Bikinis, Breasts, and Backlash: Revealing the Korean Body Politic in 2012

(Sources: left, right; edited from originals)

Whenever someone strips for the sake of drawing attention to some cause, usually my instant, gut reaction is to dismiss it as a crass stunt. Unless it’s for Slutwalk or FEMEN, then I’m just too suspicious of their real motives, especially if they’re not already famous.

That’s why I didn’t cover this woman back in January, who wrote a message of support for jailed Naneum Ggomsuda (나는 꼼수다) podcaster Chung Bong-ju (정봉주) across her breasts; as while she was anonymous herself (ish), other men and women that followed her example certainly weren’t. Although, in hindsight, only a handful of pictures would actually be sent in, despite an audience of millions, and I overlooked that one of the men was already semi-famous as Chung Bong-ju’s photographer, at the time the podcasters’ call for more bikini shots just seemed like an invitation for a repeat of 2006 and 2010, when women vied with each other to become famous by wearing the most revealing Red Devil costumes.

But then Nancy Lang (낸시 랭) paraded around Seoul in a bikini two days before the April elections, which made me sit very uncomfortably in my seat. Because after lauding her as a “pin-up grrrl” back in November, I couldn’t be quite so dismissive this time, even though her street performance was surely just as crass, and its connection to its ostensible cause — encouraging people to vote — tenous at best. Yet other than a long history of doing similar such performances, how was she really any different from those Naneun Ggomsuda supporters that wrote messages on themselves back in January, and for whom she’d even expressed her support? How about all the other similarly-themed protests and/or pledges over the past few months too, including Kwak Hyun-hwa’s (곽현화) above?

(Sources: left, right)

So, wanting to learn more about the efficacy of such protests, and particularly how useful — or possibly counterproductive — they are in a feminist sense, I realized that “Bikini Girl” deserved a second look. Or, more specifically, what her breasts ultimately raised. For as many of you will already be well aware, the reactions of the podcasters to them, and especially their encouragement of more such pictures, was soon critiqued by many on both the Left and the Right…which in turn led to counter-critiques of those critiques, then the Right chastising the Left for not critiquing the podcasters more, and so on — it was all very confusing. What was necessary was a chronology of events, which indeed I provide below.

But think about it: when breasts become not so much a mere body part as a titillating device for political parties and media allies to score points against each other, then to put it mildly you can’t trust just any one source’s interpretation and depiction of events, and especially not just rely on those that happen to be in English. Which is just common sense, but it deserves reiterating (and for another good illustration of partisan reporting, make sure to see the Korean media’s reaction to netizen attacks on newly-elected Philippine-born Jasmine Lee). So, the other posts in what must inevitably become this series will be translations of some Korean ones, starting with this, then this, this, this, this, and/or any more I can find (and/or readers recommend).

(Source)

Still further complicating matters however, events have coincided with a potential emerging “~녀/girl” meme, in which a series of incidents involving (mostly) young women have left a host of misogynistic netizen reactions in their wake. In particular, for me personally it was this recent incident on a bus, in which a woman in her twenties — out of many angry passengers — was unfairly singled out for criticism, that signaled that something far more pernicious than simple netizen ranting was afoot, and that the backlash against changing gender-relations in Korea that led to the disparaging “beanpaste girl” (dwenjang nyeo; 된장녀) term in the mid-2000s was still very much around.

Even if, ultimately, there are no real connections, it would be strange to analyze bikini and nude protests — some of which arguably very much challenged prevailing conceptions of “appropriate” displays of sexuality and expressions of sexual subjectivity — without also considering that a potential backlash against changing gender-relations is also occurring. Hence expect more translations about the latter also.

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On top of that, as if to taunt me, over the last 2 weeks Uniqlo Korea happened to have a “Women’s Freedom Event“, used to sell their “BraTop”. By this stage thoroughly sick of breasts (okay, not really; but I’m sure you can appreciate the sentiment), this choice of language instantly raised some alarm bells, as it reminded me of the following:

…some advertisers, aware of the objections of the feminist movement to traditional images of women in ads, have incorporated the criticism into their ads, many of which now present an alternative stereotype of the cool, professional, liberated women…Some agencies trying to accommodate new attitudes in their campaigns, often miss the point and equate ‘liberation’ with a type of aggressive sexuality and very unliberated coy sexiness (G. Dyer, Advertising as Communication, 1982, pp. 185-86; quoted in D. Strinati, An Introduction of Theories of Popular Culture, 1995, pp. 187-88)

Or indeed “freedom” rather than “liberation”. And, technically speaking, Uniqlo is simply appropriating the word in order to simply sell more clothes. But even if I have always had a fondness for the company, it did interview some genuinely cool women as part of its campaign, and, recalling the line of inquiry that started this 3-week(!) post, provides a healthy reminder to myself to: a) reconsider some of my prejudices and gut reactions to things; and b) not read too much into things.

And on that note, let me apologize for how convoluted and wooly some of my own understanding and explanations of pin-up grrrls have been in the past, and very briefly give some clarifications and further observations on those before presenting the chronology. Not because they’re the final word by any means, but more because, hopefully, they’re good things to bear in mind as you consider the events of the past few months:

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• Being a sex object doesn’t necessarily preclude one from also being a sexual subject. They are not mutually exclusive.

• However, expressions of sexual subjectivity remain a big taboo in Korea. Or in other words, we can have a 25 year-old’s S-line quite literally highlighted for a heterosexual male gaze, but heaven forbid she admit to having sexual feelings and experience herself. Certainly, this does apply to male celebrities too, but I’d argue to a much lesser extent. In turn, while this double-standard is present in other countries, it’s not difficult to think of female celebrities that thrive on challenging such taboos, whereas admissions like Lee Hyori’s seem to be few and far between among their Korean counterparts (although I’d be very happy to be proven wrong).

• While pictures (etc.) of sexually-attractive women are often framed as being exclusively for a heterosexual male gaze, there is overwhelming evidence (see Maria Buszek’s Pin-Up Grrrls, or this shorter essay) that heterosexual women can be just as if not more interested in them, finding the women — rightly or wrongly — to be confident, sexy role models. A good case in point is Girls’ Generation, who surprised many (including myself) with their huge female fan base in Japan, and who in hindsight may have many more female fans in Korea than is reported too. If that does turn out to be the case, then why the media stresses girl-groups’ “ajosshi” or “samcheon” fandom instead is an interesting topic for further investigation, and I’d speculate that it’s a side-effect of entertainment companies’ prerogative to frame that fandom as platonic (source, right).

• Nobody deserves criticism for financially benefiting from their sexual attractiveness. It is basic human nature, and applies equally whether one is a public or private figure. Moreover, while I can certainly respect those ballsy celebrities who are honest about doing so, nobody ever needs my approval for what they wear, and can give any reason they like — or indeed no reason — for their choices.

• Having said that, using self-sexualization to advance a cause is a double-edged sword, and can easily end up more distracting the intended audience than anything else. Which sounds facetious; but as we’ll see, Bikini Girl proves to be a good case in point.

• Nevertheless, it is hypocritical to criticize politically-motivated sexualization without also criticizing commercially-motivated sexualization, and betrays a political agenda. Indeed, given the pervasiveness of the latter, using skin to get attention is an obvious tool, so it’s strange that we don’t see people stripping for a cause more often in Korea.

Finally, the chronology. Sorry that the Bikini Girl protest is actually the only one that I cover in it, albeit interspersed with all the “~녀” incidents, but another purpose in all the coming translations is getting on top of all the (far less well-documented) other ones, and I’ll either update this chronology or produce a new separate one once I do:

December 26:

— Chung Bong-ju jailed (Korea Realtime)

January 20:

— “Bikini Girl” posts photo, which gains much wider public attention over the next week (DKBNews; translation via Korea Bang)

January 21, 27:

— Naneun Ggomsudua podcasters Kim Young-min and Choo Chin-woo (주진우) encourage (and receive) more bikini photos (Korea Times)

January 28:

— The Crucible/Dogani (도기나) author Gong Ji-young (공지영) demands apology and calls for the hosts to retract those statements (Korea Times):

“I’ve written a novel to call for heavier punishments for child molesters in the Republic of Korea, which is a world of male chauvinism. This is a country where those sexually assaulting a female schoolmate are released with suspended jail terms because they were drunk, the girl was insufficiently dressed, or she was deemed a slut. This is a country where 70 percent of men have bought sex, so it is natural that people’s perspective on women’s bodies is political,” she said.

— See the Korea Herald (here and here) and Modern Korean Literature in Translation for a discussion of this reaction. In the latter, author Charles Montgomery argues that “immediately [going] to ‘child molestation’ and ‘assault’ in her argument against what is essentially a bikini shot” is too much of a jump, and that with her blanket statement of opposition to them, “Gong is doing a different version of what the GNP has tried to do to her – shutting down a clever method of getting publicity.”

February 1 (source, right):

— “Nude Male Campaign Appears After Bikini Girl Protest Criticized” (Daum; translation via Korea Bang):

Nude male photos in support of the imprisoned ex-MP Jung Bong-ju from the campaigning group ‘Jung Bong-ju and Future Power’ appeared on the web today. This was in response to accusations against the bikini protest as female sexual harassment.

Choi Young-min, a professional photographer who worked closely with the ex-MP was equally famous among his followers.

Painting the message ‘I’m dead serious’ and ‘Give back my model’ on his body was to remind the viewer of his support for the ex-MP.

In his interview with Money Today, Choi argued that “the female bikini campaign to publicize Jung’s case was seen as trivializing the campaign by ‘using’ the female body. I wanted to counter those criticisms by using male nudity.”

February 5:

— Naneun Ggomsudua podcasters refuse to apologize, head host Kim Ou-joon (김어준) arguing “that their comments were not sexual harassment, nor were they intended to be” (Korea Times):

Kim said that in order for the comments to be sexually harassing, inequality of power must exist.

“The woman who uploaded the picture must feel like she would be disadvantaged if she said she was sexually humiliated. However, the woman did not feel that way and we don’t have the power to suppress her from saying it. Therefore, sexual harassment did not take place,” he said.

Kim made it clear that they would not retract or regret the comments. “The right to express a political opinion using one’s body should be recognized,” he said.

— But note that The Korea Joongang Daily provides a slightly different, more positive translation of the above (surprisingly, considering it is a conservative newspaper):

“We didn’t have any intention of sexual harassment and she [the female protestor in bikini] didn’t feel in that way,” Kim said. “She has the right to express political issues and her rights should be respected. No one can limit that right because he or she feels uncomfortable.

“It’s true that I was impressed by the biological perfection [of the woman] at first, but at the same time, I was also impressed as a political comrade by this new kind of protest,” Kim said.

— See Korea Law Today for an analysis, where author Nathan McMurray (quite presciently) noted:

I know the whole modus operandi of the creeps is to be irreverent and provocative. But irreverence is only useful when it furthers, rather than hinders, the show’s goals. I am curious if these recent events will have any impact on the upcoming presidential election, where the conservative candidate will likely be a woman (Park Kun-hye, the daughter of Park Chung-hee, who I briefly mentioned here). Plus, this stuff is just not funny. If you insist on “working blue,” please make me laugh.

— Indeed, with the benefit of hindsight, at best the controversy created distracted people from more important issues, whereas at worst it presaged deep divisions in the Left’s support for them, well before years-old misogynistic comments of one of them, Kim Yong-min (김용민) emerged in April.

(Source)

— On the other hand, it’s important not to judge Kim Ou-joon’s above defense in light of those comments either, or the efficacy of Bikini Girl’s and other protests. That would just be an ad-hominem attack and guilt by association respectively.

February 6:

— Three “of the nation’s liberal online communities – Ssanghwa Tea Cocoa, Souldresser, and Hwajangbal – issued a joint statement on Monday evening that they were disappointed by the reckless remarks of the liberal hosts regarding women (Korea Joongang Daily; see the full [Korean] statement here):

“Their remark related to nosebleeds means they see women with typical male-centric views, considering women as mere tools for sexual entertainment to cheer up men’s political activities,” the joint statement said. “They also fueled controversies once again saying ‘impressed by biological perfection,’ implying that its natural to view women as sexual objects.”

“The show’s hosts should realize their show is no longer a B-level alternative broadcast and has grown into a political representative if they want to become real liberals,” the statement said.

The Web site for Chung’s fan club, called Chung Bong-ju and Future Powers, was filled with posts criticizing the joint statement…

March 1

— “Swearing Woman” slapping man on Seoul subway video goes viral (Korea Bang)

March 9:

— “Hot Soup Lady” proves not to be at fault (Korea Bang).

March 19:

— “And then there was Bundang Line Smoking Girl” (The Marmot’s Hole). See especially this, this, and this commentary on that, linked to earlier, and especially this prescient one from 2010 made at Scribblings of the Metropolitician (via Gusts of Popular Feeling):

I’ve also noticed the trend of collective, public humiliation of Korean Girls Behaving Badly. That’s not to say that the women involved are innocent or that men are let off scot-free. But you definitely don’t see the same reaction when Korean men “act out of line.” There might be public criticism, to be sure, but nothing like the witch-hunts and publicity we’ve seen in the case of women….

March 21:

— New subway swearing “Cigarette Lady” video goes viral (Korea Bang)

March 27:

— “Beer Girl” smokes on subway, pours beer on pensioner (Korea Bang)

March 30:

— “Soju Girl” debuts, same girl as “Beer Girl”? (Korea Bang)

April 6:

— Kim Yong-min, by this stage a candidate for the main opposition Democratic United Party candidate in the northern Seoul constituency of Nowon-A, was revealed to have made vulgar and misogynistic comments when he appeared on an Internet broadcast in 2004 and 2005 (The Korea Herald):

Some of his recently revealed remarks include: “If all escalators and elevators at the City Hall metro station are dismantled, (conservative) old men and women will not be able to gather around the City Hall to hold demonstrations” and “If we take all U.S. soldiers in Korea hostage and run an armored vehicle over them one by one, Bush cannot help but step down”; and “Let’s release (serial killer) Yu Yeong-cheol and rape and kill (Condoleezza) Rice and kill Rumsfeld and Bush.

The ruling Saenuri Party, women’s rights groups and even liberal figures have piled pressure on the DUP leadership to withdraw his candidacy…

— As readers will be well aware, the DUP decided to keep him, and indeed his popularity before news of these comments emerged should not be underestimated. But with the benefit of hindsight however, this decision is widely considered to have cost the DUP the election (The Korea Herald; see this [small] poll at Korea Law Today also):

…The opposition party should have withdrawn his nomination for damage control, but it did not.

The failure to act decisively against the podcaster turned moderates and swing voters against the opposition party, undoubtedly making it possible for the ruling party to win in many closely contested districts.

If it had not been for the podcaster’s nomination, the main opposition party could have won a majority of electoral districts, if not alone, in alliance with the small United Progressive Party. Instead, the DUP won 127 seats in the 300-member National Assembly, and the United Progressive Party took 13. On the other hand, the ruling Saenuri won 152 under the leadership of Rep. Park Geun-hye.

April 9:

— “Girl in bikini uses pussy to encourage voters” (Korea Bang)

April 18:

— “Bus Girl” demands driver apologize on knees” (Korea Bang; also source, right):

As the photo went viral, other articles surfaced explaining the what presumably really happened. One such article stated that with passengers getting frustrated and the driver showing insincerity towards the situation, he was asked to get down on his knees. Another blog post claims that as the bus finally arrived at the bus terminal, the ground staff showed indifference to the passengers’ inconvenience, to which they suggested the staff get down on their knees. Refusing, the bus driver did instead. The latest “Ladygate” incident shows how just one photo can be subject to open interpretation, and how netizen opinions in Korea, no matter how far-fetched and ridiculous they may seem, are not taken lightly by news outlets – having the power to change entire news stories or even make new ones.

April 27:

— “Woman Crushes High School Girl Between Two Cars, Does Nothing” (Daum; translation via Korea Bang). The blog post translates (generally) disparaging comments from Daum of the stereotypical female driver described below, echoed by (English-speaking) commenters on the post itself:

Note: Mrs. Kim is a name frequently given to women drivers who hog the road and don’t know how to drive. perceived as a rich house wife who does nothing. Kind of like a trophy wife (but not necessarily pretty). The driver in the video is most likely NOT actually named Mrs. Kim.

— “Poo Girl” does poo on Seoul metro, netizens forgiving (Korea Bang). As The Korea Times explains:

The “poo-poo girl on the subway” incident, which created the latest online buzz, was later found that the woman was mentally unstable.

This case and several others showed Internet users are sometimes quick to harshly criticize and make comments about a situation without learning the exact details or hearing the full story….

Accordingly, the comments selected by the Korea Times do give the impression that the “~녀” meme may well be at an end. But if so, then I think something similar will soon take its place.

In the meantime, apologies for the long wait on this post, and expect the first of those translations ~~next week~~ soon (possibly with a Korean Gender Reader in between)!

The Revealing the Korean Body Politic Series:

The Korean Ad Industry’s Celebrity Obsession

(Sources: left, right)

See Busan Haps for the full article. It was prompted by Yoo In-na (유인나) and then Kim Sa-rang (김사랑; left) endorsing Gillette razors last year, when suddenly a lot of celebrities seemed to be endorsing products not normally associated with their sex.

Granted, women have been used to sell things to men for as long as advertisements have existed. And as for using Hyun Bin (현빈; right) to advertise a tea-drink that supposedly gives you a “V-line”, that’s just common sense: not only will he appeal to women, but so too might some men be encouraged to think about their own, hitherto exclusively feminine V-lines, thereby creating a whole new market.

But still: I’d wager that there has indeed been a great deal of gender-bending in the Korean advertising industry in the last couple of years. For instance, I’ve definitely never heard of a guy advertising bras before, no matter how dishy I’m assured this one (So Ji-sub; 소지섭) happens to be:

(Source)

Was he chosen just because he’s a pretty face? Or was the reasoning much more subtle than that? I can’t say in this case. But I do know that celebrities have a much greater effect on our consumption choices than we all like to think. Please read the article for more on how and why…

For some hints, here is the interview with Fame Junkies author Jake Halpern that I refer to in it. If for some reason that the video below doesn’t immediately take you to it though (it’s at 34:30), then please click here instead:

Finally, if you’ve read this far, then I heartily recommend watching Starsuckers in its entirety. For me, it was especially what the narrator says at 45:45 that sold me on it, and which I encourage you all to refer to the next time someone accuses you of reading too much into anything you see in the media:

p.s. Sorry for sounding so mercenary, but please let me remind everyone that any donations for my writing, however small, are very much appreciated. Unfortunately though, I haven’t actually received any since January 21(!), and I don’t get paid for my Busan Haps articles!^^

Funky Man (펑키맨) by After School (애프터수쿨) — Lyrics, Translation and…Critically Examining the Evidence for Double Standards in K-pop

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Do Korean censors disproportionately target female singers?

No, not just those shameless hussies that sing about what they’d actually like to do with their love-interests I mean, and/or dance and show some skin to that effect. Because despite some obvious exceptions, I’d wager that Korean censors are generally equal-opportunity prudes.

Rather, I also mean those female singers that promote such harmful ideas as, say, that romance involves more than just sitting around looking pretty, waiting for a guy to notice you. Or that when you’re angry with your partner, you should say so. As whatever the actual rationales given for the banning of their work, be they indirect advertising, mention of alcohol, not wearing seatbelts while driving, or alleged double entendres in completely innocuous English phrases, somehow it seems to happen to women’s songs much more than it does to guys’.

Or maybe I just get that impression because I only ever pay attention to the women’s songs.

So, starting today, and hopefully finishing over the summer break, I’m going to painstakingly go over every banned song and music video from January 1 2011, noting the whos, hows, and whys, then moving on to the next…all the way until December 31. As I finish each month, I’ll write up the results and my analysis here.

I guess the next songs I’ll be looking at will be G-Dragon (지-드래곤) and T.O.P.’s (탑) Knockout and Don’t Go Home then, banned on the 4th and 5th of January respectively (with the latter banned a second time on the 12th!). But before I do, let’s jump ahead to July, when the Youth Protection Commission (청소년보호위원회) of the Ministry of Gender Equality and Family (MOGEF; 여성가족부) banned After School’s (애프터수쿨) Funky Man (펑키맨) for its “sexually suggestive” lyrics.

Not just because I’m a big After School fan, or because the recent news that it’s been unbanned is what finally inspired me to do this little project. But also because the muddled way the banned lyrics are being reported on Soompi (and just about everywhere else) clouds the slight girl-power theme of the song as a whole, and in turn possible — but I stress, only possible — alternate reasons for its banning.

Let me explain:

(Source)

애프터스쿨 – Funky Man by Nana/나나 and Lizzie/리지; also featuring Kyung-min/경민 of Pre-School Girl

commin oh ma funkyman uh woo 좀더 깊숙히

fallin I I I I I can break U down!

…

날 흔들어봐 빙빙 Swing Ma Boy

날 유혹해봐 Keep it 맘대로

네게 빠져들게

그래 좀 뻔뻔하게

갖고 싶다면 Ring Ring Ring My Bell

느낌이 없어 넌 좀 부족해

못 참아 지루한 건

말해봐 너만의 Slogan

Commin, oh ma funky man, uh woo deeper

Fallin, I I I I I can break u down!

…

Shake me round and round, Swing ma boy

Try to seduce me, Keep it as you want so that I will fall for you

That’s right, shamelessly

If you want to have me ring, ring, ring my bell

I feel nothing, this isn’t enough

I can’t stand this boredom

Tell me your own slogan

(Source)

Originally, I copied and pasted the lyrics from Naver here, which still requires ID despite the unbanning. Realizing I was struggling with the translation because of the essentially arbitrary choice of line breaks made in that though, I decided to reformat them all, to better fit how they’re actually sung. And once I did, then in particular the question of who wants to have whom in line 8 — 갖고 싶다면 — suddenly made sense: if he wants to have her, the singer, then he has to ring ring ring her bell.

Also, if that “ring ring ring my bell” is just not the random, unrelated Konglish that it first appears, but actually an integral part of the song, then that opens the possibility that some of the other Konglish may be important too. Bearing that in mind, then the “slogan” in the last line for instance, isn’t so much lame as a handy rhyming device for the “건/geon” at the end of the line that precedes it.

But in that case, what exactly does the the “try to seduce me, keep it as you want so that I will fall for you” of line 4 mean? Does it mean that, very very literally, being shamelessly dominated is what is going to ring ring ring her bell, my surprising ultimate reading of the first verse?

You can imagine that it was with some trepidation then, that I turned my attention to the chorus…

(Source)

가슴 뛰는 나를 향해

O.K 짜릿짜릿하게

그렇게 오오오 (오오오) 내게 다가와 DON`T STOP

지금 내가 원하는건

O.K 아찔아찔한 Game (어떻게)

오오오 (오오오) 어서 달려와, 소리쳐봐

난난나 Crack Crack Funky Man! 오 baby baby baby shout

난난나 Rock Rock on Funky Man! 오 내게 내게 미쳐봐

오늘밤 너와 단둘이, 너무나 달콤한 story

나만을 위해 춤추는 puppet

My heart is thumping, come to me

OK thrillingly

Like that oh oh oh (oh oh oh), come to me DON’T STOP

What I want now

OK, a dizzy game (how?)

Oh oh oh (oh oh oh), hurry to me and shout

Na-na-na crack crack funky man! Oh baby baby baby shout

Na-na-na rock rock on funky man! Oh, try to be crazy about me me

Tonight, just the two of us

[It’ll] be such a sweet story

You are just a dancing puppet for me

(Source)

Great — that was the very opposite message in fact, and one which is continued in the the rest of the song too. But first, consider the way the banned lyrics are being described on Soompi:

The controversy was caused over the following lyrics from “Funky Man”:

“Oooh Ooh, a little deeper / shake me around / try and seduce me / for my chest that is pumping / OK make me tingle like that oh oh oh”

What do you think? Are the lyrics explicit?

Now that we’ve covered all of those particular lyrics, then you can see that they’re actually cobbled together from verse 1 and the chorus, whereas Soompi makes them look like a direct quotation of just two lines*. Why this difference is important, is because already they’re clearly not the only “sexually suggestive” lyrics throughout the song, which raises the question of why only those ones above were singled out by MOGEF. Let alone why this song was banned when others with equally or even more explicit lyrics weren’t.

Could the censors at MOGEF, perchance, have had different, unspoken motivations? Were they, in fact, just annoyed at how “You are just a dancing puppet for me” belittled men, and so banned it using the sexually suggestive lyrics as an excuse? Or alternatively, were they perhaps a little unsettled by what turns out to be a song not about a woman who wants to be dominated, but rather one very much on top?

Alas, all that is mere speculation at this stage, and arguably reading far too much into it — indeed, there’s been at least one occasion when MOGEF was actually quite explicit about banning a song for belittling men. Also, how much of an alpha girl does the woman in this song really come across as? Not just because of that first verse, but also because, whatever the song, being assertive and confident doesn’t necessarily mean that the woman demands that the guy come to her. Rather, shouldn’t she really be going after him herself?

*I translated “OK 짜릿짜릿하게” as “Ok, thrillingly”, rather than “OK make me tingle like that”, as quoted at Soompi. But I can’t tell if it’s an adverb or a causative, so either is possible.

(Source)

commin oh ma funkyman uh woo 좀더 깊숙히

fallin I I I I I can break U down!

…

날 바라보면 쿵 쿵 like a boom

넌 두근두근 쿵 쿵 feel so good

내게 말걸어봐

그래 좀 당당하게

날 원한다면 몸을 움직여

다른 남자는 모두 숨죽여

못참아 답답한건

시작해 너만의 Slogan

Commin, oh ma funky man, uh woo deeper

Fallin, I I I I I can break u down!

…

If you watch me your heart will pound like a boom

You throb and beat, boom boom feel so good

Try to talk to me,

Yes, like that, confident and commanding

If you want me move your body

Other men hold their breaths

I can’t stand it, this frustration

Start, your own slogan

(Source)

Finally, there’s the chorus, the first two lines of the first verse, the third verse, then the first two lines of the first verse again. To make it easier to follow along, I’ll put them all together:

commin oh ma funkyman uh woo 좀더 깊숙히

fallin I I I I I can break U down!

…

가슴 뛰는 나를 향해

O.K 짜릿짜릿하게

그렇게 오오오 (오오오) 내게 다가와 DON`T STOP

지금 내가 원하는건

O.K 아찔아찔한 Game (어떻게)

오오오 (오오오) 어서 달려와, 소리쳐봐

난난나 Crack Crack Funky Man! 오 baby baby baby shout

난난나 Rock Rock on Funky Man! 오 내게 내게 미쳐봐

오늘밤 너와 단둘이, 너무나 달콤한 story

나만을 위해 춤추는 puppet

말해봐 boy

모든걸 보여줘

서둘러 boy

이밤이 끝나기전에

매일 꿈같은 이야기

해주고픈 이맘 Crazy

오 가져봐

오 느껴봐

commin oh ma funkyman uh woo 좀더 깊숙히

fallin I I I I I can break U down!

Commin, oh ma funky man, uh woo deeper

Fallin, I I I I I can break u down!

…

My heart is thumping, come to me

OK thrillingly

Like that oh oh oh (oh oh oh), come to me DON’T STOP

What I want now

OK, a dizzy game (how?)

Oh oh oh (oh oh oh), hurry to me and shout

Na-na-na crack crack funky man! Oh baby baby baby shout

Na-na-na rock rock on funky man! Oh, try to be crazy about me me

Tonight, just the two of us

[It’ll] be such a sweet story

You are just a dancing puppet for me

…

Try to speak boy

Show me everything

Hurry boy

Before this night ends

Everyday, a story like a dream

This heart which wants to do [that] is crazy

Oh, try to have [me]

Oh, try to feel [me?]

…

Commin, oh ma funky man, uh woo deeper

Fallin, I I I I I can break u down!

(Source)

Did anyone else guess that the song’s actually about cheerleaders? No, me neither. And seeing as how management company Pledis Entertainment also claimed that there’s nothing sexual in the lyrics at all, then I’m not going to give much credence to that!

What I do take away from the song though, is a lack of substance and logic to the official reasons for its banning, which at least opens the possibility that the official reasons are not the real ones. And while mere possibilities are not evidence of course, if the biggest gaps between official denunciations of songs and their reality consistently occur in those about assertive females (sexually or otherwise), then, well, maybe that’s something.

Yes, I realize that that’s a little subjective, so I welcome alternative suggestions for judging this sort of thing. But either way, there’ll be far too many songs to cover to do much analysis. Instead, my aim is that all of the evidence I’ll present over the next few months will enable you to decide for yourselves.

Honestly though, as I type this I’m no longer so sure that the double-standards are quite as big as many people assume, not least myself. What do you think?

Excessive Photoshopping in Korean Ads: A Korean Critique

(Source: Busan Focus, p. 15, July 12 2011)

It’s strange I know, and it makes me sound facetious too. But I just can’t help it — every time I see excessive photoshopping, I think of Nazis.

Specifically, I think of how pervasive antisemitism in the Wiemar Republic undergirded their rise. As Daniel Goldhagen wrote in Hitler’s Willing Executioners: Ordinary Germans and the Holocaust (my emphasis):

A general problem in uncovering lost cultural axioms and cognitive orientations of societies since gone or transformed is that they are often not articulated as clearly, frequently, or loudly as their importance for the life of a given society and its individual members might suggest. In the words of one student of German attitudes during the Nazi period, “to be an anti-Semite in Hitler’s Germany was so commonplace as to go practically unnoticed.” Notions fundamental to the dominant worldview and operation of a society, precisely because they are taken for granted, often are not expressed in a manner commensurate with their prominence and significance or, when uttered, seen as worthy by others to be noted and recorded. (Vintage Books Edition, 1997, p.32)

Or in other words, antisemitism was considered a normal, natural, and pervasive part of daily life. So, very few people would ever have been motivated to comment on it, let alone critique it.

Now, I’m no expert on German history, and Goldhagen’s views remain controversial. But the abstract idea itself — that if something is ubiquitous in a society, but people aren’t discussing it, then it’s logical to assume that its presence is uncontroversial — remains valid, and can be applied in different contexts.

Herein lies the connection with photosopping in Korea, as excessive…nay, often simply absurd photoshopping is ubiquitous in advertisements here, and which — lest anyone underestimate their impact — people see between 500 and 1000 of a day. In particular, the advertisements above and below for instance, from the free daily Focus, would have been seen by millions of subway commuters daily, with the latter at least running for months last year.

(Source: Seoul Focus, May 17 2011, p. 13)

Yet while Koreans are indeed noticing and talking about that, when I’ve investigated I’ve never found any real critique of the practice of photoshopping itself, even when the writer(s) themselves argued that the models concerned didn’t need it.

Does this mean I’ve simply been looking in the wrong places? I sincerely hope so, and I’d be eternally grateful if anyone could point out any critiques that I’ve overlooked. But still: loath as I am to perpetuate the stereotype that Korea is forever behind the West, the fact that I’m having any difficulty at all is surely telling.

In short, there’s simply no evidence of a widespread backlash emerging against photoshopping here, unlike in Western countries.

Why? That’s an other issue, but I think that probably the biggest factor is that Korea is one of only two countries in the OECD (the other is Japan) that requires photographs on resumes, giving rise to a photoshopper on almost every block. And if photoshopping can get you a job, then I’m sure it can sound very indulgent, even naive to focus on its negatives so.

On the other hand, I often point out how quickly Korea is changing, and which is what makes it so exciting to live here and to study. I remain optimistic that much more awareness and concern will emerge in the next five years or so.

On that note, I’m happy to report that I have actually found a Korean critic, albeit over two years since I first used that quote from Goldhagen(!), and I’ve translated his blog post below. His name is Tam Jin-gang (탐진강), and his blog’s name is Stories about living in the world with Tam Jin-gang (탐진강의 함께 사는 세상 이야기). Relieved and ecstatic as I am to find his post though (and his blog as a whole looks very interesting too), I don’t agree with everything he says, and so I’ve interspersed some of my own quick comments with the translation (update — in retrospect, this format makes me sound a little snarky somehow; that wasn’t my intention!):

(Source)

영화 짐승 하의실종 신세경, 광고 각선미 비교해보니…스타 연예인의 포토샵 성형 미인 실태는?

**Compare Shin Se-kyung wearing hot-pants in The Beast to her bodyline in ads…for stars and entertainers, is it because of photoshop that they’re beauties?**

2011/07/19

우연히 포털에서 배우 신세경이 영화 시사회에 등장한 모습의 사진을 봤습니다. 서울 을지로 메가박스 동대문에서 영화 ‘짐승’ 시사회를 가진 것이더군요. 신세경 하면 시트콤 ‘지붕뚫고 하이킥’의 청순한 장면이 떠오를 정도입니다.

When I think of Shin Se-kyung, the first thing comes to mind is her innocent image from the sitcom High Kick Through the Roof. Then, accidentally, I saw a picture of her that was taken at the premiere of The Beast, held at Dongdaemun Megabox in Eujiro in Seoul.

영화 ‘짐승’은 세상에 단 하나뿐인 여동생이 갑자기 실종되자 그녀의 실종 흔적을 좇으며 점차 짐승으로 변해가는 한 남자의 외로운 사투를 그린 리얼 카리스마 액션 영화라고 합니다. 요즘 ‘백지영의 남자’로 알려진 연하 남친 정석원이 주인공이라 세간의 관심사로 떠오르고 있지요.

In this charismatic action movie, the younger (and only) sister of the main character suddenly disappears, and he becomes almost like a beast as he chases after traces of her, in a lonely and desperate struggle. He is played by Jung Sok-won, the younger boyfriend of Baek Ji-young, and is a big topic of gossip these days.

그런데 이번 영화 시사회에서 신세경의 사진은 평소와 달리 소위 하의실종 패션을 보여주었습니다. 대다수 언론 매체들은 아찔한 하의실종 패션이라는 식으로 표현을 했습니다. 또 다른 매체들는 ‘은근 튼실한 허벅지’라거나 ‘꿀벅지’라고 표현도 했더군요. 신세경의 사진을 본 순간 의류 광고에서 모습과 차이가 있다는 생각이 스쳤습니다.

At the movie premiere, Shin Se-kyung wore so-called “disappearing lower-body fashion”, which she doesn’t usually. So, most news reporters mentioned it, speaking of how bewitching she looked in it, while others spoke of her ever so slightly thick, firm thighs, or of her “honey thighs”. But then I saw a difference between the pictures of her at the premiere, and how she looked in advertisements.

영화 시사회에 나온 신세경의 허벅지에 놀랐다 /I was surprised at how her thighs looked at the movie premiere

신세경의 실제 사진은 광고에서 각선미와는 너무 달랐기 때문이지요. 한편으로 과거 신비주의 이미지가 강했던 터라 실제의 모습과 차이도 느껴졌습니다. 그래서 신세경이 의류모델로 나왔던 사진과 비교를 해봤습니다. 최근 모 여성의류 모델 사진의 경우 청순 글래머로 원조 베이글려 다운 면모를 과시하며 남성팬들의 마음을 사로잡았다며 심지어 ‘하의실종 패션 종결자’라는 수식어도 붙어있더군요.

[I was so surprised] because the pictures of what she looks like in real life were just so different (partially, because she has deliberately maintained a very mysterious image previously). So, I compared pictures of her modeling clothes to them. In one recent shoot, as THE original “bagel girl”, she captured male fans’ hearts by showing off her “innocent glamor”. And now with these latest shots from the premiere, she has even been given the label “disappearing lower body fashion ender” too [James – if someone is labeled the “ender” in something, he or she is considered the best in it, “ending” the competition so to speak].

물론 의류모델로서 신세경의 란제리룩 사진 모습은 날씬한 S라인 몸매는 물론 다리도 잘 빠진 각선미를 자랑했습니다. 영화 짐승 시사회의 현실 사진과는 크게 달랐던 것이지요. 결국 광고 사진은 포토샵에 의해 크게 보정된 것이었습니다. 광고 속 스타들의 모습이 포토샵에 의해 보정된다는 정도는 알고 있었지만 이렇게 심할 것이라고는 생각하지 못했습니다. 지금까지는 약간 보정하는 수준이라고 대수롭지 않게 치부했습니다.

As a clothing model, of course Shin Se-kyung had to show off her slender S-line when she did a lingerie photoshoot. But the resulting pictures were very different to those taken of her at the premiere of The Beast, because it turns out that the advertisements were heavily photoshopped. While this happens in all advertisements of course, I had no idea that it was done to quite that degree, and had assumed until now that it was only done for the sake of minor retouching and so on.

지난 청바지 광고에서도 신세경의 모습은 놀랍게 달랐습니다. 완벽한 몸매와 각선미를 보여주고 있더군요. 그러나 실제 신세경의 모습과 너무 차이가 크다는 것을 안 상태에서는 실망감이 앞섰습니다. 신세경의 잘못은 아니겠지요. 의류회사들이 스타 연예인을 내세워 광고를 하면서 포토샵을 심하게 하여 대중들에게 눈속임을 하는 것이 더 문제이겠지요.

I was disappointed with this jeans advertisement of hers also [James – the second set of images below], because now I knew that her perfect body and bodyline in it were so different to the reality. But this is not her fault. Rather, it is a problem of clothing companies deceiving the public through hiring top stars and then photoshopping their images so much.

그렇지만 실제와 다른 스타 연예인들의 포토샵 광고로 대중들을 기만하는 것은 다시 심하지 않나 싶습니다. 일부 대중들이나 청소년들이 광고 속 이미지만 보고 다이어트를 하다가 오히려 건강을 해치는 경우도 발생하고 있다고 합니다. 광고가 아무리 믿을 수 없다고 하더라도 여전히 대중들은 광고에 현혹돼 현실과 이상의 차이를 구분하지 못하는 경우가 허다합니다.

Some members of the public and teenagers diet after seeing such images in advertisements, and they can even harm themselves in doing so. So, however unbelievable the ads are, they can still blind and dazzle some people, who don’t realize how different to reality they are.

스타 연예인들의 광고와 화보, 포토샵의 힘이었다? / Stars’ advertisements and photoshoots are due to the power of photoshop?

사실 스타 연예인들의 외모는 이제 성형 미인이라는 말이 나올 정도로 일상화되어 있습니다. 그렇다보니 광고에서의 포토샵 보정은 당연한 듯히 비추어지기도 합니다. 포토샵 미인 시대라고 할까요. 스타 연예인들에 대한 포토샵 문제는 이미 네티즌들과 일부 언론에 공개되기도 했더군요. 가령 배우 신민아의 모 전자제품 광고에 나온 S라인 몸매가 포토샵에 의한 것이라는 사진 비교가 있었습니다. 그렇지만 신민아는 기본적으로 몸매가 우월한 편이었으며 다른 연예인의 포토샵 보정에 비해 애교 수준이기는 하더군요.

Actually, these days stars get cosmetic surgery to the extent that people think it’s normal for them, and that that is what’s responsible for their attractive appearance. Because of that, having their appearance altered by photoshop in ads is also seen as normal [James – a bit of a leap?]. Is this the age of the photoshop beauty then?

The media and the public are already talking about excessive photoshop [James – I beg to differ!!]. For example, comparing Shin Min-a’s ad for a notebook computer with an unaltered picture of her taken during the photoshoot [James – again, the second set of images below], you can see that she has been given more of an S-line in the former. However, she already has a good body, so this is only mild photoshopping compared to other examples.

지난해 방송된 ‘톱스타도 피해갈 수 없는 보정 작업의 힘’이라는 내용을 보면 연예인들의 포토샵 신공은 정말 다양했습니다. 당시 영상 속에는 ‘신이 내린 몸매’ 찬사를 받았던 제시카 고메즈를 비롯해 김태희, 이효리, 신세경 등 톱스타들의 비포 앤 애프터(before and after)가 담겨 있었지요. 김태희, 김희애, 오연수는 얼굴 주름을 없애 깨끗한 피부로 보정했고 제시카 고메즈는 배와 허벅지, 팔뚝의 군살을 제거해 완벽 몸매로 재탄생시켰더군요. 제시카 고메즈는 그나마 요즘 ‘댄싱 위드 더 스타’에 나오면서 과거에 비해 나아졌습니다.

Last year, there was a TV show titled “Even top stars can’t avoid the power of adjustment”, which showed various kinds of photoshopping examples. In addition to those of Jessica Gomes, at that time described as being an angel with “a body that was a gift from God”, there were before and after pictures of Kim Tae-hee, Lee Hyori, Shin Se-kyung, and so on. Kim Tae-hee, Kim hee-ae, and Oh Yeon-su had the wrinkles on their faces removed and their skin made clearer, while Jessica Gomes had fat removed from her stomach, thighs, and upper arms (although she has lost some weight since then, and so really does look a lot like the altered image now).

이 뿐이 아니었습니다. 이효리, 송혜교, 신세경은 다리를 길게 늘려 하반신 콤플렉스를 극복한 포토샵이 눈길을 끌었습니다. 실제와 달리 아예 몸매가 바뀐 것이지요. 이런 상황을 보면 얼굴 주름이나 잡티를 없앤 경우는 오히려 정직한 편에 속한 셈입니다. 결국 스타 연예인들의 사진 모습은 포토샵의 힘이었습니다. 대중들에게 예쁘고 멋진 모습을 보여주고 싶은 연예인들의 심정도 이해하지만 실제와 완전히 달라진 정도라면 문제가 있다 하겠지요.

And that’s not all. Taking account of their short legs complexes, Lee Hyori, Song Hye-gyo, and Shin Se-kyung had their legs and lower half considerably lengthened [James – while many women have indeed told me that they don’t understand men’s attraction to them, being so short and all, I’ve never heard that they themselves have complexes about their height]. They looked like they had completely new bodies. Compared to this, just clearing up moles and dark patches from a star’s skin is nothing.

In the end, star’s bodies in photographs are entirely due to the power of photoshop. While it’s understandable that stars want to look pretty in front of the public, changing their bodies to this degree is a problem.

지나친 포토샵 보정은 스타의 이미지에 되레 역풍을 초래할 수 있습니다. 대중들은 실제와 다른 사실을 알게 되면 사기당한 기분일 수 있겠지요. 따라서 포토샵 보정을 하더라도 자연스러운 상태를 지키는 선에서 약간만 하는 것이 좋겠습니다. 신세경과 신민아의 포토샵 차이는 자연스러움에 있겠지요. 신세경의 각선미와 몸매가 과도하게 보정됐다면 신민아는 허리 부분만 조금 보정된 것이라 눈에 덜 띄는 것이지요.

Excessive, extreme photoshopping can have its drawbacks. If the public realize how different photoshopped images are to the reality, they can feel betrayed. So, if it is to be done, it is best to keep things looking natural, only changing a little. [Indeed], the difference between Shin Se-kyung’s and Shin Min-a’s pictures are their naturalness. The former’s body has been changed out of all recognition, whereas the latter has only had a little done to her waist [James – I agree with the argument, but not the specific example]:

스타 연예인이라고 모두가 일명 뽀샵, 즉 포토샵에만 의존하는 것은 아닙니다. 무결점의 완벽한 S라인과 각선미를 보여주는 연예인도 많습니다. 김사랑, 박한별, 박가희, 한예슬, 유인나 등 연예인은 사진 화보와 실제 몸매가 크게 다르지 않습니다. 진정한 몸매나 우월한 기럭지의 연예인들이지요. 포토샵의 위대한 힘을 빌리지 않아도 된다는 점에서 이들은 축복받은 몸매인 것이지요. 그렇다보니 몸매가 안되는 연예인은 성형이나 포토샵의 유혹을 받는지도 모릅니다.

Not all stars and entertainers rely on photoshop. There are many that naturally have perfect S-lines. Pictures of Park Han-byul (left, below), Kim Sa-rang (right, below), Park Kahi, Han Yae-seul, Yoo In-na, and so on aren’t dramatically different to how they appear in real life. They are not only genuinely tall, but are blessed with good bodies that don’t require photoshop, whereas those that are neither are so tempted by photoshop and cosmetic surgery [James – I think this blaming is misplaced, and more than a little unfair. How much control do stars — “naturally beautiful” or otherwise — really have over how much advertisers photoshop them?].

인공 인조미인 보다 진정성있는 모습이 더 소중한 이유 / The reason why someone that shows their true colors is more valuable than a fake

실제로 광고사진 전문 스튜디오에서는 놀라운 일이 벌어진다고 합니다. 요즘 스타들은 얼굴만 빌리고 몸은 아예 보정작업을 통해 다른 사람으로 바꾸는 사례가 다반사라는 것이지요. 광고주가 원하는 얼굴과 체형의 모델을 구하기 어렵거나 스타 모델이 과도한 욕심으로 무리수를 두는 경우라고 합니다. 결국 진실의 문이 열리게 되면 뽀샵의 결과로 인해 웃음거리로 전락할 수 있는 경우입니다.

A strange thing happens in the studios where photoshoots for ads take place. These days, it is common for advertisers to photoshop a model’s head onto an entirely different person’s body. Either because they’re looking for a specific head and body type, but the model doesn’t have both, or because the model asks for it. If people knew about this, the models would be a laughing stock [James – I’m very very dubious about this. Not only is no evidence provided for the claim, but such examples would easily stand out, especially considering Korean photoshoppers’ extremely low standards for subtlety].

이제는 뽀샵 사진 문제는 스타 연예인만의 일도 아닙니다. 디지털 사진 이미지 기술이 발달하면서 일반 대중들도 주변에서 쉽게 포토샵 사진 작업을 할 수 있게 됐습니다. 길거리 사진관은 물론 일반 사람들도 PC에서 포토샵을 통한 보정을 하는 시대이니까요. 그러다보니 과도한 사진 보정으로 실물과 달라 소개팅에 나온 사람을 몰라보는 경우도 있었다고 합니다. 제가 아는 지인은 여권 사진을 찍었는데 사진관에서 턱을 심하게 깎은 보정 사진을 내줘 당황했다고 하더군요. 혹시 공항 검색대에서 잘못될까 두려워 다시 사진을 찍었다는 우스개 사연도 있습니다.

And these days, it’s not just stars that use photoshop. Digital imagining technology has so developed that even members of the general public don’t have to go to a photographer to have their images retouched, but can do themselves on their own PCs instead. As a result, people are starting to arrange dates over the internet but can’t recognize the other person when they finally meet, their online images being so different to the reality. Also, I personally have a friend [James – the writer doesn’t say if it’s a man or woman, but I’m going to assume the latter — V-lines are still generally considered to be a female thing, although advertisers are hoping to change this] who had so much shaved off her jaw in her passport photos that she was worried that her passport wouldn’t be accepted if she ever traveled overseas, and so she ended up getting new ones instead [James – there are many similar stories in the comments to the post on resume photographs].

청소년들 중에는 포토샵 사진 속 스타 연예인 몸매를 만들기 위해 과도한 다이어트에 나선 일도 있습니다. 건강이 우선인데 너무 심한 다이어트로 후유증에 시달리기도 하더군요. 스타 중에도 갑작스런 폭풍 다이어트로 얼굴이 쭈글쭈글해져 늙어버린 사례도 있었지요. 우리나라가 성형과 포토샵에 의해 인공 인조인간 증후군에 시달리고 있지 않나 싶기도 합니다. 스타 연예인들의 모습을 보고 따라하는 청소년들 탓만 할 수 없겠지요. 아직 제대로 가치관이 서지않은 아이들이 단지 포토샵 사진에 의존해 현실과 이상의 차이에서 혼란을 겪지 않도록 사회가 바로잡아줄 필요는 있다 하겠습니다.

In order to get bodies of their favorite stars, teenagers are dieting excessively. But their health should come first, and these diets are having serious side effects, while stars themselves too can get wrinkly skin if they diet too abruptly.

Due to cosmetic surgery and photoshop, I feel that Korea is suffering from a kind of artificial human syndrome. And we can’t just blame it all on teenagers following their idols. Yet we do still have to instill the right values in them, so they realize the huge difference between the reality and the “ideal” bodies presented in ads.

너무나 일상처럼 다가온 포토샵 사진 시대가 좋은 점도 있지만 사실을 왜곡하는 문제도 큰 것 같습니다. 잡티 제거 수준이 아니라 몸매 전체를 바꿔버리는 포토샵 성형이라면 더욱 문제이겠지요. 실제로 스타 연예인들이 포토샵의 힘에 의존해 변신을 하면서 청소년들도 아무 거리낌없이 뽀샵에 나서기도 합니다. 그러나 사실이 아닌 거짓의 모습은 결국 스스로에게 독이 될 수 있다는 것을 명심해야 겠습니다. 포토샵이 아니라 스스로 갖고 있는 자신만의 개성과 아름다움에 자신감을 갖는 것이 좋겠습니다. 그리고 스타 연예인들도 포토샵의 힘을 빌어 거짓과 위선의 미를 찾기 보다 진실하고 진정성있는 모습이 더 아름답다는 것을 알았으면 합니다.

Photoshop has become part of daily life, and does have its good point, but the distortion of reality is a big problem. Especially because it’s not just removing the odd blemish here and there, but changing people’s who bodies, as if it were a virtual means of cosmetic surgery. Accordingly, teenagers are photoshopping themselves too.

However, they have to remember that those images too aren’t real, but are lies, and that eventually they will be like a poison to themselves. Instead, they should have confidence in their own special personalities and beauty. Likewise, start and entertainers should be more genuine, and realize that they look more beautiful when they show their true colors, rather than relying on lies and hypocrisy (end).

Korean Sociological Image #68: Laughing at the 1970s Fashion-Police

(Sources: left, right)

Remember when the Korean Defense Ministry said it was considering playing girl-groups’ music videos on giant TV screens along the DMZ?

The rationale, according to the official that thought of it, was that “the revealing outfits worn by the performers and their provocative dances could have a considerable impact on North Korean soldiers.”

Alas, nothing came of the idea. But the irony was palpable: in the 1970s, such revealing outfits were deemed subversive by the military government, with ruler-bearing policemen stopping women on the street to measure the length of their skirts (they would also cut men’s hair if it was too long).

This difference is humorously illustrated in Samsung’s 2007 commercial for the Anycall Miniskirt (애니콜 미니스커트), with Jun Ji-hyun (전지현):

It’s disappointing that it was set in the UK though, which never had such ‘fashion-police.’ Why not pick from the wealth of Korean video and imagery from that period? (Just look under “미니스커트 다속” for instance, literally “miniskirt control/supervision/clampdown.”)

My first thought was because the ad is already doing some subtle fashion-policing, through informing the Korean public of the new de facto rules. That would be much less subtle with authentic Korean examples though, and the ensuing social message, however refreshing, would be at odds with the cheerful tone of this one.

On the other hand, we can make allowances for creative license; perhaps the advertisers just wanted a swinging ’60s vibe. Also, it’s not like Koreans themselves aren’t afraid to poke fun at their old, ridiculous laws on miniskirt length (not least because they weren’t removed from the books until as recently as 2006), nor critique modern fashion and body-image ideals.

Still, it is yet another example of a phone literally embodying a woman. As is LG’s recent LTE wireless ad, which isn’t subtle at all:

(Source)

On the left, the black text reads “If it’s only the shape/appearance of LTE, then it isn’t available everywhere,” while on the right the pink reads “If it’s really LTE, then it’s available in every city.” The headline in the middle reads “But it’s different,” and finally the text at the bottom reads “The one and only LTE, in touch in every city nationwide. Automatic roaming in 220 countries worldwide.”

Personally, I think the execution is flawed—if the woman on the left is supposed to only have the shape and/or appearance of the real LTE (confusedly, “모양” means both), then shouldn’t both women actually look and be clothed exactly the same, with some indication that they’re different for some other reason (say, by having the women on the left scowling)?

Either way, the advertisement’s other message is that the woman on the right, with high-heels, a V-line face, impossibly-long (and uneven!) photoshopped legs, and a dress that only just covers her underwear, is quite literally the modern standard that all agasshis (young women) should adhere to. Jun Ji-hyun’s bobbies would be proud.

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

Korean Sociological Image #66 – Inventing Labels for Women’s Bodies

(Source)

Introduction – Objectification Done Right

This may be an old ad, but it’s just a great introduction to my Gender Advertisements in the Korean Context lecture. I’ll probably still be using it 10 years from now.

First, because it shows the value in spending a couple of extra seconds to really look at an ad. Most readers probably immediately notice the faux scratches and blotches on it, reminiscent of a phone screen overlay, but it’s easy to overlook that Kang Dong-Won (강동원) and Kim Tae-hee (김태희) themselves are also supposed to resemble the advertised phone. Once you notice that his collar resembles the reflection on the screen though, then you’ll quickly realize that his grey button represents the dial, and that her black belt buckle matches the cover of the entry port, the curve of her breasts the back of the phone at the top. It’s really quite clever.

But still: if they’re supposed to resemble the phone(s), then why weren’t models of equal heights used? Or why wasn’t the layout of the ad rearranged and/or Kim Tae-hee photoshopped to make her look as tall as Kang Dong-won? Either would have been quite easy, as this second phone ad with the two of them makes clear (source).

To explain, I raise Erving Goffman’s concept of “Relative Size”, or the fact that, if random men and women are paired off together, then in 1 in 6 cases the woman would be taller than the man, whereas in advertisements it’s as low as 1 in 200. Later, I consider the obvious rejoinder that Kang Don-won and Kim Tae-hee were primarily chosen for their celebrity status, discussing why 65% of Korean advertisements feature celebrities, whereas it’s only 10% in most other developed countries. Finally, there’s also the concept of “Licensed Withdrawal” to mention, one aspect of which is how men are often shown providing virtual shields for women.

Bearing all that in mind, what does this Samsung SHW-A210S Shape Phone on the right remind you of (source), released back in November 2010? Specifically, the side, which according to Samsung is a particularly attractive feature of the model?

S-lines Will Sell Anything

What? You didn’t guess Uee (유이) of the girl-group After School (애프터스쿨)? Well, clearly that must be your own fault, as Samsung not only said it’s specifically designed to look like her profile (source), but this and this blogger agree.

Perhaps these screenshots from the phone’s promotional website will help:

(Source)

Alas, Samsung was really just attempting to capitalize on Uee’s star power, and on men’s interest in seeing and women’s interest in having an “S-line” (again, the copy makes that explicit). Lest we forget though, that actually means a great set of tits and ass, and it’s testament to the saturation of the term in Korean advertising and popular-culture that Samsung could get away with linking it to a completely unrelated inanimate object.

But that’s not the main reason I’m highlighting the phone here – after all, it’s by no means the first time the S-line has been used to sell one. The Wondergirls (원더걸스), for instance, did so back in 2008:

Instead, what makes this advertising campaign stand out is because on the one hand, Samsung is taking advantage of one body label to sell something, but on the other it’s attempting to replace that label a new one of its own creation – the yoptae (옆태), or “profile”.

The Invention Process

Actually, the campaign starts quite innocently, with Uee simply sketching profiles of things, finishing by announcing that it’s now “The Age of the Profile”. Later on in the campaign, visitors to the website would be encouraged to submit their own sketches and photographs in a competition:

(Source)

But not before viewers were show which kind of profile the campaign was really focused on. Skip ahead to 0:40 for fashion tips on how to show it off:

Next, Men’s Health cover model (source) and fledgling drama star (and friend of Rain!) Jung Sueng-kyo (정승교) is shown working on his own profile. And you’ve just got to hand it to Samsung for thinking of something that can be applied equally to men and women:

Instead of running with that equally-opportunity objectification though, we’re quickly back to women’s profiles. It’s difficult not to wonder if advertisers are just a little too used to using women’s bodies sometimes:

Context – The Profit Motive

Usually, when Korean body terms are explained to non-Korean audiences, then they’re made out as simple equivalents of English ones, the S-line and now profile substituting for the “hourglass figure” for example. But unlike that term, which I’d wager goes back to at least the infatuation with corsets in the 1800s, the S-line wasn’t even around when I came to Korea in 2000: jjookjjook-bbangbbang (쭉쭉빵빵) was used instead. Moreover, not only are so many invented these days that it’s difficult to keep track, but the pace and especially audaciousness with which this is done in Korea is nothing short of outstanding (source, below right).

(Update: I may be mistaken about how old the hourglass term is – Stuart and Elizabeth Ewen, for example, only mention the “Grecian Bend” in Channels of Desire: Mass Images and the Shaping of American Consciousness {1992; p. 75}. But surely it dates back to at least the 1950s?)

You are probably already familiar with the unbelievable example of the X-line for instance, which is literally only possible in Photoshop, but you may be surprised to also learn that companies are also constantly trying to get the public to redefine “established” terms too, lingerie company Vivian (비비안) hoping to make the V-line better known as the line between a women’s breasts rather than a triangular jaw (which Kwangdong Pharmaceutical sells – yes really – “Corn Silk Tea” to help you obtain). On top of that, Yes’ (예스) lingerie company and W Magazine would rather have that area of a woman’s body known as a Y-line and W-line respectively…while in turn other companies still would rather have the Y-line mean a woman’s back.

And that alphabet soup is just the tip of the iceberg when it comes to that competition for buzzwords and (re)definitions that will stick with consumers. But unfortunately there’s only so much I could fit on a Powerpoint slide!

Media Promotion

Of course, the media and Korean public are well aware of this – the combined image on the left of that slide is testament to that (I added the two on the right). But in my own experience, usually the latter finds the situation more humorous than concerning (a generalization I’d be very happy – but don’t expect – to be proven wrong), while the former merely “reports” on the new body labels (and others like “Gold Misses” – more abstract perhaps, but still very much designed to get women to buy things), only very rarely criticizing the process and/or its effects. In so doing, it serves to simply promote the term, whether that’s in direct collusion with the companies or otherwise.

Take, finally, this inane example from Star News, a transcript of which (from here) I’ve translated below. If you get confused by some of the dates mentioned in it, please note it was aired in November 2011:

스타 노출의 변화, 옆태가 뜬다? The way stars show off their bodies is changing, the “profile” look is now booming

[Y-Star] 스타들의 노출이 많아지면서 섹시한 앞태는 물론이고 일명 숨 막히는 뒷태라 불리며 신체의 뒤 라인이 주목을 받고는 했었는데요 이제 노출의 키워드는 바로 옆태가 됐다고 합니다. 새로운 섹시함의 상징, 옆태에 대해 <스타뉴스>가 알아봤습니다.

While stars have been showing a lot of skin recently, and of course people’s focus is on their sexy “front figures”, and most recently on their so-called breathtaking “back figures”, now a new body-revealing keyword is emerging – the profile. A new symbol of sexiness, Star News has investigated.

드라마 <브레인>를 통해 1년6개월여 만에 컴백을 알려 화제가 된 최정원.오랜만의 제작발표회에서 모습을 드러낸 것보다 더 화제가 된 것이 있습니다. 바로 옆태가 훤히 드러나는 파격 시스루 의상인데요

A year and half since her last acting role, Choi Jung-won has recently made a comeback in the drama Brain. At a press conference about it, the topic of how she looked was much more interesting than the drama itself, as she wore a striking see-through dress that was very revealing in profile.

[현장음: 최정원] 안녕하세요 <브레인>에서 지혜 역을 맡은 최정원입니다

[Choi Jung-won]: Hello everyone, I’m Choi Jung-won, and play the role of Ji-hyae in this drama.

(Source)

이날 최정원은 이번 시즌 트렌드인 토트 무늬가 가미된 블랙 원피스에 은빛의 과감한 킬힐과 우아한 헤어스타일을 더해 한층 성숙해진 매력을 과시했는데요

On the day of the press conference, Choi Jong-won showed off this season’s trend of a black one-piece with a jigsaw-like design; silvery, bold killer-heels; and had an elegant hairstyle, all of which combined to make to make her attractiveness all the more mature.

특히 옆태가 훤히 보이는 파격 시스루 원피스는 주위 시선을 사로잡으며 집중 플레쉬 세례를 받기도 했습니다

In particular, her profile, visible through her striking one-piece dress, received a lot of attention, getting lots of camera flashes.

이 아찔한 옆태노출패션은 작년 11월, 애프터스쿨의 유이가 선보이기도 했었는데요 일명 옆태폰이라 불리는 한 휴대폰 광고에서 보일 듯 말듯 옆태라인을 노출한 미니 드레스를 입고 옆태 댄스를 선보이기도 했었습니다

This dizzy profile-revealing fashion was also shown off by After School’s Uee last November, in a dance wearing a now-you-see-it-now-you-don’t revealing mini-skirt in a commercial for the so-called “Profile Phone” (source).

그리고 월드컵 축하공연을 위해 무대에 올랐던 포미닛의 현아는 붉은 악마 티셔츠의 옆 라인을 과감하게 자른 의상으로 파격적인 노출을 해서 화제가 되기도 했죠

Also, in a public performance to congratulate soccer World Cup players, 4Minute’s Hyuna appeared on stage in a Red Devil t-shirt with the side cut away, so revealing that it became a hot topic (see below).

지난해 유이와 현아에 이어 올해는 최정원 뿐만 아니라 많은 여배우들이 옆태를 내세운 몸매로 시선을 끌기도 했습니다

Following Uee and Hyuna last year, many actresses have drawn attention to their bodies by showing off their profiles, not just Choi Yong-won.

지난 10월 6일 개막한 부산국제영화제에서 파격적인 노출 패션으로 화제를 모았던 신인배우 오인혜.

This October the 6th, new actress Oh In-hye’s exceptionally revealing dress at the opening ceremony of the Busan International Film Festival also became a hot issue.

어깨는 물론 가슴을 거의 드러낸 오렌지 빛 드레스를 입은 그녀는 가슴라인과 등 라인을 노출한 것은 물론이고 아슬아슬하게 비춰지는 옆 라인은 보는 이들의 입을 딱 벌어지게 하기도 했습니다

Of course the orange dress showed off her shoulders, and almost completely exposed her breasts, but it was how dangerous she looked in profile [James – i.e., how close it was to also showing her nipples] that had people’s mouths agape.

그런가하면 지난 7월 14일 열렸던 부천 국제 판타스틱영화제 개막식 현장에서 가장 화제가 됐던 배우 곽지민은 앞트임, 뒤트임에 이어 옆트임까지 노출 포인트를 모두 갖춘 무한 노출 패션을 선보였는데요

(Source)

Also, at the opening ceremony of the Bucheon Fantastic Film Festival on July 14th, the hottest topic was actress Kwak Ji-min’s outfit, which, being open at the front, back, and the side, revealed almost everything.

[인터뷰: 곽지민] 반응이 그렇게 뜨겁게 될 지는 상상도 못했어요. 학교에서 특히 반응이 굉장히 뜨겁더라고요

[Kwak Ji-min]: I could never have imagined the reaction would have been so intense. It was especially heated at [the?] school. [Kwak Ji-min is 27, so I don’t know what school she’s referring to. Is she referring to a festival venue? – James]

Update: Thanks to (native Korean) Grace in the comments, who clarifies that Kwak Ji-Min is “referring to how popular that image is among schoolboys, saying that the reactions were hot from schools, i.e. the kids in school.”

드라마<내 마음이 들리니>에서 발랄한 캔디녀로 사랑을 받았던 황정음. 지난 5월 공개했던 섹시화보 제작발표회에서 언뜻 보면 평범해 보이지만 옆라인에 반전이 있는 의상을 입어 눈길을 끌었는데요 슬쩍 보이는 상체 라인이 더 아찔했다는 평가를 받았습니다

Hwang Jung-eum has received much love for her role as a vibrant and active candygirl [James – I’m told this means a young woman who’s cheerful and extroverted, especially someone who overcomes some kind of adversity] in the drama Can You Hear my Heart. In May, at a press conference for her new sexy photobook, at a glance she appeared to be wearing ordinary clothes, but if you looked closer you saw that she was wearing eye-catching ones that showed off her profile, making you think of her upper body in a new light [James – see here for my translation of a blogger’s thoughts on how such “exposure” affects her career].

이어 지난 7월 한 패션매거진 화보를 공개한 윤은혜는 옆 라인을 살려 상의를 탈의하고 손으로 가슴부위를 감싸 안은 파격적인 포즈로 화제가 되었죠 그리고 상체 위주의 옆태 라인을 강조하던 다른 스타와는 달리 하체 옆 라인을 과시하며 아찔한 각선미를 보여 주기도 했습니다

In July, Yoon Eun-hye became a hot topic by showing off her profile in a photoshoot for a fashion magazine, undressing her upper body and embracing herself, covering her breast with her hand. Unlike other stars that emphasize the top half of their profiles, Yoon Eun-hye mostly shows off the bottom half of hers.

이렇게 과감하게 옆 라인을 노출해 제대로 된 S라인을 뽐내는 스타들이 많았는데요 새롭게 떠오른 노출의 키워드 옆태! 적정한 선을 지킨 옆태 노출로 진정한 아름다움을 뽐내길 바랍니다.

There are now many stars that have been showing off their well-made S-lines through boldly exposing their profiles like this, making “profile” the new exposure keyword! But let us hope that nobody overdoes it, only showing off sincere beauty by exposing their profiles (end).

(Source)

If you were confused by the second to last paragraph, then you weren’t the only one: as is clear from the image above (seen in the video), Yoon Eun-hye’s photoshoot was actually in October, and the other pictures can only be said to emphasize the bottom half of her profile (alas, not her bottom itself) in that her legs are physically longer than the upper half of her body. But speaking of Yoon Eun-hye, and to end on a positive note, by no means does all the above imply that Korean celebrities feel compelled to show off every new body term out there, nor – if they do decide to – that they can’t exploit them for their own ends, and/or simply to feel sexy. For much more on that, please see here!

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

Korean Gender Reader

(Source)

Sorry for the slow posting everyone: alas, I’m so busy with all my offline projects these days that my planned posting schedule for 2012 is already proving unsustainable. But in the meantime, the news stories just keep coming!

• T-ara members sleep for 2 hours a day (Frank Kogan; see Seoulbeats also)

• Convicted rapist successfully uses the ‘crooked dick’ defense (The Marmot’s Hole; update)

• Korea divorce checklist for negotiation of a marital separation agreement in Korea (The Korea Law Blog)

• Parents tremble at ‘pleasure parties’ thrown by foreign instructors (Gusts of Popular Feeling)

• Travel in Korea still lacks women’s bathrooms (Travelwire Asia)

• 쓰레기 같은 학생, or, Why you might need pepperspray (Gord Sellar)

• Hair freedom for Seoul students (Hankyoreh)

• Internet hot over ‘bikini protest’ (Korea Times) vs. Gong Ji-young (“The Crucible”) Bikinis, Breasts and Weasels (Korean Modern Literature in Translation)

• Fat tax elicits mixed reactions from S. Korean public (Xinhuanet)

• Survey finds lots of sexual harassment at South Korean workplaces (Asian Correspondent)

• Korean women and western/white men: a complicated and troubled relationship (The Unlikely Expat)

• Women leading Korea (The Peninsula) vs. Lone Star and the women of Korea (The Wall Street Journal: Business Asia)

• Jeju Island, known for wind, women, and water…now has more men than women (The Wall Street Journal: Korea Realtime)

• My final post on Asian/white interracial relationships (Shanghai Shiok!)

• Brides-to-be being ripped off ahead of their big day (Hankyoreh)

• “[Is] dating a 28 year-old guy in Korea like dating a 15 year-old in the US?” Deconstructing inane and offensive reader questions (I’m No Picasso)

• An update to the above story – the question wasn’t as bad as it first looked!

• Ministry strives for women’s rights (The Korea Herald)

• South Korea’s racism debate – What debate? (Gord Sellar)

• Headline of the week: “Hard competition coming for erectile dysfunction remedies” (Hankyoreh)

• Entertainment agency representatives voice opinions on idol dating, marriages, and age-limits on usefulness (Allkpop)

• More elderly people sue their children for support (The Chosunilbo)

(Links are not necessarily endorsements)

Quick Hit: T-Ara’s Stereotyping of Native-Americans in YaYaYa

(Source)

Shocked and confused by the video for YaYaYa (야야야)? If so, I give a very quick introduction to K-pop and media representations of other races in Korea over at Sociological Images, to help readers unfamiliar with either place it in some context.

If you’re one of those, I hope it does, and I especially recommend one of the links I give in the post – Who is Korean? Migration, Immigration, and the Challenge of Multiculturalism in Homogeneous Societies, by Timothy Lim – for anyone further interested in race-relations in Korea.

Meanwhile, I was tempted to translate the lyrics too, but they’re ~~too inane~~ already adequately covered at Allkpop. Instead, this Friday I’ll be covering Pray (기도) by Sunny Hill (써니힐) .

Until then, Happy Chinese New Year’s everybody!

International Magazines in Korea: A Cultural Invasion? (Part 1)

(Sources: left, right)

With covers like these, it’s easy to overestimate the “Westernizing” effects international magazines have on modest Korean readers. Especially by those who resent such changes.

Say, those who have ever called someone a “beanpaste girl” (dwengjangnyeo; 된장녀) for instance, a derogatory term for young women that supposedly spend beyond their means in pursuit of a Sex and the City lifestyle. But which in practice they can be called for doing no more than simply buying Starbucks coffee, nice clothes, or foreign food.

When such decadent women want to do some reading while sipping their frappuccinos though, until recently they were much more likely to be seen behind an international women’s magazine than a purely Korean one. That wasn’t just confirmation bias by their accusers.

Why are they so popular? And why, despite that, are they still not quite as big an influence as they may appear? Let’s answer the first question in this post and Part 2, and the second in Part 3 after that.

(Sources: left, right)

There are three reasons they are so popular. First, a practical one. Consider why they were once able to justify more expensive ad rates than Korean competitors, despite having much lower circulations (Sook & Firth, 2006; see the end of the post for references):

According to an interview with a media expert in an ad agency (June, 2004), international magazines justify [them] by claiming that they use modern printing techniques, higher quality paper, glossy covers, and more sophisticated advertising techniques…

I doubt that this difference in quality still applies in 2012. But when it did, it would have quite literally added some gloss to their preexisting exotic appeal. So much so, that the combination meant that international magazines:

…[could] deliver the ‘right target’ to advertisers. Instead of housewives, the major target audience of international magazines is single women. They are a segment who is interested in fashion and beauty and who possess disposable income.

Having different targets meant different content, which is the third and the most important source of their greater popularity, to be covered in Part 2. Indeed, jumping ahead, the greatest impact of international magazines has been that: a) most domestic competitors have likewise sexed-up their own content in order to better appeal to spendthrift single women; and b) a slew of wholly Korean magazines exclusively aimed at them have also appeared (e.g. Singles/싱글즈, not quite the symbol of Western depravity it may at first appear). And in light of that, it behooves me to point out that this series of posts is based on 5 and 6 year-old sources using 8 year-old data, and to reiterate that international magazines may actually no longer be the preferred choice of single Korean women.

But still: regardless of which are the more popular now, and well before consumers can get to grips with content like “His First Sex”, first they have to be persuaded to open a magazine at all. And ever since the first Korean edition of Elle appeared in the Korean market 20 years ago, international magazines’ combination of exoticism and content aimed at young, hip Korean women (rather than fuddy-duddy ajummas) has been a powerful and enduring source of appeal.

Possibly, the sophisticated consumer in you balks at that at something so simplistic-sounding, especially if you’re one of those young, hip Korean women yourself. But then no matter how impervious to suggestion we all like to think we are, on occasion we’ve all bought magazines primarily for things as frivolous as: the feel of the glossy paper; the “edgy” photography; ego-boosting headlines (“2012 Is Your Year!); the rebellious frisson of purchasing something with a nude person on the cover in a crowded bookstore; and so on. Maybe, if we’re honest, as something to be seen with too, and/or because we feel it’s what our imagined selves ought to buy. For its possession can signify aspiration towards or membership in a social class or group (in sociological terms, a form of “objectified” and/or “institutionalized” cultural capital), even if only to ourselves.

Say, like my April 2000 copy of the New Zealand music and lifestyle magazine re:mix for instance:

Partially, I present that here to demonstrate that I’m not trying to distance myself from people who buy magazines for “shallow” reasons, a common failing of commentators on pop-culture. But primarily, I do so to admit my own intellectual baggage, and the possibility that I’m simply projecting. By all means, please call me out on that if you think so, and of course just because re:mix happened to trigger various cyberpunk-millennial fantasies in me at 24 – and, ahem, still does at 36 – doesn’t mean that all 24 or 36 year-old Korean women likewise buy international magazines simply to indulge in their own Occidentalist fantasies.

But then, surely some do. And whereas I knowingly made particularly strong associations between a magazine and a life I aspired to, the possibility of consumers making any associations at all is precisely what magazine editors are aiming towards, influencing all aspects of its production. As this marketer explains:

Consumers have gathered from the beginning of consumption. Auto enthusiasts, quilting bees, and Tupperware parties are early examples of the impulse. Many consumer groups share an affiliation that is based upon enthusiasm and knowledge of a specific consumption activity.

In fact, academics and consultants have recognized these groups and dubbed them “consumer tribes” – a term borrowed from anthropology, describing groups of people who are brought together not around something rational, such as a job, but around deeper, more profound needs, such as kinship, passion, and identity.

Moreover, just like advertisers are constantly inventing new role models for consumers to aspire to, all the better to sell them products that (supposedly) help them achieve that goal, it’s especially helpful for companies if those creations are centered around their brands (think of the stereotypical Apple or Harley Davidson consumer for instance). This is especially true for foreign companies entering a new overseas market for the first time, as (source, right):

…they seek a sense of familiarity and want control over their brands. In order to meet their demands, advertising agencies focus on “developing what are deemed to be more cost-effective global campaigns that circumvent national borders by creating more expensive global consumer tribes linked by lifestyle values or preferences rather than spatial location.” (source, quoted in Sook & Firth 2006; my emphasis)

Logic which certainly applied to magazine producers (quite explicitly so by Cosmo below!), and accordingly it’s via advertising that international magazines can be said to have had the greatest Westernizing effect on the Korean media, as will be discussed next week.

But before I do, let me leave you with a parallel from the real world, lest you’re still unconvinced about the importance of branding by magazines.

(Source)

To be precise, a parallel from an unidentified brand name shoe store in North England. Sociologist Steven Miles worked there for 10 weeks in the mid-1990s, posing as “an especially enthusiastic member of staff who was showing particular interest in customers and their purchases”, asking them numerous questions in order to (Miles, 1998):

…address the significance of consumption in their lives, most particularly in relation to the training shoes (sneakers) they were considering purchasing. The meanings with which these shoes were endowed, the role that these meanings played in the construction of personal identities, and the cultural context in which such meanings operated, were therefore the issues addressed….

The priority…was for the customer to discuss the role that training shoes (and often, as the conversation developed, other types of consumer goods) had in their lives, and what factors they believed influenced that role.

Sneakers may sound like a strange topic here, but recall that they were once considered so important by young people that they were prepared to mug and even kill for them, and Miles is very positive about the important, pro-active role one’s consumption choices can play in one’s identity, whether of sneakers of anything else.

However, it’s especially the next that has echoes in the purchase of magazines, by any age group (source, right):

…consider the atmosphere that the management actively seeks to promote in its stores. All branches of the sports store concerned are dominated by a large TV monitor overlooking the shop floor. This acts as a magnet for passing customers. British branches of the store often broadcast MTV…as far as the head office is concerned, this helps to create a relatively straightforward means of perpetuating a superficial feeling, on the part of the customer, of personal familiarity with what it is to experience this particular store.

And in particular (my emphasis):

What is also of interest in that paradoxically, measures are taken by the company to actively disguise the impersonal nature of the experience of shopping [there]….Though on the one hand the company’s training literature is entirely open about the importance of giving the consumer a common experience on entering the store in whatever country, on the other, any hint that efforts are being made to control such an experience are hidden from the customer’s actual perception of the shopping environment.

In the case of international magazines, these can be things as trivial as the choice of font and line-spacing, all designed to replicate the appearance and style of the overseas editions on which they’re based. Which may sound trivial, but next week I explain that, these days, Korean editions of international magazines have on average only 30% of “lift” material taken from those (down from 60% a decade ago), much of which has no more resemblance to the original articles and so on than the rough subject and the look. Or in other words, that “international” magazines sold here certainly have a foreign veneer, but are really a lot more Korean than they may seem.

Yet a veneer considered so enticing to consumers, that the Korean magazine Woman Sense/우먼센스, for instance, would change its cover title to English in 2009:

(Sources: left, right)

But all that will be discussed in Part 2 and 3. And on that note, apologies for the day’s delay with this post, the best I could do after having to get my modem changed 3 nights in a row last week(!) and thanks to all readers who tried to find copies of Sook’s and Firth’s papers below for me, and/or passed on other interesting related papers instead. As it turns out, while their download links on their citation pages here and here still aren’t working, if you do a search on the main allacademic page for, say, abstracts with the terms “Korea” and “magazines” in them, then you’ll get a list of search results with links that do work, and so you can click here and here for PDFs of them (or just ask me to send them).

Sources:

– Oh, Hyun Sook. and Frith, Katherine. “International Women’s Magazines and Transnational Advertising in South Korea” Paper presented at the annual meeting of the International Communication Association, Dresden International Congress Centre, Dresden, Germany, Jun 16, 2006

– Oh, Hyun Sook. and Frith, Katherine. “Globalization and Localization in the Production Process of International Women’s Magazines in Korea” Paper presented at the annual meeting of the International Communication Association, TBA, San Francisco, CA, May 23, 2007

– Miles, Steven, “McDonaldization and the global sports store: constructing consumer meanings in a rationalized society” in Mark Alfino, John Caputo, and Robin Wynyard, ed.s, McDonaldization Revisited: critical essays on consumer culture, Praeger Westport, 1998, pp. 53-65.

Update, October 2013: Alas, I never did get around to writing Parts 2 and 3, feeling that they would require too much regurgitation of the source material. Instead, I wrote a single, much shorter article for the Autumn edition of Busan Haps.

Quick Hit: Disney Princesses as Cover Girls

(Source)

As explained at Visual News:

Many girls dream of being princesses and many also imagine a fairy tale of their face gracing the cover of popular fashion magazines. Young artist, Tumblr user, and admitted Disney fan, Mary (Petite Tiaras) gives us a mashup of the best of both worlds by designing covers for popular fashion magazines, such as Vogue, Vanity Fair, and Elle, with Disney princesses as cover girls.

See there for more examples. A big fan of Peggy Orenstein’s Cinderella Ate my Daughter, I loved the uncannily accurate satire, and couldn’t help but compare some real Korean magazine covers, compiled together each month by Eiffel in Seoul:

(Source)

Probably the biggest thing of note though, is the lack of Korean celebrities on any covers except Céci, which is a little disappointing. Lest the editors be accused of cultural imperialism though, Korean consumers actually tend to prefer Western models and celebrities, at least in women’s magazines.

Also, I was hoping that seasoned pop-culture commentator Alice Jeong Turnbull (5), would be more scared than drawn to them (especially that “edgy” allure cover), but instead she told me that they were “nice”. Still, I suppose that’s an improvement over the usual “pretty”!

Happy New Year’s everybody!

Oh In-hye: “I don’t regret wearing that revealing dress”

Source: Freeutil

My translation of her interview in Busan Focus, December 6 2011, p. 23, by Jang Byeong-ho:

“I Don’t Regret Wearing That Revealing Dress”

Issue-maker Oh In-hye, main star of Red Vacance, Black Wedding, Dreams of becoming a “humanist actress”

“There have been big changes since the Busan International Film Festival (BIFF). At the time things were just crazy, but now I’m quite relaxed. Things have returned to what they were like before BIFF”.

On the 5th, I met Oh In-hye at a coffee-shop in Seoul, the actress who has been in the spotlight for wearing such a striking dress at BIFF earlier in the year. I couldn’t help but be curious at how she felt about being at the center of such controversy.

“Before I went to the film festival, I thought my visiting it would just be reported as “An actress called Oh In-hye attended”, she said, but to her it was her first time, and an amazing experience. Also, while she was very hurt by malicious news reports and what netizens wrote about her, she confidently said to herself to “have no regrets”, and that “If I am to go again to the opening ceremony of a film festival, I’ll wear a revealing dress again. But perhaps revealing just a little less though!” (laughs).

Also, Oh In-hye is thinking about using the interest in her as an opportunity, “It’s all water under the bridge. Instead, now I have a goal of changing my revealing image. And if I have a goal, I should work on it, right?” she openly and honestly revealed, a complete contrast to the sexy demeanor she possessed when she was wearing the revealing dress. But she also said that she was worried that her revealing image would distort the message of her coming movie Red Vacance, Black Wedding, coming out on the 8th of December.

Oh In-hye has yearned to be an entertainer since she was very young, but didn’t set on an acting path until the relatively late age of 22 [She is 27 now]. From 2 to 3 years ago, she has worked without an agency, and firmly said that she “has no plans to join one. I want to be a humanist actress, not just an entertainer who makes issues.”

Finally, she admitted that the director Lars von Trier and the actress Penelope Cruz, Oh In-hye revealed that “increasing my acting ability by studying a lot of acting is my biggest homework!”, leaving this reporter curious about her honest and forthcoming persona (End).

Source: Adman

The Origins of “Ajosshi Fandom”?

Did you know that middle-aged sexual harassers often claim that they were just being affectionate, touching the victim simply as if they were their own daughters? Naively perhaps, I had no idea, so I didn’t give this commercial a second thought when it came out in 2005. But armed with that knowledge, I can certainly understand why it would have made so many women uncomfortable, as pointed out by Park Hee-jeong (박희정) in her article on the commercial that I’ve translated below, and which was echoed by numerous commenters.

Then it hit me. If all this was already well-known by the Korean public in 2005, then it takes no great leap of the imagination to see how middle-aged men’s sexual attraction to 15 and 16 year-old girl-group members could so quickly and readily be framed in the same terms just a couple of years later, albeit more as an avuncular (uncle) love rather than a paternal one for some reason.

That would remain the case for the next few years, as you can read about in depth here, here, here, here, and especially in Soo-ah Kim’s article “The Construction of Cultural Consumption Way: The Discourse of Uncle Fans with the Girl-Idol Group” in Media, Gender & Culture, 15 (2010): 79-119 (“소녀 이미지의 볼거리화와 소비 방식의 구성: 소녀 그룹의 삼촌 팬 담론 구성”, 미디어, 젠더 & 문화), as she was one of the very few prominent academics challenging that consensus at the time. Only upon a perceived spate of sex crimes against children in July 2010 would the media begin (and I stress only begin) acknowledging the sexual element, and how that could be problematic.

Of course, that’s just scratching the surface of ajosshi (아저씨; middle-aged man) fandom, and I certainly don’t want to imply that middle-aged men’s interest in young girl-groups can’t be anything but sexual. Nor that when it is sexual though, that that’s fine for 20 and 30-somethings, but somehow wrong or “unnatural” when coming from older men. Either way, the crucial thing is that it’s acknowledged, and that the impact of —and consequent possible restrictions on—entertainment companies using underage performers to cater to this sexual interest are considered.

This “just like my daughter/niece” rationalization though, is a complete denial, and deserves further exploring: finding it in two different contexts can’t just be coincidence. In particular, I think that that it may—and I stress may—be much more common of Korean harassers than of those from other countries, and would appreciate it if readers could confirm or deny this.

Meanwhile, Park Hee-jeong’s article is more about the memories of such harassment the commercial evokes, and especially on the “beautiful flowering”-type gender socialization contained within the narration. I think she overstates the latter a little when she discusses how awkward the reality of puberty is for girls though, as it’s certainly no picnic for boys either, with other family members likewise invariably embarrassing them or making them feel uncomfortable as they develop. Also, when she implies that wet dreams are celebrated as a sign of manhood, then it’s clear that actually she knows very little about raising teenage boys. But still, it’s a very eye-opening short article, and thanks again to the reader that passed it on to me:

딸의 미소는 남성들의 판타지일 뿐 삼성생명 TV광고 ‘인생은 길다’ 딸 편

A Daughter’s Smile is Only a Male Fantasy, Samsung Life Insurance ‘Life is Long’ Daughter Version

저녁 식사 자리, 등을 두드리는 아버지의 손길에 딸은 불편한 얼굴을 보인다. 알고 보니 처음 착용한 브래지어가 신경이 쓰였던 것이다. “장조림 많이 먹어라” 하며 다독이는 아버지의 말에 딸은 수줍게 미소를 짓는다.

As a father and daughter sit down to eat dinner, he gives her an affectionate pat on the back and says “Eat up!”. But we see that this makes her uncomfortable, as she is wearing her first bra, and later she gives an embarrassed smile to her father.

삼성생명의 TV광고 시리즈 ‘인생은 길다’ 중 딸 편의 내용이다. 화면이 진행되는 동안, 광고에서는 아버지의 목소리로 “딸의 인생은 깁니다. 어느새 여자가 될 것이고, 사랑을 하고, 결혼하고 엄마가 될 것입니다” 라는 나레이션이 흐른다.

In this commercial, part of the Samsung Life Insurance “Life is Long” series, the daughter is the focus. In the background, the father narrates “My daughter’s life will be long. Before I know it, she will be a woman. She will fall in love, she will get married, she will become a mother”.

(Source: Handsome in Pink)

‘훈훈한’ 성장의 확인?

Affectionately noticing how his daughter is developing

이 광고는 딸의 성장을 깨닫는 아버지의 마음을 다루고 있다. 훈훈하고 감동적이어서 ‘눈물까지 흘렸다’는 아버지들의 이야기도 들리는 걸 보면, 많은 남성들이 이 광고의 정서에 공감하고 있는 듯하다.

In this commercial, the father notices that his daughter is growing up. Seeing as many men have been so moved by it as to be almost crying, it is indeed a warm commercial that plays on one’s heartstrings.

그러나 한 켠에서 불편한 감정을 호소하는 여성들의 목소리도 흘러나오고 있다. S씨(28)는 광고를 보며 느꼈던 불편함을 이렇게 말한다. “브래지어를 한 등을 만지는 모습이나 움찔거리는 딸의 모습이 싫었어요. 그 상황에서 느꼈을 기분 나쁜 감정이 떠올라서. 실제였다면 그 상황에서 결코 딸은 웃지 못하죠.”

On the other hand, women are expressing feelings of awkwardness with this commercial. Miss S (28), said it made her uncomfortable, and that “I hated it when the girl shivered after being touched on the back by the father. That feels nothing but bad. Daughters wouldn’t be able to just laugh about it, yes?”.

우리 사회에서 딸들에게 성장, 특히 ‘성적인 성장’은 훈훈한 경험이 되지 못한다. 광고 속 딸도 브래지어를 한 등에 아버지의 손이 닿자 깜짝 놀란다. 십대 여성들에게 성적 성장은 부끄럽고 감추고 싶은 일처럼 되어있다. 브래지어 자체도 몸의 건강과는 상관없이 가슴을 보정하고 감추기 위한 것이지 않은가. 그런 면에서 브래지어를 착용하고 긴장하거나 누가 만지기라도 할까봐 안절부절 못하는 딸의 모습은 훈훈하기 보다는 차라리 안타까운 모습에 가깝다.

In our society, growing up, especially sexual development, is by no means a warm and wonderful experience for girls. In this commercial, even the daughter is shocked and surprised by the father touching her on the back. After all, the bra itself is for hiding and adjusting one’s breasts, regardless of how healthy one’s body is [James – I think this means it is taboo for women not to wear a bra in Korea]. Moreover, worrying about having one’s bra touched [James – Or noticed and/or pointed out?] is a source of tension and stress for girls, making the scene more something to be lamented than as an example of fatherly affection.

“딸 같아서 만진다”

“I touched her because she’s like my daughter”

여성들이 이 광고를 보면서 느끼는 불편함의 한 켠은 ‘몸을 만지는’ 행위에 있다. 우리 사회에서는 가족이라든가 친하다는 이유로 타인의 몸에 손을 대는 행위가 쉽게 용납이 되는 경향이 있다. 나이 지긋한 분이 성희롱 가해자로 지목되면 “딸 같아서 만진 건데 잘못이냐?”는 변명(?)이 나오는 것도 그런 이유다.

One reason women feel uncomfortable watching this ad is because of the act of the daughter’s body being touched. That is because our society approves of and/or grants permission to men touching them in a friendly manner, like they would their own family members. Indeed, when an older male is accused of sexual harassment, often he fastens on to the excuse that “Can’t I affectionately touch someone like my own daughter?”.

그러나 성장을 기뻐한다는 의도로 몸을 만지는 일들이 자식들의 입장에서는 기분 나쁜 일이 되기도 한다. P씨(30)는 초등학교 시절 가슴이 나오기 시작한 걸 흐뭇해하던 아버지가 맨 가슴을 만진 일에 상처를 받았다고 한다. “아버지야 나쁜 의도가 없으셨겠지만 기분이 나쁘고 싫었거든요. 기분 나빠하는 걸 귀엽게 여기는 게 더 싫고 화가 났지만, 별 수 없었죠.”

While one can touch children because you’re pleased with how they’re growing [James – I highly doubt this is meant in a pedophilic sense. But the next sentence definitely does sound strange though], from children’s perspective it can feel quite bad. Miss P (30) said that when she was in elementary school and her breasts had started appearing, her father touched them in a pleased way [James – as in, “Wow, my girl’s growing up!”] and that this [emotionally] hurt her. “My father didn’t mean anything bad by it, but I still felt bad and hated it. My father thought it was cute though, which just made me angry and hate it all the more, although I couldn’t do anything about it”.

“딸 같아서 만진다”는 말이 통용되는 사회에서 삼성생명의 광고는 많은 여성들에게 불편한 기억을 환기시킨다. 광고 속에서는 의도된 스킨십이 아니었지만, 불편해하는 딸의 모습을 아름답게 바라보는 시점 자체가 이미 여성들을 불편하게 만들고 있는 것이다.

“I just touched her like I would my daughter” is an excuse used so much in Korean society, that this Samsung Life Insurance commercial evokes many uncomfortable memories in women. In particular, having something that would in reality be so uncomfortable for the daughter, to be just cutely dismissed instead, already makes women feel uncomfortable. Even though the father’s intention was not skinship [James — i.e., not sexual. See #2 here for more on what “skinship” is].

(Source: Women and Career)

여자로서의 인생?

Life as a woman?

광고의 마지막에 수줍은 미소를 짓는 딸의 모습은 그래서 불편할 뿐만 아니라 현실적이지도 못하다. 성적인 변화를 부끄러워하고 수줍어하는 십대여성의 모습을 아름답게 여기는 것은 남성들의 판타지일 뿐이다.

The commercial’s final scene with the girl shyly smiling is not just uncomfortable and awkward, but unrealistic. The notion that a teenage girls’ sexual development is beautiful is just a male fantasy, whereas in reality it is embarrassing and often full of shame.

무엇보다 딸의 성장을 대표할만한 것이 어째서 브래지어가 되어야 하는가. ‘여자’ ‘사랑’ ‘결혼’, 딸의 인생을 한정 짓는 말의 진부함은 더 말할 필요도 없다.

More than anything else, why on Earth is a bra considered so representative of daughters’ development? And there’s no need to limit her future to simply the old-fashioned goals of becoming a woman, of falling in love, and getting married either (source, right: unknown).

바 꿔서 생각해보자. 이를테면 처음으로 수염이 나거나, 첫 몽정을 한 아들을 두고, “어느새 사랑을 하고, 결혼을 하고, 아빠가 될 것입니다” 라며 흐뭇함을 느끼는 어머니의 모습은 쉽게 연상되는 이미지는 아닐 것이다. ‘아들의 성장’이 가지는 이미지는 성적 성장, 가정을 이루는 것 등에 국한되지 않기 때문이다.

Let’s try changing the sexes. Instead of a son’s first shave or wet dream being a sign of manhood, let’s imagine a mother sitting in front of her son thinking “Before I know it, he’ll fall in love, get married, and become a father”. Unlike daughters, when you think of sons growing up, you don’t only think of their sexual development and of them becoming parents themselves.

삼성생명의 ‘인생은 길다’ 시리즈 광고를 두고, 흔히 접할 수 있는 보통 사람들의 모습을 담고 있는 ‘리얼리티’ 광고라 한다. 그러나 그 리얼리티 속에 실제 딸의 성장과 느낌은 박제되어 있다.

Samsung Life Insurance’s “Life is Long” series is widely seen as very touching and realistic. But [hidden] in that [fabricated] reality are daughters’ real feelings and development (end).

Korean Sociological Image #65: First Commercial to Positively Feature a Korean Woman with a Non-Korean Man? (2006)

(Source: Paranzui)

Turn on a Korean TV, and you won’t be waiting long before you see a commercial with a Korean man in a relationship with a non-Korean woman. But for a long time, I was only aware of one ever produced with the opposite pairing, which I discussed back when it came out in July last year.

Since then, there has also been at least one music video produced that positively features a Korean woman with non-Korean men (not just the one man in this case!), which you read more about at Mixtapes and Liner Notes and Fanboy vs Fangirl here, here, and here. But again, there’s many many more with the opposite pairing (see here, here, and here for examples). And as far as I know, no more commercials with Korean women hitting on non-Korean men.

It turns out though, that Lee Hyori (이효리) did so back in 2006 in a commercial for Anycall, a mobile phone brand. I must have seen it a hundred times on TV that year, but only ever the fifteen second version, in which the ethnicity of the lucky gentleman at the end was unclear. I would automatically have assumed he was Korean then, but he’s actually Caucasian (with a hint of Latino?), as you can see at 0:27 in the thirty second version above.

As always, I’d be happy to be proven wrong — again(!) — with any further examples of similar pairings. But I doubt I’ll ever receive enough to challenge this clear discrepancy in the Korean media’s representations of different genders and races, which is why I raise it here.

For any readers further interested in why that discrepancy exists, please read last year’s post for more background and many more links.

Update 1) As soon as I’d packed away my netbook and was walking home, I remembered that there was indeed one more example from last year, a promotional video for the 2010 G-20 Seoul Summit. It features a Korean woman and Caucasian man having a traditional Korean wedding, just like I had (the kiss is just for show though—traditional Korean weddings are really quite sombre affairs!):

Update 2) With thanks to Dan for passing it on, here’s a recent commercial for a smartphone, apparently with screen quality so good you’ll be able to see your foreign boyfriend’s bit on the side reflected in his sunglasses:

Until I saw that, I was wondering if the “positively” in the title was a little redundant. But now it seems more apt than ever!

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

(K)Pop Art는?

(Sources: left, right)

What comes to mind when you hear that Korean(?) cosmetic brand Clio (클리오) hosts a biennial Clio Cosmetic Art exhibition? That it sounds more like a brand tie-in than a genuine attempt to encourage original and thought-provoking art? The purist in me couldn’t agree more, especially when you consider that some works in the 4th (2009) and 5th (2011) exhibitions were not just inspired by, but use the very same photos as Clio’s own advertisements, prominently featuring brand endorsers Kim Ha Neul (김하늘) and Lee Hyori (이효리) respectively.

When its at the behest of the advertiser itself, arguably the ensuing pop-art loses its edginess.

But art doesn’t have to be radical to look good. What’s more, when you combine the images with the women themselves, then the juxtapositions are like an intellectual wet dream, the afterglow of which has had me buzzing for the last week.

For which are the more real? The flesh-and-blood women in the Insa Art Center (인사아트센터) in Seoul’s Insa-dong district? Or Ha Neul and Hyori the mass-produced visual commodities, with which we are much more familiar?

Groovy…

(Sources: left, right)

But although the pictures did indeed persuade me to take down my handful of books on hyperreality and postmodernism, yet again I rejected them as unnecessarily abstruse, even for a geek like me. Also, Lee Hyori in particular (I’m less familiar with Ha Neul) is actually so down-to-earth and accessible that arguments that she’s merely a media creation can’t be sustained, one positive of Korean celebrity culture that I’ll be discussing in a lengthy post ~~next week~~ soon.

Until then, let me just pass on the art itself here, hoping to inspire more aficionados amongst you.

First, see here for a brief English introduction to the 5th exhibition, then the following graphic about it for a quick snapshot. If there’s anything on it you particularly like, click on the graphic itself to go to the Clio website, then on the specific artwork on the graphic there to get a quick (Korean) bio of the artist.

To any K-pop fans, see if you guess where you’ve seen Mari Kim’s work before:

(Source)

For many more large and/or high-definition pictures of the art and exhibition hall itself, see here, here, here, or here (beware the automatic music in the last one). My favorite work is easily The Magic (also known as Masic) by Park Dae Cho (박대조) below (the one using the same photo as a Clio advertisement), which you can see a zoomable version of here:

(Source)

Note though, that it’s actually a color-changing transparency in a light box rather than a static image, like most of Park Dae Cho’s works (which you can see more of on his blog):

That video doesn’t really do justice to it though, as it must really have been quite mesmerizing when viewed close-up. For the best equivalent, click on the following image:

(Source)

As for those of you that share my love of juxtapositions, alas, there seems to be a conspiracy of exhibition-goers to avoid taking decent pictures of Lee Hyori standing next to this particular artwork in particular, this one always cutting it in half for example, or this one being so much more interested in the contents of Lee Hyori’s dress that he ruined the contrast. But decent, albeit smaller and/or watermarked versions can be seen here, here, or on Park Dae Cho’s blog itself.

Meanwhile, if you haven’t guessed already, Mari Kim (blog; Facebook; Twitter), not to confused with (the also – quite literally – cool) Miru Kim, is the artist behind 2NE1’s (투애니원) I am the Best (내가 제일 잘 나가) album cover, and the Hate You music video:

(Source)

Finally, unfortunately there was much less interest in the 4th exhibition with Kim Ha Nuel, but Dramabeans does have a good English introduction to it, and again Clio has a snapshot image, although without links to the artists this time:

(Source)

See here, and here for more pictures of the exhibition, and here and here for more shots of juxtapositions.

What do you think? Please let me know, and I’d very much appreciate it if readers could pass on any more examples of interesting juxtapositions and/or celebrity-related Korean pop-art. I’d be especially interested in anything featuring men, as I’m curious if I’m only interested in the Clio exhibitions because they’re centered around two attractive women. I’m sure that’s not the only reason I like them (what do female readers think of them?), but probably it’s much more important than I’d like to admit!

Update – Sorry for forgetting to mention it in case you wanted to go, but unfortunately the 5th exhibition ended back in May. But see you at the 6th one in 2013! :D

Who are the Korean Pin-up Grrrls?

(Source)

No, not pin-up girls, but pin-up grrrls. Let me explain the difference.

First, take another long hard look at Yoon Eun-hye’s (윤은혜) photoshoot for October’s Dazed and Confused, as one does. Because despite appearances, it was probably a tough sell. Would you invest 8000 won (US$7.24) in a magazine for just 7 revealing pictures of a celebrity, out of 255 pages? Even if there are no high-definition versions available on the internet?

Maybe. I did, but as you’ll see, I was looking for an interview of her. You can make jokes about my real motivations later.

I suspect then, that the photoshoot’s main purpose may not have been to sell more copies of that particular edition per se. Rather, it was looking to enhance Dazed and Confused’s brand through the ensuing publicity, thereby selling more magazines and being able to charge more for advertisements in the long-term. If so, then the massive attention the pictures have been getting in the media can be considered a success, in the process Eun-hye literally – if only fleetingly – embodying the Wikipedia definition of a pin-up girl as “a model whose mass-produced pictures see wide appeal as popular culture”. Even, in a hyperreal sense, in the absence of the physical pictures themselves.

Next, consider them in the context of a retro fad that has been sweeping movies and K-pop (or at least the female half of it) since at least Lee Hyori’s (이효리) U Go Girl of 2008. Again, while strict censorship and sexual conservatism likely confined any physical Korean pin-ups to seedy bars until the 1990s (I’ll consider “soju girls” separately shortly), pin-up girl chic is certainly becoming a recognizable part of Korean popular culture. It was no great surprise to see models copying them (source, right) on Korean television last year for instance, and I refuse to believe that it’s a mere coincidence that now there’s even an online clothes store with the pin-up name.

Vivent les femmes?

Well, that’s certainly a possibility, which I’ve very much underplayed in the last five years I’ve been writing about Korean gender issues. And not that I wasn’t correct to do so: knowing that baring breasts in magazines was one notable form of resistance to censorship in Francoist Spain in the 1970s, naively I projected that onto what were increasingly risqué Korea soju ads starting from about 2006, likewise equating more T&A in them with, well, sexual and political liberation (see here for a modern Arab equivalent). Thankfully, many readers soon disabused me of that notion, and I’ve been at pains to point out that the latter doesn’t automatically signify the former ever since.

But then I read Maria Buszek’s Pin-Up Grrrls.

A brilliant book, alas it is also 444 pages long, but fortunately a roughly 20 times shorter version(!) is available online here, which I strongly encourage you to read in full. Here’s just a taste of why it was so eye-opening:

In the same way that women surely saw their own reflection in the illustrated recruitment pin-ups of WWII, it seems that many similarly saw the Varga Girl not as an unattainable fantasy of the heterosexual male imagination, but an ideal they could both associate with and aspire toward. Contrary to contemporary assumptions that the Varga Girl (and Esquire magazine) were enjoyed by an exclusively male audience, we find her presence in such contexts where she would not only have been highly visible to women, but there as the result of what one can assume was her already existing popularity with a female audience. By the start of the war, women were certainly familiar with her; in the very same issue as the first Varga Girl, an Esquire reader-poll appeared that indicated nearly three-quarters of the “gentlemen’s magazine” subscriptions were in fact read by women, for whom the magazine’s illustrations were the number one attraction…. In fact, if one reads the magazine’s letters section, “The Sound and the Fury,” throughout the ‘40s, women’s letters were frequently published–many written solely to remind the male editors and readers that the magazine had a broad audience that included women, whose presence they should consider in features, cartoons, and advertisements.

(Source)

Next, consider the following from pages 169 and 170 of Whang Zheng’s chapter “Gender, employment, and women’s resistance” in Chinese Society: Change, Conflict, and Resistance (2nd Edition), 2003:

Replacing the “iron rice bowl” of job security in urban China in the 1990s is the craze of creating the “rice bowl of youth”. Everywhere attractive young women have been sought to represent the shining image of “modernity”. Booming service, commercial, and entertainment industries post numerous age-, gender-, and, often, height-specific advertisements seeking women under the age of 25 and above 165 centimeters in height. Stylish, elegant, or sexy, young “Misses” are displayed in remodeled or newly built “modern” hotels, restaurants, department stores, travel services, night clubs, dance halls, and so on. As older state industries lay off women workers over 35, these modern young Misses, many with no particular education or technical skills, are entering the rising industries (mostly in the private sector, some with foreign investment) where their youth and beauty provide a ticket to incomes several times higher than those of their older sisters.

And in particular:

The creation of the rice bowl of youth is a “joint venture” of consumerism and capitalism that commodifies and objectifies women. Its contradictory aspects should not, however, be overlooked. Many a Miss Public Relations, Miss Shopping-guide and Miss Travel-guide is far from being a passively constructed “decorative” object for the fulfillment of her bosses’ utility needs and their male clients’ sexual fantasies. Rather, many are active players in the melodrama of modernity, who consciously manage their “profits” by a range of strategies, including frequent job changes to advance their position, and investing in various adult education programs to acquire new qualifications and skills [James – a surprising absence here is mention of cosmetic surgery]. Seizing the rice bowl of youth, many young women catapult themselves into lasting careers. The inherent modern values in this position, such as assertiveness and competitiveness, have been expressed prominently in young Misses’ pursuit of career development in a competitive job market. This gendered employment pattern with its inherent contradictions, in short, provides opportunities for young women’s social and economic advancement, even if it blocks employment access of older laid-off workers, and reinforces gender [James – and sexual] stereotypes.

For an alternative, much more critical view of that development in the Korean context, please read this post of Michael Hurt’s at Scribblings of the Metropolitician, and indeed I do think Whang slightly overstates her case. But the points have been made: dressing and posing sexily in commercial photographs isn’t necessarily exclusively for men, nor does a woman deserve scorn if she does so simply in order to advance her career. Also, that these are not mutually exclusive.

But as something to celebrate in a Feminist sense? That all sounds somewhat hollow, let alone just basic common-sense. Whereas last week I promised you a useful, refreshing perspective with this post.

Enter the pin-up grrrl, who exalts in her sex appeal to both men and women, whether as sexual object, subject, role model, or all three. And above all, she never strays out of character.

By these criteria, merely being featured in Korean pin-up girl chic isn’t quite enough. Just like www.pinupgirl.co.kr doesn’t actually sell anything even remotely pin-up girl themed, simply appropriating the risqué clothing, poses, and terminology of an earlier, quite literally foreign era is meaningless if the same women are infantilizing themselves in their next commercial, talkshow appearance, and/or photoshoot (update: or their Japanese promotions). Yet this is the norm in Korea, where so many female icons loudly touted as confident and independent are actually under the firm control of their management agencies (not even being able to use the internet or have cellphones, let alone go on dates), and where the fact that almost 3 out of 4 commercials feature celebrities means that the same women can be found endorsing just about anything (even competing brands).

Examples abound. At the same time that KARA (카라) were making waves for their “butt dance” (엉덩이 춤) choreography for Mister (미스터) below for instance (and which is a problematic song in itself, placing — for all its supposed female bravado — all romantic initiative in the hands of said “Mister”)…

…you were just as if not more likely to see them on Korean TV doing their childish commercials for Pepero (빼빼로):

More recently, Girls’ Generation’s (소녀시대) purported shift to a more mature, sexual, and empowering image with the release of their latest album The Boys is undermined by familiar narratives of passivity in the lyrics to the Korean version of the song (but which are tellingly absent from the English one). In particular, while one member (Sunny) did claim that (hat tip to askbask):

“The lyrics’ [meaning] are up to the interpretation [of the listeners’]. Rather than just the simple meaning of girls giving boys support, it can be interpreted in many ways. The girls could be telling the boys that we’ll take the lead, giving off a more tough image. It could also be interpreted as girls telling the boys to get their act together and cheer up. (laughs) The song also aims to give courage to people, whether they’re girls or guys, who are tired out [by life].”

(Source)

Nevertheless, as someone not just contracted to SM Entertainment, but also the niece of its founder, she is hardly in a position (or have the inclination) to claim otherwise. Moreover, even if for the sake of argument I allow that the lyrics are indeed open to interpretation, most likely the very next thing I’ll see Girls’ Generation in will still be an advertisement for one of the numerous brands they’ve endorsed above, piling on the cutesy aegyo. And even if I further concede that that’s because surely many of those endorsement contracts precede the release of The Boys, and will continue to apply for some time after it, you’d a) assume that if that was a genuine concern, then SM Entertainment could have scheduled things better so as not to undermine Girls’ Generations’ new image, and b) be hard-pressed not to recall that actually they were already supposed to have become “bad girls” with Run Devil Run nearly two years ago.

Forgive me for being a little cynical.

(Sources: left, right)

So again, it’s promoting and maintaining a pin-up grrrl image that is crucial. By which token we can also dismiss most soju girls too, even if they are indeed technically a kind of Korean pin-up. Because with very rare exceptions, such as Kim Yoon-ah’s (김윤아) example discussed here (the singer, not the skater), not only are soju ad formats usually extremely restrictive, but, for all their sexing-up in recent years, the models therein remain firmly ensconced within a virgin/vixen dichotomy, well illustrated by Jeong Ryeo-won (정려원) and Ha Ji-won (하지원) above (only three years apart btw; they changed really quickly!).

And yet again, despite the latter having – ahem – a special place in my heart because of: a) first learning of her through ads for the Platinum Dance 7 CDs that played on Korean TV for much of 2002, in which she simply stood there looking stunning; b) singing in Wax’s (왁스) music videos, my favorite Korean artist; c) later learning of her connection to my hometown; and d) literally being kick-ass in the drama Secret Garden (시크릿 가든) and more recently the movie Sector 7 (7광구)…she undermines all that by, amongst other things, looking decidedly pale, unnatural, and delicate in her advertisements for skin care products. And so on.

Which brings me back to Eun-hye’s pictures, which surprised me because I remember that she endorsed the Korean lingerie brand Vivian (비비안) back in 2008, yet somehow without actually wearing the lingerie at all (as you could see earlier in the post {source}; see here and here for the politics of Korean lingerie modelling behind that). So, I bought the magazine itself assuming that they would include an interview of her, in which, however lame, unreliable, and/or perfunctory, she explained her reasons for the sudden change. Not only was there no interview inside though, but to my chagrin (no, really) I soon discovered that actually she’s been talking her clothes off in public for years now (“have you seen this” indeed!). Which possibly explains why I can’t find any mention of why she did the photoshoot on the internet whatsoever, despite the ubiquity of “news” articles about it as mentioned (source, right).

So, the jury’s still out on Eun-hye at least (although I admit that I’ve yet to look for interviews about her earlier photoshoots), and I acknowledge that my relative lack of knowledge about Korean female celebrities means I may be unfairly and/or prematurely dismissing them, something I’m sure has also gone through many readers’ minds.

So, as you can see below, I’ve been trying to rectify this, looking for reliable interview sources of interviews of Korean singers. But this is harder than you may think, as Korea seems to lack any definitive music magazines. AstaTV, for instance, is literally just 105 pictures of mostly boy-bands for 11,800 won (US$10.44), a magazine format I’ve very surprised to still see around in 2011, while Junior is, well, very much for juniors. Alternatively, the very cheap – but thick – weekly Movieweek and Cine21 magazines are good sources for singers that have also acted, but naturally I’m frustrated not to find something much more music focused.

So, I would very much appreciate recommendations from readers, or if in future you could pass on any decent interviews and articles available on the internet (whether of men or women), in which they elaborate on the themes discussed in this post (I’ve included my translation of one I did find at the end of this post). Indeed, probably in just five minutes some of you will find something about Eun-hye’s Dazed and Confused photoshoot in that I couldn’t in two weeks.But even if so, you’d think that someone earnestly looking would surely have a much easier time of it?

And with that thought, I suddenly realized that I’ve been going about this all the wrong way, and in fact had been quite hypocritical. Because the onus is not on me to find pin-up grrrls by sifting through what, by this stage, looks like an increasingly homogenized, clone-like mass of female celebrities, but rather to highlight those ones who are already doing their darnedest to stand out themselves.

Can any old-timers guess whom I’m thinking of?

(Source)

Who else but Nancy Lang (낸시 랭)?

Yes, her eccentricities have put me off in the past too. No, I haven’t heard anything about her in at least a year either. But, just like that picture in that last link demonstrates (well, just about any picture of her really), you’d be hard-pressed to think of a well-known Korean woman quite so brazen (Update – Oops: actually she’s Korean-American, in which case Margaret Cho also instantly comes to mind. But she’s not quite so well-known in Korea itself).

If you personally have never heard of her though, then here is a quick biography of her below. Normally I’d be reluctant to copy and paste an entire article like this, but unfortunately there is increasingly less information about her available in English, and so this (originally from KBS somewhere) needs to be preserved before it’s lost when the long since defunct Pretty Korean Girls blog disappears (hey, beggars can’t be choosers!):

Since her performance of ‘Lost Dream’ in her underwear at the 2003 Venice Biennale, Nancy Lang was introduced to Korea, and she quickly appeared in magazines, on TV and on the Internet. Her showbiz philosophy that she would make money with art shouting “Cutie! Sexy! Kitty!” and “I Love Dollars” has raised controversy among art circles as well as the public.

Unconventional performance

Lang played the violin in the middle of a street wearing Victoria Secret lingerie and red high heels with kabuki style makeup. Her childhood dream was to become a violinist. And she realized the dream through art. Once, at the San Marco Piazza in Venice, she was held by the police for four hours, after which she became popular. Her performances thereafter continued to stand out. The New York born ethnic Korean is a US citizen. She only attended an international high school in Manila but her mannerisms and accent bear the hallmarks of a third generation Korean-American. Her Korean name is Park Hye-ryeong. But eyeing the world as her stage, she strategically changed her last name through help from a lawyer. “Lang” was the final choice among several names as it visually looked nice in typographic terms. Born into a well-to-do family, Lang however went through difficult times when her father died during her college years and her mother fell sick. At times, she couldn’t pay her tuition. But through the trials, she developed a clear sense of life and living.

The evolving Taboo Yogini

Multi-talented Lang’s unconventional character and provocative performances have grabbed the attention of the art, fashion and entertainment circles alike. In her trademark series ‘Taboo Yogini,’ characters such as a woman with a huge courtesan wig or a figure with a body of a robot and a head of a girl, rooster or dog appear. And invariably held in their hand is a powerful gun or a Louis Vuitton bag. In the backdrop is a car, a Chanel lipstick and other luxury brand logos. “Yogini” means an angel or a devil in the dictionary. Taboo Yogini, representing both good and bad, is a ceaselessly resurrecting spiritual being due to its persistent power and life energy. It is the symbol of Lang herself, her dreams, her wounds and her fight. The self-proclaimed ‘walking pop art’ doesn’t hide her love for brand name and elite goods. Last year at the Seoul Arts Center, the bikini clad Lang asked audience members to put oil on her body before going on to sing ‘Purple Scent’ to the tune of a karaoke machine. She pulled off another eccentric performance “Nancy Lang’s autograph session” during which she autographed her posterior as the inaugural artist of the Gwangju Biennale. The Taboo Yogini series is expected to evolve even more. In pursuit of breaking apart and assembling robots, Lang has only yet gathered the parts, and during the process she can let go of past regrets. Her work these days in fact show glimpses of her severing chains with the past and moving toward a fantastic future, portrayed by a wounded yogini and a guardian angel robot. If yogini was Peter Pan to Lang, the robot would be her Tinker Bell. It may be that she is inviting someone she can rely on in the future into her world filled with luxury goods.

Dreaming of Korea’s Takashi Murakami

Her work and lifestyle and her brutally candid and daring speech and actions invite criticism at times. But she doesn’t care. She confidently argues that, like a racehorse, she only runs toward a clear goal. She has firmly established herself as an artist reaching out to the public. Few others see art as showbiz as much as she does. But approaching show business with new ideas and works is a whole different realm. Her role model is Takashi Murakami, who successfully turned his character creations into art based on the animation, comics and games culture. Most of her works sell well and her name once topped the top online search word list. She knows what she wants, “I will become a world renowned artist who can influence the general public, and based on that foundation, I want to gain wealth and fame.” We wonder what she will show us next, as she brings along issues and controversies wherever she goes with her art.

Next, in the unlikely event that you’re not already convinced of her worthiness of the title of pin-up grrrl, then surely Psychedelic Kimchi’s interview of her in 2006 will be sufficient, which I was very glad to still find five years after first reading it (and apologies for stealing that above image from it!). Especially as, unfortunately, that seems to be the sum total of the only substantive English sources remaining on her, although there is still her (pretty active) official Facebook page (albeit not accepting new Friend requests, or at least not mine; sniff), her (less active) Twitter account, and finally her personal website (but curiously blocked because of phishing attempts the day after I first found it!). And of course I would again be very grateful if readers could pass on anything else, as I would for any suggestions of any other candidates for Korean pin-up grrrls.

(Source)

But one final thing before I do thank you though, is to draw attention to the origins of the term “grrrl” itself, lest people more familiar with it than I feel that I’m using it too liberally. In short, it comes from the Riot Grrrl underground Feminist Punk movement in the Pacific Northwest in the early-1990s, about which the New York Times wrote the following on the twentieth anniversary of its founding earlier this year:

Ms. Marcus, the author of “Girls to the Front,” agreed that it was part of a 20-year nostalgia cycle. But she added that “people are flocking to these reminiscences because there remains a tremendous hunger” for the kind of liberated, don’t give-a-damn femaleness “that was in full flower in the ’90s,” with nothing quite as potent since.

The fashion pendulum may have inevitably swung back to the ’90s, but riot grrrl, with its snarky cut-and-paste zines and carefully built micro-communities, prefigures a lot of youth culture today: targeted communication and social networking (although they did it with letters and flyers, not e-mails and Facebook messages); the lure of the handmade and the local — the craft marketplace Etsy could have been born in a riot grrrl meeting; and an attitude, evident in blogs like Jezebel and the Hairpin, that feminism can be fun.

(Source)

And in particular, the original Riot Grrrl Manifesto included the following, in what was I’m sure a deliberate choice of double entendre:

BECAUSE we must take over the means of production in order to create our own moanings.

Why this is important is because of how in her book proper, Maria Buzek contrasts Andre Dworkin’s Beauty Hurts (1974; see it here) and Annie Sprinkle’s Anatomy of a Pin-up Photo (1991) above, then in her conclusion (pages 362-3) discusses Ann Magnuson’s Revenge of the Vargas Girl (1992) below, about which she says:

In “Revenge”, the artist poses in the guise of an elegant World War 2 Varga Girl but turns the artist’s airbrush gun – the medium through which Vargas created his fantasy women – back onto the world. Magnuson has associated her appropriation of the pin-up with the same bait-and-switch subversion as the riot grrrl movement, saying: “Women’s sexuality has been shunned; there’s no shame attached to being sexual. But then, why should frat boys be the only ones who get to appreciate a curvy figure? When the pin-up is allowed to speak (and has something to say), it changes the landscape”. But Mangnuson’s assertion that the tools of the pin-up’s male creator, in the hands of its dangerous spawn, can be easily turned against its creator’s or viewer’s potentially oppressive motives also serves as a metaphor for all of the Feminist pin-up imagery we’ve seen here. In this way, the pin-up’s ultimate “revenge” lies in the fact that, although it may have been created as a tantalizing but unreal object for the delectation of heterosexual men, the pin-up would also find ways to reject this role to reflect and encourage the erotic self-awareness and self-expression of real women.

I’ll leave it up to the reader to determine how and where Nancy Lang fits into that. Or, indeed, how Korean women who wear extremely revealing clothes on the red carpet do, as discussed in the following article from the Sports Chosun, found via Charles Tilly at the Marmot’s Hole. Normally, I’d reject such a tabloidish and vacuous source, but then you recall the difficulty of finding more “serious” sources, and besides which I’ve often pointed out how tabloidish even the mainstream Korean media is. Indeed, considering that such pictures are the newspaper’s unofficial focus, then it might actually be the best source on them(!), and to my surprise its choice of accompanying pictures is not only quite conservative (as Tilly also points out; in particular, it makes no mention of Kim So-yeon’s [김소연] notorious dress below, worn at the opening of the 2007 Busan International Film Festival), but to its credit it also extols the virtues of confident “older” women, usually at best considered completely asexual by most of the Korean media:

(Source)

[WHY] 여배우들의 레드카펫 과다 노출, 왜 끊이지 않나 / Why is there no end to actresses’ excessive exposure on the red carpet?

김표향 기자 suzak@sportschosun.com / Reporter: Kim Pyo-hyang

이처럼 수위가 높은 ‘파격 노출’은 지금껏 없었다. 뜨거운 ‘노출 논란’의 주인공은 바로 신인배우 오인혜. 6일 부산국제영화제 개막식 레드카펫에 그녀가 등장하자 사람들은 충격으로 벌어진 입을 다물지 못했다. 겨우 가슴의 일부만을 아슬아슬하게 가렸을 뿐, 상반신의 대부분은 훤하게 드러냈다. 곧바로 그녀의 이름 앞에는 ‘노출 종결자’ ‘노출 폭격’이라는 단어가 붙었고, 인터넷과 SNS는 관련 내용으로 도배됐다. 전세계인의 애도 물결 속에 하루종일 검색어 1위였던 스티브 잡스도 이번만큼은 자리를 내줄 수밖에 없었다.

Never has there been exposure like this. In this “exposure controversy”, the leading figure is new actress Oh In-hye. As soon as she stepped out on to the red carpet at the opening ceremony of the Busan International Film Festival (BIFF) on the 6th, everyone was so shocked they couldn’t close their mouths. With a dress that only barely covered just part of her breasts, she was displaying almost her entire upper body. Immediately, prefixes like “Exposure Terminator [Killer/Best]” and “Exposure Bombshell” were attached to her name, and social network services inundated with them. While all day previously the world was in a wave of grief over Steve Job’s death, [in Korea at least?] his position as the most searched item couldn’t help but be replaced by Oh In-hye.

(Source)

Image caption left – 제16회 부산국제영화제 개막식이 6일 부산 영화의전당에서 열렸다. 개막식에 앞서 거행된 레드카펫 행사에서 배우 오인혜가 등장하고 있다. 최문영 기자 deer@sportschosun.com / The opening ceremony of the 16th BIFF on the 6th at the [new] Busan Cinema Center. Actress Oh In-hye arriving at the red carpet event prior to the ceremony. Photographer: Choi Mun-yeong.

Image caption right – 조선명탐정: 각시투구꽃의 비밀’ 제작발표회에 나선 한지민. 스포츠조선DB / Han Ji-min at the Chosun Dynasty: Detective K production announcement (SportsChosunDB)

(Sources: unknown)

Image caption left – 백상예술대상 시상식을 찾은 민효린 (스포츠조선DB) / Min Hyo-rin at the Paeksang Arts Award Ceremony (SportsChosunDB)

Image caption right – 지난 해 열린 골든디스크 시상식을 찾은 남규리 (스포츠조선DB) / Nam Gyu-ri at the GoldenDisks Award Ceremony last year (SportsChosunDB)

여배우들의 파격 노출, 끊이지 않는 이유는? / What is the reason actresses keep exposing themselves so?

오인혜가 부산의 레드카펫을 휩쓸고 간 후, 개막식 자리에 참석했던 한 중견감독은 이런 말을 했다. “무명일수록 노출이 심하더라.” 여배우들이 레드카펫 노출을 선택하는 이유가 이 말 속에 들어 있다. 화제와 논란을 일으키며 사람들 입에 오르내리는 것. 그러면서 자연스럽게 인지도가 올라가기를 기대하는 것이다. 무명에 가까웠던 오인혜도 강렬한 첫 등장과 함께 사람들 머리에 그녀의 이름을 깊숙이 새겼다. 신인들에게 레드카펫 노출은 자신을 PR하는 가장 효과적인 전략인 셈이다.

After Oh In-hye overwhelmed the red carpet in Busan, an important producer attending the opening ceremony said the following: “The less famous, the more extreme the exposure”. Herein lies the reason so many actresses choose to wear such revealing costumes on the red carpet. As the controversy surrounding them grows, the more they will be on everyone’s lips. At the same time, you can naturally expect them to get a lot of name recognition. [Indeed] Oh In-hye was a virtual unknown, but with her intense first entrance has carved a deep impression on people’s minds. To new actresses, exposing themselves on the red carpet is definitely the most effective PR strategy.

반면에 신인이 아닌 배우들은 이미지 변신과 연기 활동을 위해 과감한 노출을 선택한다. 한지민과 민효린, 남규리는 공식석상에서 선보인 섹시한 드레스로 ‘첫사랑 소녀’ 같은 이미지에서 벗어날 수 있었다. ‘반전 몸매’ ‘베이글녀’라는 수식어와 함께 여성스럽고 고혹적인 매력이 보태졌고, 남성들은 물론 여성들에게도 호감도가 상승했다. 작품 선택의 폭이 넓어졌음은 물론이다.

On the other hand, for established actresses a bold, revealing dress statement can be used to change an image or [assist in some new] acting activity [like a comeback?]. By wearing sexy dresses, Han Ji-min, Min Hyo-rin, and Lam Gyu-ri could get rid of their “First Love” images. Now with the words “electrifying body” or “bagel girl” [James – I disagree: that latter is invariably a term applied by the media rather than deliberately sought, and indeed many women labelled with it actually reject it] they have a charming, feminine attractiveness added to their names, of course increasing their popularity among men and widening the acting roles available to them.

(Source)

Image caption left – 2008년 청룡영화상 시상식의 김혜수 (스포츠조선DB) / Kim Hye-su at the 2008 Blue Dragon Awards (SportsChosunDB)

Image caption middle – 제16회 부산국제영화제 개막식이 6일 부산 영화의전당에서 열렸다. 개막식에 앞서 거행된 레드카펫 행사에서 배우 송선미가 등장하고 있다. 최문영 기자 deer@sportschosun.com / The opening ceremony of the 16th BIFF on the 6th at the [new] Busan Cinema Center. Actress Song Sun-mi arriving at the red carpet event prior to the ceremony. Photographer: Choi Mun-yeong

Image caption right – 2007년 대종상 시상식에 참석한 김수미 (스포츠조선DB) / Kim Su-mi at the 2007 Daejeong Film Awards (SportsChosunDB)

노출의 고수들은 뭐가 다른가? / What makes the experts different?

레 드카펫을 노리는 여배우들의 ‘워너비’는 단연 김혜수다. 관록과 여유, 고급스러움이 느껴지는 김혜수의 레드카펫 드레스는 여배우들에게 교과서나 다름 없다. ‘김혜수’ 하면 자연스럽게 파격적인 드레스가 떠오를 만큼 노출에 능하지만, 과감한 드레스를 입고 움츠러들거나 옷을 추스리느라 바쁜 여느 여배우들과 달리, 김혜수는 고개 숙여 인사할 때도 좀처럼 손으로 가슴을 가리지 않는다. 그 당당함과 자신감이 김혜수를 지난 10년간 ‘레드카펫의 여왕’으로 만들었다. 매번 베스트드레서로 뽑혀도 드레스 자체보다 김혜수가 더 빛나는 이유이기도 하다.

Of course, the model for red-carpet actresses is Kim Hye-su. She [not only] gives off an aura of dignity, composure, and refinement, [but in] the case of red-carpet outfits, is like a textbook for other actresses. She is very skilled in making her name synonymous with daring fashion statements, [for instance] unlike other actresses wearing revealing clothes, not only not shrugging, laughing, adjusting, and/or rearranging her clothes when she has to lean forward to greet someone [in order to not expose themselves further], but not even covering her chest up with her hand [James – as is the Korean custom]. [Indeed], it is not so much her outfits that have made her the “Red Carpet Queen” for the last 10 years, or why her dresses have been selected as the best at the award shows so many times, but rather it’s the way that she wears them.

올 해 부산국제영화제를 찾은 송선미도 지적인 이미지에 맞는 ‘지능적인’ 노출로 눈길을 끌었다. 가슴 부위가 세로로 깊게 파인 블랙 홀터넥 드레스로 우아함을 잃지 않으면서도 파격 노출에 성공했다. 세련된 포즈와 여유로운 표정도 단연 압도적이었다.

This year at the Busan International Film Festival, Song Sun-mi gave off an eye-catching “intellectual exposure” that suited her intellectual image. Over her breasts was a deep vertical cut in her black halterneck dress, which successfully showed off her body without detracting from her elegance. Of course, the combination of her sophisticated pose and composed expression was overwhelming.

중견배우 김수미도 공식석상에서 노출을 즐겨온 대표적인 여배우다. 김수미는 글래머러 스한 몸매를 강조한 과감한 드레스를 종종 선보였다. 그리고 근래에는 드라마에서 호피무늬 비키니까지 소화했다. 올해 제천국제음악영화제를 찾은 김부선도 상반신과 하반신이 분리된 독특한 드레스로 화제의 중심에 올랐다. 다소 난해한 컨셉트였지만, 사람들을 의식하지 않고 축제의 열기와 팬들의 환호를 마음껏 즐기는 그녀의 모습은 당당하고 아름다웠다. 나이를 무색하게 만드는 두 사람의 노출은 여배우의 자존심이 무엇인지를 몸으로 증명했다.

Kim Su-mi is a middle-aged actress who also enjoys showing off her glamorous [James – busty] body, often wearing daring dresses that emphasize it. In a recent drama for instance, she even wore a tigerskin pattern bikini, and what’s more it fitted her well too.

Also, at this year’s Jecheon International Film and Music Festival , Kim Bu-seon wore a unique dress that separated her upper and lower body into two halves, and which was on everyone’s lips. While its concept was a little difficult to understand, she was unconcerned, and was beautiful and confident reveling in fans’ passion and cheering for her [James – see above; source].

Both actresses showing of their bodies like this is testament to the fact that age is just a number!

(Source. Call me indulgent, but that dress really does have to be seen to be believed!)

때론 노출이 발목을 잡기도 / But sometimes exposure backfires

‘노출’에는 반드시 치밀한 전략과 계산이 필요하다. 자칫 무리수를 둘 경우, 배우 생활에 치명타를 입을 수도 있기 때문이다. 오인혜가 등장하기 전까지 파격 노출의 대명사처럼 인식됐던 한 배우는 그 덕분에 인지도는 올라갔지만 작품 활동에 있어서 보이지 않는 제약이 생겼다. 매번 비슷한 역할만 제안이 들어오고, 노출에 가려져 상대적으로 연기력까지 저평가 받고 있다. 털털하고 액티브한 이미지로 호감도가 높았던 한 배우 또한 레드카펫에서 선보인 파격 드레스가 화제가 되면서 오히려 원래의 건강한 이미지를 잃어버리고 말았다.

“Exposure” requires elaborate strategy and calculation. Even if it just barely excessive, it can permanently affect an actress’s career. Before Oh In-hye appeared on the red carpet for instance, there was one actress who became well-known for her own exposure but found the roles available to her severely restricted from then on – indeed, not only was she offered the same kind of ones again and again, but her exposure detracted from people’s evaluation of her acting ability in them. And in another case, an actress was well-liked for her free and easy and active image, but she lost her original healthy image when she wore a revealing dress on the red carpet.

James – I’m surprised the author doesn’t mention who, as she is so ready to directly comment on everyone else (albeit positively). Also, I’m afraid I don’t know what “healthy” means in this context either!

신 인일 경우, 이같은 노출은 더욱 조심해야 한다. 이미지가 생명과도 같은 연예계에서 ‘노출 전문’이라는 꼬리표가 평생 따라다닐 수도 있기 때문이다. 한 영화 관계자는 “레드카펫은 여배우들을 위한 것이라 해도 과언이 아닐 만큼, 여배우의 아름다움과 숨겨진 매력을 최고치로 보여줄 수 있는 자리다. 그만큼 사람들의 시선도 더 강하게 끌어당기고 이미지를 선명하게 새길 수 있다. 하지만 그것 때문에 오히려 역효과가 날 수도 있다”며 “노출로 논란을 일으킨 배우의 경우, 그 이미지가 워낙 강해서 전혀 새로운 역할에 캐스팅하기는 현실적으로 쉽지 않다”고 조언했다.

Meanwhile, new actresses have to be much more careful about this type of exposure, as they may be labelled an “exposure expert” and be unable to shake it off later, which would be disastrous in an industry where image is everything. Like someone in says, ” the red carpet is mainly for female actresses, and it is the best chance for them to show off their beauty and hidden charm. It’s also a good chance to get people’s attention, and to emphasize their image. However, that can have side effects. If an actress arouses too much controversy because of her exposure, then the reality is that she will be typecast in that corresponding role from then on”. (end)

(Source)

A possible starting point for discussion: is Lee Hyori (이효리) also a pin-up grrrl, whom I’m sure many of you expected me to mention instead of Nancy Lang? That is, if any of you still have the energy to talk by this stage!^^

Update 1: Or how about the Brown Eyed Girls (브라운아이드걸스) instead? While I was pretty disappointed with them for endorsing “Juvis Diet” back in 2009 (see here and here for why), this recent post on them by Dana in Soko has definitely persuaded me to reconsider.

Update 2: The link to Dana in Soko has been fixed. Sorry!

Update 3: It’s not really worth translating, but for what it’s worth, Oh In-hye doesn’t regret her choice of dress! (Via: The Marmot’s Hole).

Public Lecture: “Girls’ Generation? Gender, (Dis)Empowerment and K-pop,” Royal Asiatic Society, Tuesday 25th October, 7:30pm

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See here for the details. Alas, it’s not being given by me, but by Dr. Stephen Epstein, my far more capable and entertaining co-author (of this book chapter of the same name).

Unfortunately, work commitments mean I’ll be unable to attend personally. But if you’re in Seoul and free on Tuesday night yourself, then make sure you do!

Update: See here for a follow-up post at Gusts of Popular Feeling.

Koreans Laughing at Themselves

Update: As I’ve learned from this comments thread, satire and irony is much more common in Korean popular culture than I gave it credit for. However, they’re also definitely used and expressed in very different ways by Koreans and Westerners, as this comment there makes clear.

Update 2: Consider this quick observation about sarcasm too.

To put it mildly, Koreans don’t often use satire and irony in their popular culture. And when non-Koreans do? Hell, that can even get them deported.

Which explains many of the Korean reactions to the video above, at first sight part of a US-made documentary dismissing Korean claims of cultural theft by foreigners. But actually, it’s one of a series of commercials by the Korean company Mr Pizza (미스터피자). Not only hilarious in their own right, I’m struggling to think of any similar Korean send-ups of real-life examples of excessive, often downright looney Korean nationalism. Or at least by as prominent a source as Jeong Woo-hyeon (정우현), chairman of the company since 1989.

Granted, some things Koreans are proud of only appear absurd in translation. But then there are cases like this completely serious claim that Christmas trees the world over are Korean, for instance, and that consequently the world owes Korea royalties. Live in Korea, and one hears of similar things every other week, let alone faces a daily deluge of related advertisements and government and NGO campaigns.

Indeed, many of these are referenced and joked about in the commercial, which is part of what makes it so funny. For starters, take the man at the beginning holding a placard saying “도둑” (thief): no big deal to most foreign observers, it encourages a double-take by those who expected it to say “독도” (Dokdo) instead. A little later, many of the images on the college dropout’s computer and on his walls are well-known on the Korean internet (especially that map). And so on.

(Source: ssuujin)

As of yet though, unfortunately the campaign doesn’t seem to have been picked up by the Korean media. While I expect it will be eventually (as I type this, a duplicate YouTube video has nearly 100,000 views, and many more comments), it has to be said that, expats aside, it will have the most appeal to Korea’s more cosmopolitan consumers, who are more likely to think out of the box. But that’s a good start, and indeed one of them is busy emailing her friends about it in the next room, many of whom are overcoming their instinctive defensiveness and ultimately enjoying it just as much she did!^^

(Many thanks to dogdyedblack, both for passing on the video and his astute observations.)

Bust Magazine on “Bagel Girls” (베이글녀)

(Sources: left, right)

It’s a short article, with much that is already familiar to regular readers. But thanks to Grace Duggan of Bust Magazine for asking for my contribution, and I especially liked her insightful point about the artificial dichotomy the term imposes on young women. Indeed, if you extend it to behavior also, then that dichotomy pretty much describes the way they’re presented by the entire Korean media really:

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.

Read here for the rest, and here and here for some wider context. Also, here is my post about the “X-line” referred to in the article.

On a positive note, I was happy to read that actor and model Shin Se-kyung (신세경) at least rejects the term. But I’m not entirely convinced: just that single picture above, for instance, shows that she’s quite comfortable presenting herself as innocent-yet-sexy when it suits her. I’m unfamiliar with her career beyond noticing her numerous commercials and magazine photoshoots in passing though, so if people that do know her find that she’s, say, deliberately shedding her childlike image as she ages, then I’d be happy to change my mind!

What did Depraved Oppas Do to Girls’ Generation? Part 5 (Final)

(Source)

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

려한 조명과 환호 속의 착취 / Exploitation inside the bright lights and cheering

아이돌 시스템을 ‘착취’로 보는 데 모든 이가 동의하지는 않을 것이다. 이렇게 물을 사람도 있을 것이다. 고되고 불확실한 과정이라지만, 누가 강요한 것도 아니고 스스로 원해서 하는 일 아니냐고.

That the idol system is exploitative might not be a view that not everyone shares. There might also be people who ask this kind of question: though it is a difficult and uncertain process, isn’t it something they’re not forced to do and that they’re doing because they want to?

그렇다면 가혹한 입시제도도, 살인적 등록금도, 젊은이의 미래를 절망스럽게 만드는 비정규직도 별 문제가 아니다. 누가 대학 가라고, 누가 비정규직으로 일하라고 강요하던가. 선택이 제한된 사회에서 ‘자발적 선택’이란 얼마나 허망한 말인가. <한겨레신문>에 실린 한 아이돌 지망생의 말을 들어보자. 이 고등학생은 어렵사리 쌍꺼풀 수술을 한 후, 이제 코 성형을 목표로 편의점, 패스트푸드점, 주유소에서 아르바이트를 하고 있었다.

If so, then the rigorous university entrance exam system, murderous tuition fee, and the irregular work that fills a young person with despair aren’t really problems. Who forces them to go to university or do irregular work? In a society that has limited choices, how unreliable the expression ‘voluntary choice’ is! Let’s hear what one idol hopeful said, as reported in the Hankyoreh [newspaper]. After getting a double-eyelid surgery with [financial] difficulty, this high school student is now working part time at a convenience store, a fast food restaurant, and a gas station with the goal of getting nose surgery.

(Source)

“어린 나이에 그토록 힘든 일을 감내해가며 연예인이 되고 싶은 이유가 뭐냐고, 이른바 ‘불공정 계약서’를 쓰고 젊음과 재능을 착취당하는 아이돌 얘기 못 들어봤느냐고 겁주는 소리를 했더니 그 친구가 말했다. ‘기자 언니, 솔직히 말해보세요. 나처럼 돈 없고 ‘빽’ 없고 성적도 그저 그런 애가 그럭저럭 대학 가면 그다음엔 뭐 있어요? 지금은 좀 힘들어도, 기획사에만 들어가면 나한테는 진짜 ‘기회’가 오는 거잖아요.” (<한겨레신문> “빽 없는 연예지망생 ‘성공시대’ 저무나” 2011. 6. 17)

“After I asked her scary things like what’s her reason for wanting to become a celebrity while enduring such difficulties at a young age, and hasn’t she heard of idols whose youth and talent were exploited after they signed so-called ‘unfair contracts,’ she answered me. ‘Reporter Onni, be honest. If a person like me, without money or connections, and whose grades are so-so, somehow goes to university, what is there after that? Even though it’s a little difficult now, you know that if I just get an agency, that is a real opportunity to me.'” (Hankyoreh, “End of the ‘Era of Success’ for would-be celebrities with no connections” June 17, 2011)

James – See “Teen Angst and the K-pop Machine” at SeoulBeats for more on the appeal of joining a talent agency

지난해 여성가족부는 청소년 연예인(지망생 포함)을 대상으로 설문조사를 했다. 그 결과를 보면, 미성년자 연예인들의 ‘자발적 선택’이 어떤 것인지 알 수 있다. 응답자의 36%가 하루 8시간 이상 초과근무를 하고, 41%가 야간과 휴일에도 일하고 있었다. 미성년자인 이들 중 10%가 신체 노출을 경험했다고 말했고, 그중 60%가 강요에 의해서라고 답했다.

Last year, the Ministry of Gender Equality and Family surveyed adolescent celebrities (including hopefuls). By looking at the results, we can see what kind of thing underage celebrities’ “voluntary choice” is. 36% of respondents worked more than 8 hours a day and 41% even worked on nights and weekends. Of these minors, 10% said they had experienced wearing revealing clothing, and of that group 60% answered that they did so under coercion.

앞의 <한겨레신문> 기사를 더 읽어 보면 이런 기회조차 평등하게 주어지지 않음을 알게 된다. “돈 없고 빽 없는” 아이들에게도 기회를 주는 듯했던 연예기획사들이 이제 돈과 배경을 갖춘 지망생을 선호하는 것이다.

(Source)

If you read more of the Hankoryeh article mentioned above, you’ll learn that even this kind of opportunity is not given equally. Entertainment management agencies, which had seemed to give chances to children “without money or connections,” now choose hopefuls that combine money and background.

“‘형편이 어려운 아이들은 헝그리 정신 덕분에 빨리 성장하긴 하는데, 성공한 뒤에는 집안의 실질적 가장 노릇을 하기 때문에 계약서 관련 소송을 일으킬 확률이 높다’는 논리라고 한다. ‘반면 있는 집 아이들은 돈 문제에 민감하지 않고 ‘강남 키드’, ‘엄친아’ 이미지에 힘입어 광고계에서도 각광받는다’고 했다.”

“‘Though children in difficult circumstances develop quickly thanks to their hungry mentality, after succeeding, the chances of contract-related court cases arising is high, because they are effectively the heads of their household,’ is the reason a broadcast PD [Marilyn – I checked] gave. ‘On the other hand, children from homes that have money don’t care about money problems, and with their image as a “Kangnam kid” or “Mom’s friend’s son” [a perfect kid, to whom your mother is always unfavorably comparing you] they are in the spotlight in advertising too.’”

일부 아이돌 지망생이 일반인들은 상상하기 어려운 부를 얻는 것은 사실이다. 그렇다고 해서 아이돌 시스템이 정당화되는 것은 아니다. 이 체계는 피라미드 하층부 다수의 희생에 기초를 두고 있기 때문이다. 한국의 입시교육이 소수에게 혜택을 준다고 해서 절대 다수를 ‘들러리’로 희생시키는 행위가 정당화될 수 없듯 말이다.

It’s true that some idol-hopefuls make money that average people have difficulty imagining. That doesn’t mean that the idol system is justified. This is because it based on the sacrifices of the majority at the bottom of the pyramid. It is like how even though the Korean university entrance exam education benefits a minority, sacrificing the majority in supporting roles can never be justified.

당신이 아이돌의 팬이든 아니든 상관없다. 그들이 좇는 꿈이 칭찬할 만하다고 생각하면, 그 꿈이 행복한 결실을 맺도록 보살필 일이다. 만일 그 꿈이 철부지들의 몽상이라고 생각한다면, 입시와 오디션을 거치지 않아도 기쁘게 살 길을 마련해 주자. 그게 진정 ‘오빠’와 ‘누나’가 할 일이다.

It doesn’t matter if you are a fan of idols or not. If you think the dream that they are pursuing is worthy of praise, it is a matter of taking care of them so their dream has happy results. If you think that dream is a just a children’s fantasy, lets provide a way for them live joyfully even if they don’t pass the university entrance exam or audition. That is the duty of real “oppas” and “noonas.”

(Source)

Image Caption 7: 아이돌 기획사는 창의적 재능을 갖춘 지망생을 원하지 않는다. 이상적인 후보는 정해 준 동작을 그대로 익혀 따르는 기계적 완벽성이다. 사진은 소녀시대의 ‘오!’ 뮤직비디오의 한 장면.

Image caption 7: Idol agencies don’t want hopefuls who possess creative talent. The ideal candidate is mechanical perfection at learning and copying the moves as they are given. In the picture, a scene from Girls Generation’s music video “Oh!”

(Thanks very much to Marilyn for translating Parts 4 and 5)

Update – See The Korea Herald for more on exploitation of minors in the Korean music industry.

Update 2 – The Marmot’s Hole reports that “apparently there are hundreds of students from elementary to high school who are skipping class in favor of auditions in hopes of becoming a celebrity. National Assembly members are calling for measures that would ensure that these students receive the mandatory education like other students.”

What Did Depraved Oppas do to Girls’ Generation? Part 4

(Source)

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

아이돌: 꿈의 비정규직? Idols: the irregularity [instability] of the dream?

오디션은 누구에게나 열린 평등한 기회가 아니다. 가장 중요한 것은 육체다. 기획된 노출 용도에 적합한, ‘규격’에 맞는 몸을 가져야 한다. 기획사는 창의적 재능을 갖춘 사람을 원하지 않는다. 가장 이상적인 자질은 기획사가 정한 동작을 완벽히, 기계적으로 따라하는 ‘길들이기 쉬운’ 신체다.

Auditions are not an equal opportunity open to everyone. The most important thing is [one’s] body. One must have a body that is suitable for the planned purpose of exposure and meets “the standard.” Agencies don’t want people who have creative abilities. The most ideal qualification is an “easy to tame” body that perfectly, mechanically copies the moves that the agency determines.

아이돌 지망생들은 1000대 1 가까운 경쟁을 뚫고 오디션을 통과해야 겨우 연습생 자격을 얻는다. 물론 다수가 교습소에서 춤과 동작을 배우고, 다이어트와 성형을 거치는 등 ‘선행 훈련’을 쌓는다. 그리고 이렇게 선발된 연습생 가운데 2~3%만이 그룹으로 활동할 기회를 얻는다.

(Source)

Idol hopefuls have to beat nearly 1000-to-1 odds to pass the audition and just qualify as trainees. Of course, the majority study dance and movement at a [training] school, and pile up “prior training” like going through diets and surgery. Also, among trainees selected in this way, only 2-3% get the chance to be part of a [girl or boy] group.

연습생들이 고된 훈련과 불투명한 미래를 견디는 이유는 하나다. ‘내게도 기회가 올 수 있다’는 막연한 희망이 있기 때문이다. 그러나 이 ‘희망’은 대단히 잔인한 훈육 체계다. 연습생들에게 보상이 불확실한 노동을 지속하게 하고, 데뷔한 그룹에게는 ‘너를 대신할 사람은 널렸다’는 위협이 되기 때문이다. 아래 글은 이 점을 잘 지적하고 있다.

There is one reason that trainees endure intense training and an uncertain future. It is the vague hope that “I too can get an opportunity.” However, this “hope” brings with it a very cruel system of discipline. This is because trainees are made to continue to do work for which reward is uncertain, and they become a threat to groups that have made their debut, [who are told] “There are many people who can do this instead of you.” The excerpt below illustrates this.

“그룹을 꾸려 데뷔를 준비하는 것도 마음과 취향이 맞는 연습생끼리 어울려 이루는 것이 아니다. 소속사가 기획하는 그림에 따라 멤버가 추려지고, 그룹 안에서 맡아야 할 역할에 따라 지시된 이미지대로 움직여야 한다. 여기서 밉보이거나 엇나가면 이들을 자산으로 관리하는 기획사는 본보기로 멤버 가운데 하나를 탈락시킨다. 이런 으름장은 신인 연예인을 다스리는 효과적인 전략이다.” (이안, ‘원더걸스 선미 탈퇴로 비춰본 아이돌에 대한 허상’, <미디어오늘> 2010. 1. 26)

“The making and debut preparation of a group is also not something formed between like-minded trainees of similar tastes. Members are selected according to the image that the record company is planning. They must behave according to the image assigned to them as the role each must play in the group. If they anger [the agency] or go astray here, the agency that manages them like they are property can make an example of one of the members by eliminating him or her. This kind of threat is an effective strategy for controlling new celebrities.” (Lee Ahn, “Illusions about idols revealed by [Marilyn- in light of?] Wondergirls’ Sun-mi’s departure”, <Media Ohneul> 2010. 1. 26)

과거의 아이돌 그룹은 각 구성원이 뚜렷한 개성을 지니고 있었고, 서로 구분되는 역할을 했다. 그로 인해 한 명이라도 빠지게 되면 그룹 전체가 타격을 받곤 했다. 한 멤버의 탈퇴로 그룹이 해체되는 경우도 흔했다. 그러나 2000년대 후반에 나타난 아이돌 그룹은 비슷한 키에 비슷한 몸매를 갖고 있고, 그룹 내의 역할도 차별성을 갖지 않는다. 이제 구성원은 언제라도 대체될 수 있는 ‘규격부품’이 된 것이다.

In idol groups of the past, each member had a marked individuality and played a distinct role. As a result, if even one member left, the whole group was damaged. Groups often also broke up because of the withdrawal of one member. However, idol groups that appeared in the latter half of the 2000s have similar heights and figures, and their roles in the group are not distinct. Now, a member is a “standard part” that can be replaced at any time.

원더걸스의 경우, 현아와 선미가 탈퇴한 자리는 곧 다른 멤버로 채워졌고 아무 문제 없이 그룹이 운영되고 있다. 걸스데이 기획사 역시 지선과 지인의 탈퇴 발표 후 나흘 만에 새 멤버를 영입했다. 남성 아이돌 그룹 유키스 또한 기범과 알렉산더가 남긴 빈자리를 신인으로 보충해서 활동을 계속하고 있다. 결국 아이돌 시스템은 노동을 손쉽게 대체하기 위한 ‘연예계의 노동유연화’ 또는 ‘비정규직화’인 셈이다.

In the Wondergirls’ case, the openings left by HyunA’s and Sunmi’s departures were soon filled by other [new] members, and the group is operating with no problems. Girl’s Day’s agency also recruited new members within four days of the announcement of Ji Sun and Ji In’s departure. Male idol group U-KISS also filled open seats left by Kibum and Alexander with new faces and is continuing to work. Ultimately, the idol system is about “the flexibilization* of entertainment labor” or “irregularization” for the sake of easily replacing labor.

(Source)

Caption: 아이돌 그룹의 특성은 몰개성과 획일화다. 표준화된 이미지와 역할분산은 멤버들을 ‘부품화’함으로써 언제라도 대체할 수 있게 만들어 준다. 원더걸스의 경우 다섯 명 가운데 두 명이 교체되었지만, 큰 타격 없이 활동을 계속하고 있다.

Caption: The standardization and lack of individuality of idol groups’ characteristics. Through componentization [making each member into a “part” that is responsible for a small aspect of the whole], a standardized image and the division of roles make members replaceable at anytime. In the Wondergirls’ case, two out of five members have been replaced, but the group is continuing to work without much damage. (end)

*Apologies for the long delay since Part Three, and thanks very much to Marilyn for helping me to catch up by translating this one. About some of the odd words in it, she adds that she:

…found a definition of “flexibilization” as leading to “a core group with unlimited full employment, and an increasingly larger group of short-term limited and or part-time employees who face severe employment risks, ultimately resulting in stress” and “componentization” is “not limited to software; through the use of subcontracting and outsourcing, it can also apply to business organizations and processes.”, but “irregularization” seems to not be a real word.

(See here for Part 5)

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(Source: Busan Focus, p. 15, July 12 2011)

(Source: Seoul Focus, May 17 2011, p. 13)

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영화 짐승 하의실종 신세경, 광고 각선미 비교해보니…스타 연예인의 포토샵 성형 미인 실태는?

Compare Shin Se-kyung wearing hot-pants in The Beast to her bodyline in ads…for stars and entertainers, is it because of photoshop that they’re beauties?

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Introduction – Objectification Done Right

S-lines Will Sell Anything

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The Invention Process

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Context – The Profit Motive

Media Promotion

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Source: Freeutil

“I Don’t Regret Wearing That Revealing Dress”

Source: Adman

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(Source: Paranzui)

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**Compare Shin Se-kyung wearing hot-pants in The Beast to her bodyline in ads…for stars and entertainers, is it because of photoshop that they’re beauties?**