지 않는 욕망을 자극시키고 있습니다. 이혁재 지상렬로 대변되는 일부 남성들과 매스미디어는 현실에서 좀처럼 존재할 수 없는 완벽한 이상형의 여성 몸매 제시를 통해 여성의 정상적인 몸매 더 나아가 손예진 송혜교 등으로 대변되는 이상화된 몸매마저도 비정상으로 치부하고 있습니다. 이 때문에 수많은 여성들은 정도의 차이는 있지만 자신의 몸매에 대해 부족과 결핍을 느끼게 만듭니다.

Through female entertainers, the mass media and many men present women’s ideal body types, and this creates a lot of anxiety and anguish for women about their own bodies. Men like Lee Hyeok-jae and Ji Sang-ryul consider ideal women’s bodies like those of Son Ye-jin’s and Song Hye-gyo’s as abnormal, while at the same time presenting as ideals body types and shapes that are impossible in real life. And while some women will be closer to those ideals than others, all will still inadequate and lacking.

(Source)

여성의 몸에 대한 상당수 남성들의 시선과 매스미디어의 응시 방식은 수많은 이땅의 여성들의 몸에 대한 인식에 크나 큰 영향을 줍니다.’여성은 그녀 자신의 모든 것을 관찰해야만하고 또 그녀가 무엇을 할 수 있는가를 생각해야만 한다. 왜냐하면 스스로가 다른 사람에게 궁극적으로는 남성에게 어떻게 비춰질 것인가 하는 문제가 여성의 삶의 성공 여부를 결정짓는 가장 중요한 관건이기 때문이다. 여성 자신의 스스로 존재에 대한 느낌은 다른 사람에 의해 내려지는 그녀에 대한 평가에 의해 보완되어져야만 하는 것이다’라고 존 버거가 ‘Ways of Seeing’ 에서 설파한 것처럼 여성의 몸에 대한 남성의 시선은 몸매에 대한 여성의 인식과 태도에 지대한 영향을 미칩니다.

The way most men look at women’s bodies, and the way the mass media presents them, has a big influences on the way women themselves view them. Like John Berger said in Ways of Seeing [James — on the second page of Chapter 3 {p. 46} in my 1972 Penguin edition]:

She has to survey everything she is and everything she does because how she appears to others, and ultimately how she appears to men, is of crucial importance for what is normally thought of as the success of her life. Her own sense of being in herself is supplanted by a sense of being appreciated as herself by another.

(James — Ways of Seeing was originally a documentary, which is now available online; see here and especially here for more information. It’s the second episode that is most relevant here)

매스미디어의 여성의 이상적 몸매의 강요에 가까운 현실는 남성의 여성에 대한 왜곡된 몸매의 시선을 강화시키고 그 결과 수많은 이 땅의 여성들을 자신의 육체와의 비정상적인 전쟁으로 내몰리고 있습니다. 물론 이 전쟁의 진정한(?) 승자는 여성도 남성도 아닌 여성의 몸에 대한 끊임없는 결핍의 이데올로기를 설파해 막대한 이윤을 창출하는 뷰티산업, 성형외과, 광고, 매스미디어 등이지요.

This reality of the mass media promoting [impossible] ideals of women’s body shapes distorts how men view women’s bodies, and in turn this encourages women to fight against their own bodies. The real winners in this war are not men, nor women, but rather the beauty, cosmetic surgery, advertising and mass media industries that make vast profits from propagating an ideology of an unceasing dissatisfaction with oneself.

여성 몸매의 이상형이라고 할수 있는 손예진 송혜교 마저 통통하다고 말하는 지상렬 등으로 대변되는 여성의 몸매에 대한 남성의 시선과 매스미디어의 응시 방식은 아내의 46Kg의 몸매 유지를 요구하고 애프터스쿨의 유이의 몸매를 이상적 몸매로 꼽아 아내마저 제2의 유이로 만들려는 남성들을 더욱 더 확대재생산합니다. 그리고 이 때문에 정상 체중인데도 아침엔 다이어트용 시리얼에 저지방우유, 점심엔 채소와 밥 반공기, 저녁엔 아무것도 먹지 않고 운동 2시간을 하는 주부들과 압박붕대 20여개로 감싼 기괴한 모습으로 다이어트를 하는 20대 여성들이 양산되고 있습니다.

(Source)

[It is the callous environment in which entertainers can describe female celebrities like Son Ye-jin and Song Hye-gyo as fat that is at least partially responsible for the husband that demanded his wife have a body like Uee’s]. And it’s also because of that that both housewives and women in their 20s, all of healthy weights, will only diet cereal with low fat milk for breakfast, for lunch just vegetables and half a bowl of rice, and nothing for dinner, yet exercise for 2 hours. Some will even also go the extremes of wrapping themselves with 20 pressure bandages.

여성 몸매에 대한 남성의 문제 있는 시선과 여성들의 완벽한 몸매를 지속적으로 강요하는 방송 등 매스미디어의 행태는 이 땅의 수많은 여성들을 이상화된 몸에 대한 과도한 집착을 초래하고 자신의 몸에 대한 끊임없는 불만과 결핍을 불러옵니다. 그리고 급기야 정체성과 자기실현을 왜곡된 방향으로 유도하며 정신없는(mindless) 몸매(body)만을 만드는 육체와의 전쟁터로 내 몰고 있습니다. 이제 여성의 몸매에 대한 문제 있는 미디어의 행태와 남성의 시선은 교정돼야합니다.

손예진씨, 당신은 결코 통통하지 않습니다!

Men’s problematic gaze of women’s bodies, and the mass media’s encouragement of women to desire impossible perfect body types, only leads to unhealthy obsessions and unceasing dissatisfaction. Furthermore, they induce a distortion of women’s identity and self-realization, and creates a war in which women only fight to have a good body, not a good mind or spirit. This problematic men’s gaze and mass media’s attitude needs to be corrected.

Son Ye-jin, you will never be fat!

(Thanks to Daheefanel for passing on the story!)

Shocking Report: Foreigners Dating Koreans Conspiracy! — 충격보기: 외국인과 교제음모!

This video is a parody of the ridiculous, offensive video “The Shocking Reality About Relationships With Foreigners” which aired on South Korea’s MBC TV network in May 2012. Click here to see the original video with English subtitles.

“Harmful” Advertisements Surge 3-fold in Online Korean News Media

(Source)

“Is it true that your hair grows if you have ‘dirty thoughts’?” (2002)

When so many websites struggle to open under the weight of smutty ads, it’s difficult not to think that the Korean internet used to be a much more innocent place.

At the very least, you’d assume exceptions would be made for articles specifically about such ads.

With no apparent sense of irony however, not only does the website today’s article comes from feature camel toes, nude women, and couples in flagrante delicto, but some media companies will even censor photographs in news stories while keeping similar accompanying advertisements intact. Most recently and notoriously perhaps, some websites pixelated the breasts of “Bikini Girl” and her supporters for instance, but not the heaving bosoms used to advertise cosmetic surgery clinics:

Given that, and given how difficult it was to find a news website that didn’t plaster today’s article with such ads, I was very surprised to find that the normally quite alarmist Ministry of Gender Equality and Family found that only 5.5% of registered media companies had them on their websites.

Partially, that low number is explained by the very narrow definitions used, as outlined in the article. But if you take a look at the top of the following table (not — as per usual — mentioned until the final paragraph), which lists total registered media companies, total active sites, total sites with advertisements, and total sites with harmful advertisements respectively, you soon realize that that 5.5% is derived from 176 of 3216 total registered media companies. As a proportion of the 2,158 sites with advertisements however, which is surely a more appropriate measure, it jumps to 8.2% (although that still sounds much too low to me).

Finally, of special interest is how MOGEF calls for (and has recently helped implement) self-regulation by internet companies rather than imposing its own regulation system, which may come as some surprise considering how actively it censors Korean music. But despite its reputation however, in reality MOGEF has very limited powers (and only 0.12% of the total government budget), which I think plays a big role in the zealousness with which it monitors K-pop.

여성가족부 ‘19금 광고’ 언론사들 고발 검토 / Ministry of Gender Equality and Family Affairs Considering Prosecuting Media Companies for “18 and Over Advertisements”

‘유해 광고’ 올해들어 3배 늘어… “자율규제기구 설치 촉구, 광고주 심의 요청” / 3 times more ‘harmful advertisements’ compared to last year…”We strongly recommend advertisers consider establishing a self-regulatory system”

by 최훈길/Choi Hoon-gil

선정적인 내용이 담긴 언론사의 인터넷 광고가 작년에 비해 3배 가량 증가한 것으로 조사됐다. 여성가족부는 언론사의 자율 규제를 우선 촉구하되, 해당 언론사에 대한 고발도 검토하고 해당 광고주에 대한 심의 요청도 추진하기로 했다.

A survey has shown that media companies display 3 times more sexually suggestive internet advertisements compared to last year. The Ministry of Gender Equality and Family (MOGEF) recommends that media companies self-regulate themselves, and is considering prosecuting both offending media companies and advertisers themselves.

(Source)

여성가족부가 11일 발표한 ‘인터넷 신문의 청소년 유해광고 유통 현황 모니터링 결과’에 따르면, 올해 유해성 광고는 176개(5.5%)로 작년 유해성 광고 62개(2.5%)보다 3배가량 늘었다. 한 인터넷 신문은 성인용품 사이트 등 청소년 유해 매체물 광고를 성인 인증 없이 게재해 정보통신망법을 위반했다. 유해성 광고는 네트워크 광고의 일종으로, 상당수가 의료쪽 광고이며 문구나 이미지가 선정적이어서 ‘혐오 광고’로도 불린다.

On the 11th of June, MOGEF announced the results of their survey “The present situation of the circulation of internet newspapers’ harmful advertisements among teenagers”, according to which there were 176 sites with harmful ads (5.5%) among those surveyed, roughly 3 times more than last years’ 62 (2.5%) [James — considering the different numbers of sites examined, proportionately there were really only 2.2 times as many]. Among other advertisements harmful to teenagers, one internet newspaper had an advertisement for a sex products site that could be accessed without age verification, which violated the Information and Communications Network Law. Harmful advertisements are a kind of internet advertisement called “disgusting advertisements” [James – called that by who?]; the majority have sexually-suggestive images and terms and/or refer to sexually-related medical procedures.

176개 인터넷 신문 중 20개 인터넷 신문이 전체 유해성 광고물(915건)의 50.3%(406건)을 노출하고 있었다. 여성 가족부는 해당 언론사 실명을 공개하지 않았다. 청소년매체환경과 관계자는 “인터넷 점유율이 높은 곳들이 유해성 광고가 많았고 스포츠, 연예 신문들이 많았다”며 “고발을 검토하는 인터넷 언론사는 종이 신문을 발행하지 않는 곳으로 잘 알려진 언론사는 아니다”라고 설명했다.

Out of the 176 internet newspapers that were found to have harmful advertisements, 20 had more than half of their total advertisements, 406 out of 915 (50.3%), taken up by them. MOGEF didn’t reveal the offending media companies’ names. An official in the Division of Youth Media Environment of MOGEF said: “The internet sites which had the highest number of harmful advertisements were sports and entertainment sites, and those with a lot of traffic,” and added that “the news sites which we are considering prosecuting are not well-known and don’t publish physical newspapers.”

(Source)

해당 유해 광고의 내용은 성행위·성기표현 문구(21.2%)가 가장 많았고, 성적욕구 자극문구(17.7%), 가슴 부위 노출(17.4%), 성행위·성기 관련 묘사(15.8%), 허벅지·둔부 노출(14.5%) 순이었다. 해당 광고주는 성기능 식품(21.%) 관련 업체가 가장 많았고, 비뇨기과(17.3%), 건강보조식품(15.6%), 성기능 개선용품(12.8%), 성형외과(6.8%) 광고주 순이었다.

Of the harmful advertisements, 21.2% — the highest — had expressions related to sex acts or genitalia, 17.7% had expressions designed to arouse sexual desire [James — e.g. “할래/Do you want to do it?], 17.4% exposed the breasts, 15.8% had descriptions of sex acts or genitalia, and 14.5% exposed the thighs or buttocks. Of the advertisers themselves, 21% were selling sexual function products [James — like Viagra?], 17.3% urology services, 15.6% health assistance products, 12.8% products designed to improve sexual performance [James — how are those different to “sexual function products”?], and 6.8% cosmetic surgery procedures.

여성가족부는 작년과 비교해 유해 광고는 늘었지만 법 위반 언론사들이 대폭 감소한 것을 감안해, 언론사에는 우선 자율 규제를 촉구하겠다는 입장이다. 청소년매체환경과 관계자는 “작년에 34개 언론사가 법을 위반했는데 올해에는 다 시정됐다”며 “언론사들을 직접 규제하기 보다는 인터넷신문협회 등에 자율규제기구인 인터넷신문광고심의위원회의 설치를 촉구하겠다”고 밝혔다.

Although MOGEF points out that the numbers of harmful advertisements have increased since last year, the fact that there are actually less media companies breaking the law also needs to be taken into consideration, so first MOGEF is going ask media companies to regulate themselves. The official in the Division of Youth Media Environment continued: “The 34 media companies that broke the the Information and Communications Network Law last year have all since rectified their mistakes,” and so “a self-regulatory system is preferable to direct regulation, and we demand that the Korean Internet Newspaper Association and so on establish an internet newspaper advertisement consideration committee.”

(Source)

이 관계자는 “이번에 법 위반으로 적발된 언론사에도 시정 조치를 우선 요구하고, 시정이 안 될 경우 형사고발을 할 것”이며 “유해성 광고를 의뢰하는 광고주 사이트에 대해서는 방송통신심의위원회에 유해성 심의 요청을 할 것”이라고 말했다. 언론사에 대한 형사 고발 검토와 광고주에 대한 심의 요청은 올해 처음으로 시행되는 조치다.

Also: “In this case, first we demand that measures are taken to rectify the mistakes of offending media companies, and if this is not done we will consider prosecuting them,” and forward their harmful advertisements to the Korean Communications Standards Commission for consideration. These steps are being enforced this year for the first time.”

한편, 이번 조사는 지난 3월7일부터 5월21일까지 문화체육관광부에 등록된 3216개 인터넷 신문(지난 2월말 기준)의 메인 페이지 및 10개 기사면을 점검한 것이다. 여성가족부는 작년에도 해당 조사를 했으며, 조사 이후 한국인터넷신문협회와 한국온라인신문협회는 ‘인터넷신문광고 자율규제 가이드라인’을 제정한 바 있다. 청소년매체환경과 관계자는 “낙인 효과를 고려해 이번에는 언론사 이름을 비공개로 했다”며 “올해 하반기나 내년에 또 조사를 할 것”이라고 말했다.

The survey, of 3216 sites registered with the Ministry of Culture, Sports, and Tourism (as of February) was conducted the 7th of March to the 21st of May this year, and examined the main pages and 10 [random?] posts of each. Last year’s survey was conducted by MOGEF, after which the “Internet Advertisements Self-regulation Guidelines” were established with the Korean Internet Newspaper Association and the Korean Online Newspaper Association [James — ironically, Firefox blocks the latter as a dangerous site!]. The official in the Division of Youth Media Environment of MOGEF explained that “because of the harm to their reputations that would come with naming the offending media companies, that information shall be kept private”, and that “a similar survey will be completed in the second half of this year.” (end)

Must See Korean TV: 21st Century Family (21세기가족)

(Source)

Thank you very much to Maria, whose synopsis instantly sold me on this recent drama:

…I’ve seen a lot of Korean dramas and they almost always find a way to disappoint me in the way they portray women, sexuality or both. This little drama is quite refreshing. Unusual in that it’s only 8 episodes long, it openly talks about issues like teenage sex, puberty, the difficulty married couples have getting sex regularly, and even one episode about viagra. To be fair, I have taken the last nearly 9 months away from watching dramas, so maybe things have heated up out there when I wasn’t looking. But this is the first time I’ve seen sexually related issues being dealt with so frankly and humorously…

If you think it already sounds a lot like Modern Family, you’d be quite right — it’s explicitly modeled on it, albeit without a gay family. See here for a helpful family tree, starting with Lee Deok-hwa (이덕화) playing the father role that Ed O’Neill does in the US original, and DramaTic for some historical context on Korean sitcoms, which helps you better understand what makes this one so different. In particular:

…the word comedy [was removed] from the show’s promotion to avoid all the implications it brings to the table, at least in Korea – namely, the idea that sitcoms should all be about a relentless succession of mindless gags punctuated by the good old laugh track. It’s an intelligent expedient, which highlights this show’s priorities better than any trailer or presentation would. This, in other words, is a back-to-basics approach, while at the same time exploring different answers to the usual formula.

(Source)

Perhaps it’s no surprise that it’s so easy to find with English subtitles then — I just watched episode 1 here, and although frankly I found it a little slow after all that build-up, it was still quite enjoyable. Also, crucially, it only had precisely one cringe-worthy moment for me, when Oh Yoon-ah (오윤아) behaves quite childishly in the police-station towards the end. Considering how routinely women behave that way in most Korean dramas, making me turn the TV off in disgust within 5 minutes of watching, it was very refreshing not to see it for a whole 40 minutes here.

Anybody else seen the show, and/or like a detailed episode by episode discussion (à la Dramabeans) over the next 8 weeks? Please let me know!

Revealing the Korean Body Politic, Part 2: Kwak Hyun-hwa (곽현화), Pin-up Grrrls, and The Banality of Sex and Nudity in the Media

(Sources: left, right)

Apologies for the irregular posting everyone — I’ve been really busy for the last month or so, and to top it all off I’m recovering from a bad flu as I type this too. But fortunately the end of the semester is close, and I’m eager to get stuck into the two blog series I plan to devote myself to this summer.

One is looking at the evidence for double-standards in Korean censorship, while this one is about examining the public and media’s policing of — and consequent narratives about — “appropriate” displays of nudity and sexual subjectivity, set against a recent potential backlash against changing gender relations. In hindsight just two different elements of the same investigation, the former focuses on K-pop in 2011 and this one on political protests in 2012.

As you’ll recall from Part 1 though, one problem with looking at anything explicitly political is that partisan reporting gets in the way, which means we need to consider as many sources as possible to be objective, and especially not just rely on English-language sources. So, let me start that by presenting my translation of a post by a blogger known as “비춤” (or on Twitter as @RainyDance01), which was originally posted on his or her blog Rainy Dance, then later reposted at Mediaus. About the photo on the right (source) of comedian turned model, singer, and actress Kwak Hyun-hwa (see Part 1 for the details), as you’ll see I think the blogger’s heart is in the right place, but unfortunately some of their reasoning dodgy at best, and evidence seemingly pulled out of thin air:

곽현화식 투표독려? 누드가 일상이 되면 식상하다 / Does Kwak Hyun-hwa’s Style Promote Voting? When Nudity Becomes Routine, it Becomes Boring

10 April 2012

국회의원 총선거를 코앞에 두고 투표율을 올리고자 수많은 유명인들이 투표 독려에 나서고 있습니다. 소설가 이외수씨는 투표율 70%가 넘으면 머리카락을 싹둑 자르겠다고 밝혔고, 안철수씨 또한 70%를 넘으면 미니스커트를 입고 율동에 노래를 부르겠다고 밝혔지요. 이렇듯 저마다 자신의 공약을 내세워 투표독려에 나서고 있습니다. 이들의 공약은 대중에게 소소한 재미와 더불어 투표참여의 의미를 되새겨주고 있는데요. 거창하진 않지만 자신만의 방식으로 사회적 메시지를 전달하는 유명인들의 모습은 새로운 문화가 되고 있는 느낌입니다.

Just before the general elections, many famous people are doing various things to encourage more people to vote. For example, novelist Lee Wae-soo has pledged to cut his trademark long hair if the voting rate exceeds 70%, while Ahn Cheol-soo has promised to dance wearing a mini-skirt (see below). While these may sound just trivial and fun, they do remind voters about the meaning and importance of voting. Also, while their ultimate impact may not be all that great, they point to a new trend of famous people spreading social messages.

그런데 같은 목표를 지향하더라도 그 방법 탓에 오히려 대중의 반감이 우려되는 경우도 있는데요, 개그우면 곽현화의 경우가 그렇습니다. 곽현화는 투표독려를 위해 자신의 미투데이에 ‘총선거 D-3, 우리가 대한민국의 주인이다! 투표로 보여줍시다’라는 내용이 적힌 종이를 들고 있는 상반신 누드 사진을 올렸습니다. 그 의도야 건설적이지만 이면에는 새로울 것이 없는, 우리의 식상해진 문화 코드가 선명하지요.

However, while they all have the same target, some celebrities’ methods may actually make voters more apathetic. One such case is that of comedian Kwak Hyun-hwa. In her case, she uploaded a photo on her me2day blog in which she is holding a sign in front of her nude upper body. The sign said “It’s 3 days to go before the elections. We are the owners of Korea! Let’s show this by voting!”. But while the intention was constructive, on the other hand this method is hardly original, and shows the paucity of our culture.

자신의 의사를 표현하는 방법에 옳고 그름을 규정하기는 어렵습니다. 하지만 그녀가 지금까지 보여온 행보를 본다면 아름다운 취지보다는 이면의 가십거리가 더욱 부각될 수밖에 없겠지요. 폭소클럽 출연당시 가슴노출이 심한 드레스를 입고 출연해 노출논란의 불을 지핀 이래로, 그녀는 꾸준히 노출의 길을 걸어왔었지요. 섹시화보가 누출되어 세간에 화제가 되기도 했으며, 지나치게 선정적인 앨범 이미지컷으로 눈총을 받기도 했습니다.

It’s difficult to judge what the best or most “correct” way of expressing oneself is. But looking at Kwak Hyun-hwa’s past history up until now, it’s difficult not to conclude that this stunt of hers was more aimed at creating gossip and attention about herself than anything noble. When she was on the comedy Foxclub for example [James — she quit in 2009], she used to create a lot of controversy by wearing a lot of revealing dresses, and since then has continued on a similar path. For instance, she has done a very sexy photoshoot, and received criticism for her provocative and suggestive images for her album.

(James: I’m not judging — and/or defending — Kwak Hyun-hwa in any sense, but just for the record: while she’s certainly done sexy photoshoots, and you can judge her album pictures for yourselves, I think it’s unlikely that she regularly wore a lot of revealing dresses on Foxclub. If she had, then presumably there’d be far more “노출” videos and photos of her on that show available than just those from one short skit back in 2008)

올 초에는 개그맨 동료들과 선정적인 포즈로 찍은 사진이 이슈가 된 바 있는데요. 비난이 잇따르자 이에 대한 반감으로 자신의 미투데이에 바나나를 먹는 야릇한 표정의 사진을 올려 더 큰 역풍을 일으키기도 했지요. 하지만 그녀는 떳떳하게 말합니다. ‘’성적인 감정을 일으켰다고 해서 지탄하는 것은 마녀사냥이다. 의도를 떠나서 개그맨 전체를 싸잡아 욕하는 성급한 일반화의 오류를 범하지 말아 달라’

Earlier this year, some pictures of Kwak Hyun-hwa in pretend sexual poses with some her comedian colleagues became an issue [James — they can be seen here]. In response to the criticism that followed, on her blog she posted pictures of herself with a perverted expression on her face while eating a banana [James — was the author too embarrassed to be more specific?], which led to even more criticism. But in response to that, she boldly replied, “Just because something is arousing doesn’t mean it should be criticized — to do so is nothing but a witchhunt. And whatever the intention(s), don’t make the mistake of making rash generalizations about all comedians.”

(Source)

과연 그녀를 바라보는 냉랭한 시선은 성급한 일반화의 오류일까요. 사실 벗는 것은 여자에만 국한된 것은 아닙니다. 남자도 벗습니다. 초콜릿복근이니 식스팩이니 하며 매력을 뽐내는 남성들도 얼마든지 있지요. 하지만 남성의 매력을 규정하는 잣대에서 ‘벗는 것’의 비중은 상대적으로 크지 않습니다. 지적인 남자, 자상한 남자와 같이 이 시대의 여성이 매력을 느끼는 아이콘은 상대적으로 많은 편이지요. 그래서 벗는 것으로 일관하는 남자는 오히려 역풍을 맞기도 합니다. 여담이지만 한때 1박2일에선 이수근이 숱한 노출을 보이며 빈축을 사기도 했습니다.

Well, is looking at her coldly and making a rash generalization really a mistake here? Of course, it’s not just women that take their clothes off — men do too. To show off their attractiveness, they expose their chocolate abs, their six packs [James – actually, those are the same thing], and so on. But relatively speaking, taking clothes off isn’t as important for men as it is for women; because in this day and age, there are many ways in which women can find their male icons attractive — they can be intellectual or kind. It would be bad if men only took their clothes off. When Lee Su-geun showed too much of his body on an episode of 2 Days & 1 Night for instance, people didn’t like it.

(James…)

반면 여성들에겐 유독 섹시미 혹은 백치미가 강조되지요. 5살 유아부터 70대 할머니까지 섹시하다는 말은 일상어처럼 사용되고 있습니다. 드라마에선 홀로 당당한 일어서는 여성의 이야기는 그다지 성공적이지 못합니다. 여전히 신데렐라의 환상이 더 잘 팔리는 시나리오지요

On the other hand, for women being sexy or being stupid but cute is emphasized. From when they are just girls of 5 to when they are grandmothers in their 70s, the word “sexy” is part of daily life for women. In dramas, the strong, confident woman that succeeds through her own efforts is never a popular story, whereas the Cinderella fantasy is a scenario that always sells well.

이 시대의 남성들은 여성의 매력을 이 한 가지로 국한하고 있는 걸까요, 혹은 여성이 자신 있게 내세울 수 있는 매력은 이 한 가지뿐일까요. 양성평등의 가장 큰 위협은 이렇듯 일방적으로 여성의 섹시함을 강요하는 작금의 문화가 아닐까 싶습니다.

Is this because men of this day and age set limits to women’s sexiness [as just showing off their bodies], or because this is the only sexiness which women can show off confidently? I think this culture of emphasizing just this one side to women’s sexiness is today’s biggest threat to sexual equality.

이 시대의 청년들에게 닮고 싶은 사람을 떠올려보라면, 남성 쪽에선 다양한 매력이 쏟아져 나올 수 있겠지요, 안철수, 안성기, 조국, 손석희, 유재석 등 다양한 분야의 사람을 떠올릴 수 있습니다. 헌데 닮고 싶은 여성상을 물었을 때 우리 사회의 한축을 담당하고 있는 여성을 얼마나 떠올릴 수 있을까요. 그 자리에 섹시아이콘만이 남아 있다면 우리사회가 얼마나 건강하지 못한지를 반증하는 것이겠지요.

(Source)

These days, when teenagers are asked who are their role models, boys mention men who are attractive in many different ways and from many fields of life, such as Ahn Cheol-soo, Ahn Sung-ki, Kuk Cho, Son Seok-hee (above), Yoo Jae-Seok, and so on. In contrast, although there’s many women to choose from, girls just name sexy icons. I think this shows how unhealthy our society is.

(James: Other than their fathers, I don’t believe for a moment that teenage boys mention men in their 50s or older as their role-models, even when they want to impress whoever’s asking)

곽현화는 좋은 취지에서 누드시위를 했습니다. 하지만 그 이면에는 이 땅에서 쉽게 주목받고자 하는 여성의 식상한 방법론이 새삼스럽습니다. 우리 사회의 쓸쓸한 단면이겠지요.

Kwak Hyun-hwa [may have?] had good intentions, but her method was unoriginal and was just a way of getting noticed. This too is a sign of how unhealthy our society is (end).

(Source)

What do you think? Again, I find the blogger’s logic — and especially notions of male and female desire — flawed, but at the very least I am now very interested in finding out more about Kwak Hyun-hwa. Not because I think she has any musical talent though (frankly, I hated Psycho above), nor because I naively think her “nude” photo was anything but completely self-serving. Rather, because:

• She deserves a lot of credit for reinventing herself as a model, singer, and actress after being best known as a slightly chubby (by Korean entertainment standards) comedian.

• Whatever her musical abilities, it was especially brave of her to even attempt to become a solo singer in her late-20s (old age by K-pop standards).

• She’s a maths graduate of Ehwa Women’s University, and has even published a textbook for middle-schoolers (see below), so she’s probably quite smart. And I’m not being facetious when I say that many men and women may not be able to see past her cleavage to realize that (related, make sure to read the classic With Great Cleavage Comes Great Responsibility).

• What solo celebrity’s public actions and statements aren’t motivated by self-interest? Which is not to say that they’re always cold and calculating of course, but still: it seems a strange criteria to dismiss someone as a person for (after all, heaven forbid that someone use their sex-appeal to advance their career), and is simply an ad-hominem method of devaluing that style of getting a political message across.

As for its effectiveness, for its stated purpose of encouraging people to vote that is? Well, determining things like that is what this whole series is about, but in the meantime let me pass on Tom Megginson’s take on a similar recent political campaign by Mexican politicians (my emphasis):

Jezebel’s Erin Gloria Ryan is a little cynical about the use of “boobies” to get attention, but I applaud any effort in which women take back ownership of their bodies by using our primal fascination to deliver messages of solidarity for social change.

(Source)

• And finally, remember when Lee Hyori recently publicly admitted that she has sexual feelings and experience? Judging by the reactions of K-pop fans, that was quite exceptional, and indeed I joined in praising her for it in Part 1. But to take a more detached perspective, that this was news at all is really quite an indictment of the sex-only-for-display-nature of Korean entertainment. For remember that we’re not just talking about a 33 year-old woman here, but one who was also Korea’s number one sex-symbol for much of the 2000s. It simply beggars belief that she has ever had to be coy about her sexual subjectivity.

Why do I mention that? Because despite the attention given it, Lee Hyori’s admission pales in comparison to Kwak Hyun-hwa’s stunts with bananas and her comedian friends. And recall that by my own definition, I shouldn’t have to seek-out pin-up grrrls, but rather they should do their darnedest to make me aware of them. In which case, Kwak Hyun-hwa more than qualifies!

And on that definitive note, what is coming in Part 3? Well, frankly a little disappointed with the blog post I translated, next I’ll try make sure to do something more substantial, namely this newspaper report on reasons for the recent “ladygate” phenomenon; i.e., the emerging backlash I mentioned. Thanks to Robert Koehler for the link.

The Revealing the Korean Body Politic Series:

The Korean Media’s War on Women (and Men)

Via 10 Confessions, here is a short but quite rare “expo on the focus of the mass media and internet news sites on superficial looks of the entertainers in the industry, and how this trend needs to change.” Sorry that it’s all in Korean, but 10 Confessions provides a good (English) description of it, and it’s the least I can do to pass on the videos themselves (especially after spending half an hour looking for them!).

To see the segment, jump ahead to 2:30 in the first video. It lasts until 4:10 in the second.

Quick Hit: Is there STILL a stigma against lingerie modeling in Korea?

(Source; edited)

Whenever I give lectures about Korean advertising, I always try to stress how quickly it’s changing. As both a reflection and driver of changes in Korean society itself, it’s one of the reasons why studying it is so interesting.

Who can believe, for instance, that the first kiss in a Korean ad was as recently as 2009?

So, next Monday I was going to mention that one reason you used to see so few Korean women modeling lingerie was because many pornography actors used to do it, giving it a certain stigma (and in turn sustaining stereotypes about the foreign, overwhelmingly Caucasian women used in their place). Yet these days, so many female singers and actresses are doing it as a means of sexing-up their image, and/or getting themselves noticed, that I’ve argued that surely the stigma no longer exists, at least at the celebrity level.

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But this is a familiar topic to most readers, and I do apologize for the repetition. It’s just that, today, it was reported that Core Contents Media (CCM) had turned down a lucrative lingerie-modelling contract for soon to debut girl-group Gangkiz (갱키즈), as such advertisements “wouldn’t fit [their] musical color and image” (“제안은 감사하지만 갱키즈 음악적 색깔, 이미지와 맞지 않다고 판단한 결정이었다”). Ironically though, most of the reports were accompanied by pictures from a recent bedroom photoshoot of theirs, including one which has one member’s shirt nearly falling off, slightly exposing her bra; one with another member lying expectantly on a bed, her shirt only just held together by a single, strategically-chosen button; and then of course the opening picture with Lee Hae-in (이해인) above.

One seriously had to wonder what image CCM felt needed to be protected exactly.

On the other hand, while it’s certainly possible that CCM was just seeking attention for Gangliz, that attention could easily prove counterproductive once CCM’s hypocrisy was exposed. So perhaps they they did genuinely have concerns about the effects of “official” lingerie modelling on Gangkiz’s reputation.In which case, just what is the difference between that and exposing lingerie while modelling something else, and/or as part of a random photoshoot? Do Korean models and consumers really make such artificial distinctions?

I decided to refer back to the original article about pornography actors giving lingerie modelling a stigma to get a clearer picture. Partially because it’s been a couple of years since I last read it, and partially because, frankly, I had concerns that I misunderstood it the first time back in 2008, and have been misinforming readers ever since. In particular, there was the distinct possibility that the main reason there were so few Korean lingerie models was simply because it was just too “sexy” for them, and indeed that is still potentially — nay, probably — a very big influence here (they’re not mutually exclusive).

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To my relief though, I hadn’t misunderstood anything, although it did turn out to be nude models rather than pornographic actors. But — with no offense to the translator, who probably normally makes far fewer mistakes than I do — I did notice a big mistranslation of the following paragraph (from this original Korean article):

홈쇼핑 속옷 모델의 원조는 누드 모델이었다. 90년대 말 S씨 등 스타 누드모델 10여명이 속옷 모델로 나와 방송을 타면서 화제를 모았다. 하지만 그녀들은 “얼굴을 가려달라”고 요구하는 등 몸을 사리는 일이 많았다. 그래서 점점 출연 횟수가 줄었고, 2000년 이후 케이블 TV에서는 국내 속옷 모델이 거의 자취를 감췄다.

Which was translated as:

Home shopping underwear models started as nude models. At the end of the 1990s [Miss] S and over 10 other star nude models caused a stir by moving into underwear modelling on home shopping programs. But they were able to get a lot of work when their attractive faces and bodies came into demand. So more and more of them started showing up, and after 2000 almost all underwear models on cable TV were Korean.

But unfortunately the last two sentences, were, well, completely wrong. Here’s my version:

…programs. However, they [not only] demanded that their faces be covered while were on the air, [but] they were also shy and reluctant to show off their bodies. So, gradually they started appearing less and less, until by 2000 there virtually no Korean women modelling home-shopping on cable TV.

In the translator’s defense, the original Korean article was badly written and confusing (e.g., were those 10 nude models the only Korean lingerie models?), and didn’t respond to the obvious question raised of why on Earth the nude models became shy about lingerie modelling, which I speculate was because of the controversy and fame their presence on TV created. Nor does it mention the fact that there have actually been plenty of Korean women on lingerie homeshopping shows since 2000, albeit fully-clothed and holding the lingerie on coat-hangers while their foreign counterparts alongside them wore it (which is really quite surreal to watch).

But still: hiding their faces? That does explain a lot about how, over a decade later, there are online lingerie stores on which not a single Korean model shows her face, or lingerie fashion shows in which the Korean women (but not the Korean men or foreign women) hide themselves under hats and sunglasses (see #3 here). In hindsight, it’s amazing that this still occurs as late as 2012, and especially that celebrity models haven’t had more of an impact on the industry yet, despite what I recently wrote about their surprisingly strong influence in Korea. I guess that the stigma is stronger than I expected then, and hence some of these women much braver than I gave them credit for.

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For more on related issues raised by the ensuing disproportionate number of Caucasian models in Korea, see this recent post at Seoulbeats, which also discusses their growing numbers in K-pop music videos. As for me though, it’s back to updating my Powerpoint! :)

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(Daily K-Pop News)

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(The Guardian, March 25 2010; my emphasis. See Mark’s post “Manufactured Girl Power: Female Empowerment in a Male-Powered Industry” for more on K-pop specifically)

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가인이 피워낸 100%짜리 여자의 욕망 / 100% Women’s Desire Blooms With Ga-in

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(“miss A I Don’t Need A Man Chibiby,” by jinsuke04)

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(Source: The Cinehound Forum)

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Chuck Palahnuik, Snuff (2008)

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2011

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2010

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2008

2007

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(Source: Slutwalk Korea)

(Patricia Park, Korean Bodega, June 15)

(Source: Google Books)

(Source: Korea Portal)

(Source: Sinbustory)

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전남관광 책자 두고 ‘여성상품화’ 논란 일어 / Controversy over Sexual Objectification of Women in Jeollanam-do Tourist Brochure

(Source: James Turnbull)

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(Source: Metro Seoul, 31 May 2012, p.49)

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