How Korean Celebrity, Gender, and Advertising Intersect—Some Quick Key Points

Estimated reading time: 7 minutes.

But first, let me extend my warm thanks to Professor CedarBough Saeji (a.k.a. @TheKpopProf) for her invitation to talk on this topic to her class last week. Next, to her students also for their many interesting questions and observations, given to me both in person and as they live-tweeted the event!

As there were too many tweets to respond to individually afterwards however, and because most were related to some key points I’d ended up having to rush over because I’d wasted far too much time showing videos of time constraints, I decided to clarify them in a long thread instead. Please click to read, and, because the more in the discussion the merrier, please feel free to respond yourself, either on Twitter or in the comments section below.

Finally, seeing as we’re on the subject of talks, let me also remind everyone that if you too would like me to give one to your own class or organization, whether in person or via Zoom, then I’ll probably jump at the chance if our schedules work out. So please get in touch! :)

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

On K-pop Stars Dating

Precious few songwriters and MV directors present female K-pop stars as grown women with sexual experience, agency, and desire. But these assigned gender roles can quickly crumble under revelations that they’re actually in relationships, as can as the business models that depend on them.

Estimated combined reading time: 8 minutes. Photo by Zun Zun from Pexels.

Recently, I was email-interviewed by James Griffiths at CNN about Cube Entertainment firing HyunA and E’Dawn for dating. My contribution to the final article is necessarily brief though, so here’s my original longer response to his question about just why K-pop labels are so sensitive about their stars’ love lives:

That some fans feel they have a strong personal bond with their idols, and then feel betrayed when those idols are revealed to be in a relationship, is a problem hardly confined to K-pop fandom. But it is amplified by three characteristic features of Korean popular culture.

First, there is the overexposure of its celebrities. Flick through the channels, and it is entirely possible to see the same K-pop star in an MV, a talkshow, a commercial, and a drama. And for each, they’ll generally be expected to maintain the persona for which they’re best known.

Next, as a broad rule, virginal personas are overwhelmingly preferred for unmarried female K-pop stars. Precious few songwriters and MV directors are prepared to present them as grown women with sexual experience, agency, and desire, as a decade’s experience with censors has taught that their work will generally get banned if they do.

Consequently, in K-pop, most women are presented as scantily-clad, passive objects for the male gaze, regardless of the actual make-up of a girl-group’s fandom. Again, this centralizing of supposed cishet male tastes as the norm isn’t unique to Korea. But the third and final feature is that the Korean media has tended to downplay their criticisms of this, so asamong other reasonsnot to jeopardize the success of the Korean Wave overseas. This deliberate myopia however, has contributed to such phenomena as the rise of middle-ageuncle fans,” who are defined by supposedly only possessing a harmless avuncular love for teenage girl-groups in hot pants—and a lot of money to spend on them.

Clearly, revelations of K-pop stars dating challenge all these tenets of Korean pop-culture, and their fundamentally gendered nature explains why the negative reactions have overwhelmingly been directed at the women in those relationships, who simultaneously get slut-shamed by both their entitled male fans and the female fans of their partners.

Those last two paragraphs link up to my answer to another question of James’s, about to what extent it’s fans or labels that are driving these attitudes to stars dating. And you can guess which way I went in light of this recent breakdown of the top 3 labels’ revenues:

Source: Jenna Gibson, Korea Economic Institute and The Korea Society @YouTube (3:50).

But I’ll cover the significance of those numbers in a forthcoming post. In the meantime, there are many huge generalizations in my answer to James’s first question of course, and it’s also entirely possible that I still look at K-pop through the prism of when I got into it back in 2010, and have had terrible confirmation bias ever since. If so, and you feel the gist of any of my generalizations are outdated, then please do let me know. I would just love the excuse to crack open some new K-pop books and journal articles I’ve been hoarding, and to get back into writing more about the subject here.

No really—please rip my email to shreds! I beg you! ;)

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

Call for Papers: The 3rd World Congress for Hallyu

I’ve been asked to pass on the following:

wahs call for papers and contest flyerFrom the accompanying email (slightly edited by me):

…I am emailing on behalf of WAHS to inform you of an upcoming international conference in Dubai on Hallyu Studies. The conference, World Congress on Hallyu, is the third of its kind and aims to bring together academics, students, and organizations who have an interest in the phenomenon of the Korean wave, known as Hallyu. Currently, we have branches of research in the Middle East, Southeast Asia, North America, and Europe.

I have a attached a flyer for an official “call for papers” for undergraduate and graduate students. I hope that you can pass it along to students who would be interested in submitting to the conference or contest. The undergraduate student essay winners are eligible to win a cash prize for their research, while graduate students are eligible for free airfare and accommodation to the conference to present their research. Graduate students seriously interested in attending are urged to sign up for a WAHS membership to receive a discount conference entrance fee and possible stipends for our future spring conference.

More information can be found at the official conference website, via the Facebook page, or via Twitter.

Meanwhile, apologies that a bad flu and the start of the new semester has delayed the follow-up to my last post, and I’ll try to have it up soon :)

“Sexy Concepts with James Turnbull”

Lee Hyori Bad Girls SBS Inkigayo 인기가요 25 May 2013(Source)

Ahem. But really, they’re just a very small part of my July interview with Colin Marshall for the Notebook on Cities and Culture podcast, where we also discuss:

…what Westerners find so unappealing about Korean plastic surgery; the associations of the “double eyelids” so often surgically created; why he used to believe that Koreans “want to look white”; the meaning of such mystifying terms as “V-line,” “S-line,” and “small face”; the uncommon seriousness about the Western-invented concept of the “thigh gap”; how corn tea became publicly associated with the shape of the drinker’s jaw; Korea’s status as the only OECD country with young women getting thinner, not fatter; Korean advertising culture and the extent of its involvement with the “minefield” of Korean irony; the prominence of celebrities in Korean ads, and why the advertisers don’t like it; how long it takes to get tired of the pop industry’s increasingly provocative “sexy concepts”; the result of Korea’s lack of Western-style reality television; how making-of documentaries about 15-second commercials make the viewers feel closer to the celebrities acting in them; why he doesn’t want his daughters internalizing the Korean sense of hierarchy; why an expat hates Korea one day and loves it the next; how much homework his daughters do versus how much homework he did; the true role of private academies in Korea, and what he learned when he taught at one himself; the issues with English education in Korea and the oft-heard calls for its reform; the parallels between English test scores and cosmetic surgery procedures; the incomprehension that greets students of the Korean language introduced to the concept of “pretending to be pretty”; and how to describe the way Korean superficiality differs from the Western variety.

Apologies in advance for not being much more succinct when I spoke (I’m, well…er..uhm…working on that), and by all means please feel free to ask me to clarify or elaborate on any of those topics.

Also note that Colin has interviewed over 30(?) other expats and Koreans, men and women, and Korea and overseas-based speakers for the Korean component of his series, all most of whom are much more articulate and entertaining than myself, so I strongly encourage you to browse his site. I myself was blown away by Brian Myers’ interview yesterday, which was full of insights and observations that all long-term expats will be able to relate to (and will be very useful listening for those thinking they may become one), and Bernio Cho’s is essential if you want to understand the Korean music industry better. And those are just the two I’ve listened to so far!

Presentation, Yonsei University, Friday 12th: “Give it to Me? The Impact of K-Pop’s Sexualization on Korean Advertising”

Sistar Rice Ad(Source: *cough* Ilbe)

The reason I’ve been so busy in recent weeks, and unable to properly reply to all your comments and tweets sorry. But, I’m happy to finally announce I’ll be presenting in the 2014 Situations International Conference, “Culture and Commerce in the Traditional, Modern and Contemporary Asian Music Industries” this Friday at 3pm, and I’d be delighted if any readers could make it.

If you can’t make Friday though, never fear, for there’s a host of much more interesting presentations than mine on Saturday, and I’m happy to meet up after the conference on Sunday too. Please just say hi there, or give me a buzz here or on Facebook or Twitter.

As for my topic, consider it a direct extension of this post. I look forward to your questions and comments!

Quick Hit: Harassment Framed as Affection

Dummy Harassment(Dummy Harassment by gaelx; CC BY-SA 2.0)

Via The Korea Herald:

Former National Assembly Speaker Park Hee-tae is to be questioned over allegations of molesting a golf caddie, police said Saturday…

…Park admitted that there had been some physical contact, but maintained that he did not “cross a line.” He told a local daily that he poked the woman’s breasts with a finger once, adding that it was an act of adoration because she “felt like his granddaughter.” (My emphasis)

Read the link for more details, or The Korea Times. I mention it because a friend pointed out that they’ve heard that excuse on more than a few occasions in Korea, which rang a definite bell. Sure enough, a few years ago I translated an article by Ilda Women’s Journal writer Park Hee-jeong, who said exactly that in relation to the following commercial back in 2005:

“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?”…

…“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. (My emphasis)

See my 2011 post for the full article and translation. Like I argued there, the prevalence of such attitudes in 2005 still goes a long way towards explaining the rise of “ajosshi-” or “uncle-fandom” just a few years later. Or, more specifically, why the media so quickly framed and celebrated middle-aged men’s interest in (then) underage female-performers as purely paternal or avuncular, despite the girls’ increasingly sexualized performances.

But that’s a very familiar topic with readers, so I’ll wisely stop there, and later this month I’ll make sure to write a follow-up post on the important challenges to those media narratives that have arisen since (suggestions as to what to add would be welcome). Also, boys’ performances have likewise become problematic, so it’ll be interesting to explore similar permissive media narratives about “ajumma-fandom“—or curious lack thereof.

Until then, what do you think? Do you feel older Korean men still have a palpable sense of entitlement to women’s bodies, however much it is rationalized as affection? Or is Park Hee-tae’s case an unfortunate exception?

Update: By coincidence, this issue has just been raised in a posting at Reddit’s TwoXChromosomes. An excerpt:

But [my Korean father] would act strangely at times. He commented in public and in private how large my breasts were, and how I could have grown up without him there, how the last time he’d seen me I was so small. He would often say teasingly that he wanted to feel my boobs and he would constantly try but I would be very self conscious and embarrassed and turn away.

I asked him to please stop and get angry. I even cried once because he was making me feel bad and humiliated. He also kept trying to sneak in when I was bathing and kept implying that he wanted to bathe me like when I was young. He would often try to see me when I was changing. I felt very conflicted and always refused. I felt revolted by the whole thing.

Anyway, I admitted to my grandmother that I had felt strange, and kind of traumatized by this behavior. She immediately responded with, “You’re wrong about this. This is normal behavior in South Korea, and you’re just seeing this in the wrong light because you’re American. Your father has a temper problem, but he’s a pure person. I’m one hundred percent sure that he just was being a loving father.”

Read the rest there, as well as the numerous comments. Again, there’s quite a debate as to how common such excuses and rationalizations are in Korea (or not).

Update 2: Clearing out my archives, I came across the following case from October 2007:

An appellate court gave the “not guilty” verdict to a father who had touched his 11-year-old stepdaughter’s breasts, saying it was a “sign of affection.”

Kim, 43, was married in 1996. He became the stepfather of his wife’s daughter, whom he treated as his own child. He had often showed her affection through touching, which the girl did not used to consider as unpleasant…

…However, the Seoul High Court only acknowledged the domestic abuse [of his wife]. He was given a two-year suspended jail term and 160 hours of community service. It ruled: “Kim’s act was a rather excessive sign of affection spurred by alcohol.”

The court made this decision based on the fact that the girl had not reached puberty yet and previously had not felt uncomfortable about such acts as sleeping next to her and touching her hips.

Read the full article at the Korea Times or Waygook.

When K-pop Gets Under Your Skin…

city of girls' generation gangnam(Source)

My latest piece for Busan Haps, on the contributions that K-pop has made to cosmetic surgery medical tourism.

I chose the topic because I’d always assumed that K-pop was easily Korea’s #1 cultural export. And, building on from that, that surely most medical tourists to Korea would be coming for cosmetic surgery. After all, what would this blog be without all the posts on dieting and body-image narratives in K-pop songs? On stars’ cosmetic, beauty, and dieting-related endorsements? Or, of course, on the ideals set by their bodies themselves?

I couldn’t have been more wrong.

First, because K-pop only accounted for just five per cent of the revenues from cultural content exports in 2013, as demonstrated in this Arirang news report from January. That worked out to $255 million, out of a total of $5.1 billion.

Korean Content Industry Exports for 2013(Source)

Next, because cosmetic surgery tourists only comprised seven point six percent of medical tourists in 2012. Yes, really.

When I wrote the article, I mistook that for the 2013 percentage, which isn’t available yet. But, assuming it remained the same (although the trend is for rapid growth), that would have resulted in a paltry $7.6 million in revenues in the January to November 2013 period, based on these figures that incorporate revenues lost from Korea’s surprisingly high numbers of outgoing medical tourists (unlike the grossly inflated KTO figures).

No wonder “a renowned business professor” recently dismissed the economic benefits of K-pop.

Frankly, another reason I chose this topic was because I expected I’d quickly prove him wrong. Instead, I soon found myself chagrined, forced to concede that perhaps he had a point.

But the long-term benefits? He’s dead wrong about those. To find out why, please see the article!

Korean Sociological Image #77: Sexualized Girl-Group Performances at Schools

Back in August, I wrote the following about girl-group performances for the Korean military:

With 300-350,000 new conscripts annually, one of the longest conscription periods in the world, and a grisly — but improving — record of bullying and abysmal living conditions, keeping the troops entertained can safely be assumed to have long been a big concern of the South Korean military. Accordingly, televised visits by girl-groups and entertainers have become a recognizable part of Korean popular culture, although note that it was originally US solidiers that they would perform for, as explained in the highly recommended read Koreans Performing for Foreign Troops: The Occidentalism of the C.P.C. and K.P.K. by Roald Maliangkay.

Given that context, then it’s natural that girl-groups — and boy-bands — would also come to regularly perform for schools too, albeit more obviously as a means of self-promotion than as a patriotic service. However, as a performance the next month by dance group Waveya (웨이브야) demonstrated, and today’s commentary on it at BuzzFeed highlights, perhaps they don’t always tone down their choreography for their teenage audiences.

Here’s a just taste of what middle and high-school students (aged 13-18) at the September 2012 Gonggam (Sympathy) Concert witnessed, hosted by the Gangwon Provincial Office of Education:

Waveya Boys' School

Naturally, I don’t have anything against Waveya themselves, and of course sexualized performances are just fine with adult audiences. Also, what boy-band or girl-group hasn’t overstepped the line on occasion, whether by accident or as a deliberate promotion tool?

Nevertheless, this particular performance seems not so much an imitation of some of the more risqué K-pop songs, as a deliberate mash-up of their most provocative choreography. Add that Waveya are a self-styled “sexy dance group,” and include pictures of themselves in skimpy schoolgirl outfits on their homepage, then it’s strange — and very telling — that they so regularly get invited to perform for children:

Should there be restrictions on explicit school performances? Whatever the girl-group or boy-band?

One argument against that is that teenagers can readily — and do — see music videos’ original sexualized choreography on their smartphones (let alone pornography), in which case toning things down would be both naive and pointless. And perhaps there’s some merit to that.

On the other hand, we are talking about adult women spreading their legs just 3 meters in front of teenage boys’ faces, a much more visceral experience than images or video can provide (sure enough, there were some complaints about the September performance). Also, regardless of whether you feel Waveya are being sexually objectified or not, or if that’s even a negative, if performances like this prove to be routine at Korean schools then they’d surely be a powerful socialization agent. Especially for what’s been described as the saturation of costumed, frequently scantily-clad female ‘narrator models‘ and ‘doumi‘ in daily life here.

That’s no exaggeration. But it’s also something very difficult to appreciate until you’ve seen it for yourself. To remedy both, please go directly to the source, a 2005 piece from Scribblings of the Metropolitician (my emphasis):

Doumi Helper Korea….Some parts of this topic have been covered in previous posts about the social status of women the commodification of their bodies, but I just wanted to point out a few things here visually. When I talk about the 도우미 (doumi – “assistants” who can be found in everything from grocery stores to ones singing rooms), people often ask me why they bother me so much. To reiterate a point I made in a previous post, it’s the saturation of the doumi into the realm of the everyday and mundane that is so insulting – to both the customers and the workers themselves (source, above).

Of course, I am making a value judgement and perhaps seem like I am engaging in a condescending discourse about these women. But I am not irritated because I “feel sorry” for them or I am fighting for some notion of their human rights; I simply think that the simple equation of baring flesh for the sake of selling toothpaste and razor blades just cheapens the whole enterprise for everyone. When I say this, I acknowledge that “sex sells” and that hot models are the standard eye candy of choice for trade, car, and electronics shows the world over. Still, hiring a model who is a larger-than-life figure showcasing a larger-than-life product or prototype somehow seems appropriate, whereas watching dozens of women who look like my cousin or niece hawking the most everyday and mundane of objects just seems ineffective and demeaning….

Narrator Models(Source)

What do you think? About anything mentioned in today’s post?

But whatever your opinion, please note that the boys in the audience don’t deserve the mockery they’ve been receiving on BuzzFeed and YouTube (remember: we were all teenagers once!), so please don’t repeat it. Also, because it is just a handful of performances by a dance group being discussed here, we should be wary of overgeneralizing to more mainstream music groups based only on their example. So, I’d really appreciate it if readers — especially public school teachers — could confirm how common or exceptional such full-on performances really are.

Update: Based on all your comments, both below (thanks!) and in the wider blogosphere, such sexualized performances are actually quite common in Korean schools (although Waveya’s is still more explicit than most). Here’s some representative commentary, by Party in the R.O.K:

…in every school I’ve worked at, sexy dance moves are totally acceptable in the school environment. Teachers have let the kids watch music videos before or after class that have made me blush, but no one else seems affected by the raunchiness. Also, when I taught at middle school, they would have joint assemblies with the high school girls and often do dance performances. My middle school girls would wear high heels and short skirts (nothing out of normal but still a little risque for school) but one time the high school girls did an After School-inspired dance that involved wearing almost invisible short shorts and high heels and straddling flags and getting low and practically twerking onstage… in front of an audience of parents and siblings and other teachers… while lots of male parents and teachers took videos with their phones… no one acted like it was weird at all. I felt like I was breaking a law just watching it! That is one thing about teaching in Korea that I will never be used to.

See my Reading the Lolita Effect in Korea series below also (especially Part 2), which discusses those issues in greater depth:

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

Quick Hit: CNN on Saseng Fans

(Source)

A good introduction to saseng (사생) fans by Collette Bennett at CNN, and I’m not just saying that because I get a mention towards the end(!). But if anyone’s confused by the connections I make to the Korean advertising industry and celebrity endorsements though, please see here for links to many posts and articles I’ve written about the subject.

Also, for related reading, see here for a discussion of the article at a JYJ fansite (they’re mentioned in the article), Asian Junkie for “Korean Executive Says K-Pop Fans Are A Cult + The Fandom Scares An American Journalist,” and XX Factor for “Your Pop-Culture Obsession Is Not a Sickness.”

p.s. Apologies to Colette if it’s my fault (I made the same mistake in my email), but it’s sa (“a” as in “hat”) seng (“e” as in “pet”), not “saesang” (pronounced “say-seng”) as reported in the article. Or is that some Seoul variation that I’m unaware of?

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

(Source)

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

While frustratingly brief, it does have some money quotes:

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

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

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

(Source)

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

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

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

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

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

(Sources — left: unknown; right)

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

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

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

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

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

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

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

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

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

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

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

(Source: James Turnbull)

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

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

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

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

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

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

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

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

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

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

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

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

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

(Sources: left, right)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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.

(Source)

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:

(Source)

• 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!^^

Should the Sexualization of Teens in K-Pop be Banned?

(15 year-old f(x) band member Sulli {최설리} in February 2010 Oh! Boy Magazine; source)

In short, “yes, but…”(!), as I explain in this opinion piece I recently penned for the Korea Herald. It’s pretty faithful to the original, for which I’m grateful, but unfortunately two crucial sentences on boy-bands got edited out at the beginning of paragraph 4. It should read:

This is why this discussion is overwhelmingly about girls. However, owners of boy-bands too have been affected by the ensuing pressure to make them stand out from their competitors. Add in Korea’s notoriously high levels of illegal downloading, ensuring that profits in the Korean music industry are overwhelmingly from concerts and commercial endorsements (and which explains why 75% of Korean commercials feature celebrities), then courting controversy with ever more provocative performances is a no-brainer really.

Still, only 800 words long even with those inserted, at best the article only gives an introduction to some of the issues involved really. For any interested new readers and old readers that haven’t already then, please read my post Reading the Lolita Effect in Korea, Part 2: The role of K-pop and the Korean media in sexual socialization and the formation of body image for a much more comprehensive discussion of those, and for the many caveats I would have liked to have added to the generalizations in the article!^^

Sprechen sie Deutsch?

(Source)

If so, then let me direct you to an interview I gave last week for Deutschlandradio, on the economic factors behind the sexualization of minors in K-pop (I’m on at about 3:05).

Meanwhile, English speakers never fear(!), for I should have a newspaper article on the same subject coming out either this week or the next. And Part 2 of my translation of the “What did Depraved Oppas do to Girls’ Generation” article will be up tomorrow.

Update – With special thanks to Curtis for translating it, here is the short article that accompanied the radio report:

Economic Factors: Girlbands

Report by Malte Kollenberg and Fabian Kretschmer

(Girl- and boybands are an important part of the economy in South Korea. Source: plynoi)

South Korean boy- and girlbands are also internationally successful. A general music- and dance-style concept is created and from this concept a look is agreed upon.  To acheive this look, the young band members go under the knife ever more frequently.

Pop music in South Korea is a major economic factor for the country.  In 2009 the industry earned 30 million dollars, and according to government statistics, this number doubled in 2010.  The most important market is the country itself, but Japan and the USA are also markets of interest.  Korea’s largest record label, S.M. Entertainment, currently tours around the world with different bands in a Global-Audition-Tour.

Lavish Choreography

Girl- and boybands who present lavish choreography in large shows are typical for K-Pop – for example, the 13-member boyband Super Junior and Wondergirls.  As is usual in the international music market, the bands are cast, and the musical style and looks of the artists are decided by the record label.  Plastic surgery is generally accepted by South Korean society and is a standard in K-pop.  From this arise greatly deliberated and perfectly coordinated images.

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Korean Sociological Image #55: School Uniform Advertisements

(Source)

Has anyone been paying close attention to teenage girls’ legs recently?

If so, then please answer a question for me, as they’re the darnedest things to find once you actually have a legitimate reason to look: until their recent break, had female school students still been required to wear skirts this winter, while their male classmates got to wear pants? Or did Korean schools show some flexibility because of the unusually cold weather?

Mostly I ask because as my eldest daughter approaches school age, it’s just one of many things to consider as my wife and I decide whether to send our daughters to a Korean school, to homeschool them, or—in our dreams—to send them to an expensive international school. But whatever we ultimately decide, it’s interesting to compare attitudes towards uniforms in the U.K. for instance, where most schools have in practice allowed girls to wear pants for a long time now. On the other hand, they’ve only legally been required to do so as recently as last year, and only then because it was judged to violate the rights of transsexual students.

Which is not to imply that those are unimportant of course. But still, it was surprising that it wasn’t arguments about sexual equality and student’s health that had more impact on legislators:

(Guardian Weekly, July 11-17 2002)

The other reason for my interest is because of what they can represent. First, to the students themselves, many of whom consider them symbols of every hardship and injustice they had to endure at school, which is why they’re going to be ripping them off in public and/or slashing them with scissors upon their graduations next week. And who can blame them?

Next, to someone more interested in gender issues and social trends, they could be seen as something that both physically prepares girls for and/or socializes them into wearing skirts simply for the sake of being fashionable later. But considering that young U.S. women for instance, who don’t wear uniforms at school, still freeze to death outside nightclubs every winter just as readily as their U.K. and Korean counterparts, then that may be making too much of it.

I’m on much firmer ground though, when I say that school uniform advertisements at least, epitomize how Korean girls are socialized to be notoriously obsessive about their appearance:

(Source: unknown)

To be precise, it’s the fact that such advertisements exist at all. For unlike in the UK, Australia, and New Zealand where I went to school, and where parents buy—and can only buy—their children’s school uniforms directly from their schools, in Korea there has actually been a free market for them since 1983. Or in other words, for any specific school there’s a range of companies competing to sell their brand of its uniforms to students, complete with their own individual stores and with sometimes marked differences in quality and price.

One obvious problem with this is that it completely works against one of the major purposes of having a school uniform in the first place, which is to minimize the visible differences between wealthy and poor students.

Another is that school uniform advertisers naturally use the same methods as clothes companies do for most any kind of clothes: buy their brand, and you will be successful both among your peers and with the opposite sex.

(Sources: left, right)

Granted, that latter hardly sounds heinous. And just like everywhere else, many Korean girls will make their uniforms as revealing as possible if they’re too conservative for their liking. Moreover, in this excellent quick guide to the school uniform industry at An Acorn in the Dog’s Food here, Paul Bailey argued in January 2009:

Another thing I noticed from the English-language sites reporting on [this] is that they all feature an advertisement of celebrities promoting a particular line of school uniforms, and this ad always features a girl group. Looking through the first few pages of image results on Naver, it looks like there might actually be more advertisements featuring boy bands — but I guess a group like the Wonder Girls or Girls’ Generation is more recognizable to the average reader. In his write-up, James mentions that it was only by accident that he learned how students buy their uniforms through these retailers instead of through their school. Never having worn a school uniform, that was also my assumption before arriving in Korea, but upon exploring my neighborhood I turned up three school uniform vendors – Ivy Club, Smart and Skoolooks – located within four blocks of my apartment. Between those vendors, one featured posters of only boy bands and the other two advertise with both male and female celebrity models. Interesting, then, to see what images have been used online.

And I’ve no reason to disagree with any of his observations. But with the benefit of hindsight from several years of writing and lecturing about advertisements since, I’ve noticed that the majority of ads featuring boy-bands from back then clearly seemed to be aimed at girls rather than boys, as in the large pink example with boy-band Shinee and an unidentified female model above. Which again, is only natural…but then the ones featuring girl groups seemed to be aimed at girls too.

Take these recent ones with girl-group f(x) for example, in which the group members are almost always the most prominent models in them, even though the ad technically is also selling boys’ uniforms (update: this ad is a good comparison):

sulli-school-uniform(Source)

Sure, in Korea’s overwhelmingly celebrity-driven advertising culture, then of course they’re going to be the most prominent things in the ads. And I also concede that some of the ads in this post are among the most blatant, deliberately chosen to make a point. But whether the models in a uniform ad are exclusively male, exclusively female, or a mix of both, there seems to be a noticeable lack of comparable ads featuring boys getting the approving looks of female admirers. And which, when you think about it, is just plain bizarre really.

As long term readers will recall though, the practice of celebrities endorsing uniforms was actually banned by the Ministry of Educational Science and Technology (MEST) 2 years ago (see #7 here), and indeed I mentioned that a rare positive step in my recent lecture in Boston. I was very surprised and embarrassed then, to find that they’d started again almost literally the day I got back, which is what ultimately prompted this post. As it turns out, not only were they actually not banned at all, school uniform companies merely being asked to stop in order to decrease the burden on consumers during the economic crisis, but my hope that someone within MEST thinking that middle-school girls had better things than their S-lines to worry about now seems particularly naive.

And on that note, let me leave you with the facts on the original decision to temporarily cease star endorsements back in 2009, courtesy of Marilyn:

(Sources: left, right)

교복 광고 속 아이돌 스타들, 이제 “교복을 벗고”

Idols stars in school uniform ads, now “take off the uniform”

새 학기가 시작되면서 강력한 호황을 누리는 의류업계가 있다. 바로 교복업계다. 마치 경쟁이라도 하듯 인기 아이돌 가수들을 광고 모델로 쓰며 학생 소비자들의 시선을 잡아 끄는 교복 광고는 그 동안 10대 팬들에겐 ‘오빠, 누나’의 브로마이드를 한 장이라도 더 받을 수 있는 통로였으며, 스타들에겐 아이돌의 이미지를 더욱 견고하게 할 수 있는 ‘꿈의 CF’였다.

As a new semester begins, there is a clothing industry that is thriving powerfully – the school uniform industry.  As school uniform ads, which, as if they were competing, grab and lead the attention of student consumers while using popular idol singers as advertising models, have been a way for teenage fans to get even one more poster of their ‘oppa, noona’, to stars they have been “dream TV commercials” that could make an idol’s image even more solid.

그러나 최근 들어 TV 광고에서 교복을 입은 아이돌 스타들의 모습을 보기가 힘들어졌다. 어느 채널을 돌려도 이젠 긴 다리로 뛰어 다니며 십대답지 않은 ‘교복 간지’를 뿜어내는 아이돌들을 찾기는 힘들다.

However, it has recently become rare to see an idol star wearing a school uniform in TV commercials.  No matter which channel you turn to, it is difficult to find an idol running around on their long legs while exuding ‘school uniform chic’ that is unlike a teenager.

(Source)

바로 지난 달 1일 교육과학기술부(이하 교과부)와 교복 업체들 간에 이뤄진 간담회 결과, 교복 업체들은 ‘가격 인하 노력 전개’, ‘디자인 변경 자제’, ‘사회공헌 활동 강화’ 등과 더불어 ‘유명 연예인을 동원한 과도한 광고 및 판촉 활동 자제’의 지침을 지킬 것을 요구 받았기 때문이다.

It is because on the first of last month [Feb. ’09], the result of the discussion between the Ministry of Educational Science and Technology (MEST) and school uniform companies was that the uniform companies were asked to follow the guidelines of ‘a price reduction effort campaign’, ‘abstention from design change’, ‘strengthening of social contribution activities’, etc., along with ‘abstention from advertisements and promotional activities that excessively employ famous entertainers.’

이에 교복업체들은 현재 자율적인 협의를 거치고 향후 ‘스타 모델 기용’을 더 이상 지속하지 않기로 결정한 상황이다. 그렇다면 교과부가 ‘스타 모델 기용’을 반대하는 권고안을 내놓은 이유는 무엇이며, 이러한 권고를 수용한 교복업체들의 ‘스타 모델’에 대한 생각은 무엇일까? 또한 이번 교복업계의 결정에 따라 아이돌 스타들의 전유물로 여겨졌던 교복 광고 시장은 어떻게 변하게 되는 것일까?

Following that, school uniform companies recently underwent an autonomous discussion and decided that, from now, ‘star model employment’ will no longer continue.  So, what is the reason that the MEST put forth a recommendation that opposes ‘star model employment’, and what might school uniform companies who accept this recommendation think about ‘star models’?  Also, how might the school uniform advertising market, once considered monopolized by idol stars, change according to this decision by the school uniform industry? (Source, right)

교과부 “빅 모델이 교복값 부추긴다.” VS. 교복업계 “1000원 미만 정도”

MEST: “Famous models drive up school uniform prices” vs. school uniform industry: “Less than 1,000 or so”

교과부를 비롯해 다수의 고객들이 교복 빅 모델 사용을 반대하는 결정적인 이유는 하나다. 스타 모델 기용으로 인해 발생하게 되는 개런티가 교복값에 그대로 반영돼 교복값 상승을 더욱 부추긴다는 것. 그러나 이러한 일반적인 생각에 대해 교복업체들은 하나같이 ‘No’라고 대답하고 있다.

There is one deciding reason that the MEST and a majority of customers oppose the use of famous models for school uniforms: a star model’s fee is directly reflected in the price of school uniforms so it contributes to their further rise. However, school uniform companies, together as one, have answered “no” to this common thought.

최근 매일경제 스타투데이와의 전화 통화에서 업계관계자들이 주장한 ‘스타모델로 인해 추가되는 교복값’은 한 벌당 300원에서 1000원 정도. 그러나 현재 국내에는 제품원가와 관련해 심의를 담당하는 기관이 없기 때문에 그 정확한 비용적 수치를 알기는 어렵다.

Recently, in a phone call with Maeil Kyungjae Star Today, industry sources claimed that the ‘school uniform price additions caused by star models’ are about ₩300 to ₩1,000 per uniform.  However, because there are currently no domestic organizations responsible for the review of the production costs of goods, it is difficult to know the exact figure.

업계 관계자들은 “다른 의류업체들이 스타들을 모델로 기용하는 것과 다를 것이 없고 또 실제로 스타 모델이 교복 가격에 미치는 영향도 미미하다”면서 “오히려 교복 가격을 1000원 정도 깎아주고 빅 모델들을 계속 쓰는 게 우리에게는 더 효과적”이라고 말한다. 브랜드 이미지를 강화하기 위해 스타 모델들을 쓰는 것 보다 더 좋은 방법을 찾기 힘들기 때문이다.

Industry sources said, “It is no different from other clothing industries using stars as models and also, actually, the influence caused by star models on school uniform prices is slight” and, “Instead, it’s more effective for us to discount the school uniform price by ₩1,000 and continue to use famous models.”  This is because it is difficult to find a better way to strengthen a brand image than using star models.

(Source)

교복의 독과점 특성 상 빅 모델은 신생업체의 중요 진입 통로

Because of monopolies in the school uniform industry, using famous models is an important way of entry for new companies

그러나 스타모델에 대한 보다 구체적인 효과와 관련해선 교복업체들마다 조금 다른 의견을 보이고 있는 것도 사실이다.

It is also true, however, that each school uniform company expresses slightly different opinions concerning the more specific effects of star models.

1995년 송혜교를 시작으로 자사 광고에 스타들을 모델로 기용한 스마트는 “회사 내부적으로 빅 모델들 때문에 특별히 큰 효과를 본다고 생각지는 않는다”는 입장을 가지고 있다. 스마트 마케팅팀의 손정주 대리는 “스타 모델 사용의 목적은 직접적인 수익 창출이라기 보다 우리 브랜드의 이미지 형성을 위한 것”이라며 “또 워낙 스타 모델들을 쓰는 것이 일반화된 교복 광고계에서 타 경쟁 브랜드와의 차별성을 두고 스타와 브랜드 간의 연상작용을 위해 하는 측면이 크다”고 말했다. 예를 들어 샤이니를 보면 스마트를 연상케 하는 이미지적 과정을 중요한 마케팅 수단의 하나로 보는 것이다.

Smart, which started using stars as models in its advertisements with Song Hye-kyo in 1995, believes that, “Within our company, we don’t believe that we see especially big results because of famous models.”  Smart marketing deputy section chief Sohn Jeong-joo said, “The goal of using star models, more than the direct creation of profit, is the development of our brand,” and added, “Also, using star models in a school uniform advertisement differentiates us from competitor brands, and the aspect of doing it for the association between the star and the brand is considerable.”  For example, the visual process of being reminded of Smart when one sees Shinee is seen as an important marketing tool.

(Source)

하지만 업계에 처음으로 발을 디디는 신생업체의 생각은 다르다. 교복업계에 진입한 지 4년여 만에 메이저 기업으로 성장한 스쿨룩스 측은 “사용하지 않는 것 보다는 훨씬 낫다”는 입장이다. 스쿨룩스의 한 관계자는 “물론 빅 모델 기용 이외에 다양한 영업, 마케팅 기법들이 혼합되면서 수익이 창출되는 것이므로 스타 모델이 수익적 성과를 결정한다고 단정지을 수는 없다”면서도 “브랜드 인지도를 높이는데 효과적인 것만큼은 사실이다”라는 의견을 밝혔다.

However, the opinion of a new business first entering in the industry is different.  The position of School Looks, which has grown into a major business in the four years since it entered the school uniform industry, is that, “It’s a lot better than not using them.”  A source from School Looks said, “Of course, because in addition to using famous models, diverse sales and marketing techniques are blended while creating profit, we can’t conclude that star models determine our revenue results,” but, “it’s a fact that it raises brand awareness enough to be effective.”

스쿨룩스는 업계에 처음 진입할 때부터 장근석, 유아인 등의 아이돌 스타들을 광고 모델로 썼고, 2007년부터 현재까지 빅뱅을 전속 모델로 쓰고 있다. 이와 관련해 스쿨룩스의 관계자는 “특히 빅뱅의 경우 대중들에게 잘 알려지지 않았던 데뷔 시절부터 써왔는데, 브랜드 이미지를 강화하려는 교복 광고주와 대중들에게 얼굴을 알려야 하는 아이돌들에게 교복 광고는 특히나 효과가 큰 윈윈전략의 하나로 통한다”고 말했다.

Since it entered the industry, School Looks has used idol stars like Jang Geun-seok and Yoo Ah-in as advertising models, and from 2007 to the present they have had the exclusive use of Big Bang as models.  A School Looks source involved with this said, “Especially in Big Bang’s case, we’ve used them as models since their debut when they weren’t well-known to the public; a school uniform ad is known as an especially effective win-win tactic for a school uniform advertiser that wants to strengthen its brand image and idols who need to make their faces known.”

(Source)

교복업체들 “국민정서 따르겠다.”

School uniforms companies “will conform to public sentiment”

그러나 결과적으로 교복 광고의 빅 모델들에 대한 국민 정서가 좋지 않고, 나라 경제가 전체적으로 악화되고 있는 상황에서 교복업체들은 교과부의 권고를 수용하고 스타 모델을 더 이상 쓰지 않는 방향으로 가닥을 잡을 예정이다. 실제로 지상파 교복 광고도 지난 달 들어 모두 중단됐으며 팬 사인회 등의 프로모션도 현재 끊겨있는 상태다.

However, in the end public opinion about famous models in school uniform ads is not good, and in a situation in which the country’s economy is worsening on the whole, school uniform companies plan to accommodate the MEST’s recommendation and move in the direction of no longer using star models.  School uniform ads have actually ceased since last month, and promotions such as autograph signing parties are currently suspended.

그렇다면 학생들을 소비 계층으로 하는 교복의 특성상 아이돌 스타들이 광고료를 대폭 낮추고 광고를 찍을 수는 없을까? 이와 관련해 소속사들 측은 “아이돌의 이미지 상 교복광고를 긍정적으로 볼 수도 있겠지만, 결과적으로 수익을 창출해내는 한 기업의 광고라는 점에서 가격붕괴를 시키면 다른 광고에서 분명히 문제가 발생할 것”이라는 의견이다. 따라서 추후 광고 방법에 관련된 구체적인 논의는 업체별로 계속될 것으로 보인다.

(Source)

So, because students are the main consumers of school uniforms can’t idol stars sharply lower their fees and shoot the commercials?  About this, star management agencies’ opinion is, “We might have a positive view of school uniform ads as far as the idol’s image goes, but in the end, if we drop our advertising appearance fees for one business that needs to make a profit, there will obviously be a problem with other advertisements.”  Thus, in the future we will continue to see detailed discussion in each company about advertisement methods.

이렇게 브랜드 교복 업체들의 주장대로 교복 한 벌에 들어가는 비용이 ‘단 몇 천원’에 불과하다 하더라도 몇 억대에 이르는 광고 모델료와 지상파 광고를 위해 지출되는 10억대에 이르는 거품이 사라질 수 있다면 서민들의 부담을 조금이라도 덜어줄 수 있다는 것만큼은 확실한 것이 아닐까? 교복광고와 관련된 권고안이 실행된 지 한 달 남짓, 시장의 자유 경쟁을 저해하고 교복 광고에만 유난히 날카로운 잣대를 들이댄다는 일부의 불평 속에서 사라질 스타 모델 교복 광고가 광고 시장과 교복 시장에 어떤 바람을 불러 일으킬 지는 더욱 두고 볼 일이다.

Even if the added cost to one uniform is ‘only a few thousand Won,’ as brand school uniform companies claim, if the advertisement model fees that reach a few hundred million and the extra billion spent on TV advertisements disappeared, isn’t it certain that would be enough to lift, in however small a way, the burden on ordinary people?  Star model school uniform advertisements will disappear as a result of complaints like facing the hindrance of free market competition and especially strict standards just for school uniform advertisements.  At over one month since the recommendations were carried out, it even more remains to be seen how this will affect the advertising market and school uniform market (end).

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So, it looks like celebrity endorsements will continue. Do you think they have an influence on what we wear later in life? Was, or is, cost ever an issue to you or your parents? Alas, not having worn one since 1993, then I’ve had a lot of catching up to while writing this article, and so would really appreciate any more recent information!^^

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

Korean Sociological Image #51: Male Objectification and Double Standards

What would be your reaction if this flashed on your TV screen?

Mine was that hard abs aren’t the best analogy for airbags. But my mistake: they’re not supposed to be. Rather, Hyundai needed something to signify the number of airbags as the voiceover went through various specs of the car.

Which, to be fair, is much clearer in the full commercial.

How about if a proper airbag analogy had been used instead, like Mercedes Benz did back in 2006?

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If you found that objectification distasteful however, then consider the following from Renault/Samsung in 2008 below also:

Which uses the same analogy, but is clearly quite a contrast to BMW’s puerile effort. Nevertheless, some commenters on an earlier post (update: since deleted sorry!) did still have some issues with it, whereas nobody on this blog at least has had any with all of the men’s 6-packs that suddenly started appearing in Korean commercials from last year.

But I’m sure you’re already well-aware of that double-standard, so the purpose of this post is not just to draw your attention to it. Nor to simply pass on that juxtaposition of advertisements, however interesting. In combination with a recent development in the Korean media though, what that juxtaposition did serve to do was make me realize both the rapid mainstreaming and dogmatic nature of that double-standard here, and which is a combination that I think is pretty unique to Korea too.

Let me explain.

Actually, the first I already have: consider how popular the new buzzword “chocolate abs” (초콜릿복근) is in the Korean media now as a result of all the recent ads featuring them for instance (see here, here, here, #8 here, and this new one below for examples and/or discussion), whereas it didn’t even make a list of buzzwords at the end of last year.

Against that sudden popularity however, you could argue that they’ve actually already been around for a long time in music videos. As Hoon-Soon Kim explains of some from 2000 in “Korean Music Videos, Postmodernism, and Gender Politics” in Jung-Hwa Oh (ed.), Feminist Cultural Politics in Korea (2005) for instance, albeit with more of a focus on the emergence of the “Flower Men” or kkotminam (꽃미남) phenomenon than male objectification per se:

…we see that there is a new type of male image emerging albeit in a small number of music videos. It is a de-gendered image of men which is a contrast to the macho image. Male groups such as Y2K, H.O.T., ITYM, and Sinwha, whose fans are mostly teenage girls, portray this image. They wear make-up and a lot of jewelry and ornaments – which are all considered feminine – and take off their shirts to show off their bodies. This indicates that the male body is also sexually objectified as the female body….The style of the video is similar to that used to show female images with extreme close-ups to fill the screen with a face, and medium-range or full body shots for dances. Although there is a risk of overstating the phenomenon, this image could be interpreted as a signal indicating the possibility of breaking the binary boundaries of men and women that have been formed in a patriarchal culture. (p. 207)

And yet just like in ads, the amount of male objectification in music videos—or to be specific, ab exposure—does also seem to have picked up markedly in the past year or so. Like Multi explained back in March:

…in the past month the internet has been flooded with pictures of Korean celebrities and their abs (as well as some other shots that are not entirely SFW – you’re over 18 you can check them out here, and here). Our favorite controversial band 2PM just did an extensive photoshoot and were topless for most of it (parts 1, 2, 3, 4). Lee Joon of the new boy group MBLAQ flashes his abs a whole lot, because the king of ab-flashing, and Korean superstar extraordinaire, Rain, who happens to be his boss, tells him to because the fans like it, (yup, we sure do ;) and everyone wants to get pictures of them (exhibit A, B, C, among countless others). Then there’s these guys, this guy and this guy, and like 50 others. And then countless polls as to whose abs are better.

To be precise, Rain told Lee Joon that taking off his shirt has far more effect on his audiences than his dancing. And as “the king of ab-flashing”, then of course he could have been talking about himself instead (actually, I thought he was originally), so I can hardly fault him for showing off his own abs so frequently in his own music videos and performances. But rarely in harmony with his song’s lyrics and/or even his choreography however, and so for me personally he more epitomizes just how cynical and commercially-driven the trend has become, with obvious parallels to more familiar ones for female performers. Check out from 2:55 here for instance:

And my critique of the trend as “commercially-driven” is no mere cliche, because whereas it’s mostly young girl-groups that have sprung up in the past year or so (see here for a handy chart), likewise Korean male singers have to adapt to the Korean music industry’s overwhelming reliance on musicians’ product endorsements, appearances on variety shows, and casting in dramas to make profits (as opposed to actually selling music). This encourages their agencies to make them stand out and differentiate themselves from each other by coming up ever more sexual lyrics and/or performances and music videos: namely, more abs from the guys, let alone feigned fellatio, feigned sex on beds, or even virtual rapes of audience members on stage during performances.

Allkpop argues that it’s consumers that are driving this trend however, and that this explains the imbalance between new girl and boy groups:

It looks like girl groups don’t seem to have as high of a failure rate as boy groups or solo singers. These new girl groups have already been gaining so much attention. The reason why you can rely on girl groups to bring in the income is because there’s always teenage boys and ahjusshi (old men) fans to trust. They can also go perform at various events which always require a pay day. Supposedly, Secret gets paid around $8000 per event performance while a group like 4minute gets paid around $12,000 per event.

And yet while that is not incorrect per se, Multi goes on to explain in her post that it is largely female fan club members in their 30s and 40s that are driving this trend, not unlike how I’ve demonstrated that the same demographic (and often exactly the same women) were the driving force behind the full emergence of the kkotminam phenomenon back around the time of the 2002 World Cup. Hence I’d argue that the imbalance is more the result of top-down imperatives then, with many similarities to the American media ideal of female sexuality getting progressively younger over the last 3 decades…and for the same profit-driven motives.

But I digress: for more on that, see a forthcoming Part 2 of my “Reading the Lolita Effect in South Korea” series, which I’ll link to here once it’s up (update: and here it is!). In the meantime, hopefully by this stage you can see why celebrities so dominate advertising here, and which is already an industry not exactly averse to perpetuating celebrities’ agencies’ inherent needs to use sex to sell. Moreover, whereas it’s true that the content of ads worldwide does tend to lag behind social trends, as even just the title of Kwangok Kim and Dennis Lowry’s journal article “Television Commercials as a Lagging Social Indicator: Gender Role Stereotypes in Korean Television Advertising” in Sex Roles, Vol. 53, Nos. 11/12 December 2005 suggests, once they do start appearing in ads then that wider exposure (no pun intended) can have a profound effect in mainstreaming them:

According to cultivation theory, the media play an important role in creating distorted views. This theory suggests that exposure to media content creates a worldview, or a consistent image of social behavior, norms, values, and structures, based on the stable view of society provided by the media. In other words, cultivation theory posits that consistent images and portrayals construct a specific portrait of reality, and as viewers see more and more images, they gradually come to cultivate or adopt attitudes and expectations about the world that coincide with the images they see. Although this model has typically been employed to explain the impact of of television violence, it also has been applied successfully to the cultivation of attitudes towards gender roles. (p. 902, references removed)

(“Bob’s Television Dream” by Robert Couse-Baker)

And in particular:

Although television viewers often claim that commercials do not affect them in negative ways, repeated images in television advertising may already have created a “mainstreaming effect,” as suggested by cultivation theory. Television has the power to cultivate people to have the same views of the world, for example, stereotypical views of gender roles in our society. In other words, the mainstreaming effect reduces cultural and political differences among television viewers. Studies have shown that heavy television viewing may influence children’s perceptions of behaviors and psychological characteristics associated with gender…and [one other] found that heavy viewers of television commercials among the elderly were more likely than light viewers to perceive characters (e.g., the elderly) in commercials as realistic (i.e., mainstreaming effect). It may not be advertisers’ full responsibility to reflect statistically accurate images of society. However, the burden of responsibility is on the advertisers when they fail to reflect the rapid changes in such stereotypes in our society. (p. 908, references removed)

But still, how exactly does simple exposure to those ads necessarily result in us adopting the attitudes and worldviews contained therein, as if by osmosis or something?

Well first, consider their sheer number: “In the United States alone, the average person may be exposed to 500 and 1000 commercial messages a day”, according to p.34 of Essentials of Contemporary Advertising by William Arens and David Schaefer (2007). And like Stuart and Elizabeth Ewen explain in their prologue to Channels of Desire: Mass Images and the Shaping of American Consciousness (1992), it’s amazing how subtly, profoundly, and almost entirely unconsciously this daily barrage affects us. Quite a charming narrative, which no-one can fail to be more interested in advertising after reading, I’ve scanned it for you below:

But regardless of whatever is ultimately responsible for the timing and/or mainstreaming of men exposing their abs in the Korean media, I’m sure we can all agree that they are now here to stay (and there was much rejoicing). And in a sense, this was indirectly confirmed by SBS recently when it decided to ban female performers from exposing their navels and/or abs on its popular Inkigayo (인기가요) show, whereas male performers remain free to rip off their own shirts: the “recent development in the Korean media” that I referred to in the introduction.

Why is that ban more significant than the plethora of others however? And why is it not exceptional, but in fact genuinely reflects deeply ambivalent and dogmatic societal attitudes to—for want of a better term—women’s top halves? Alas, it was my original intention to jump straight into that second part here, but with this post already at 2000 words (and well overdue), then I’ll wisely defer those 1500 extra ones to a separate post later in the week.

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Until then, a request, lest anyone feel I’ve been too critical of Rain here: does anybody know the name of a recent music video that features 2 young male singers vying for the affections of a woman, taking off their tops repeatedly (perhaps 10 times) and walking around half-naked for most of the video as they sing…before finally noticing that the woman has taken advantage of their distracted state by stealing their jeep?

Please do pass it on if you do, as I feel it actually much better epitomizes just “how cynical and commercially-driven the [ab-exposure] trend has become” than Rain does, and which even heterosexual women and gay men that see it will probably agree is a little excessive, let alone extremely lame. Moreover, while I don’t claim to have suddenly seen the light as a result, and can now completely empathize with women’s feelings about their own pervasive objectification in the media…I do think the eye-rolling, sense-of-exasperation, and literal gagging I experienced is at least a start towards doing so!^^

Update: With thanks to Katarina, the video is I was Able to Eat Well by 2AM’s Changmin & 8eight’s Lee Hyun:

Clearly, I exaggerated it in my memory. But understandably, as with them so so eager to shed their clothes together in the garage parking lot from roughly 0:59 for instance (for the sake of showing off their abs), that segment at least seriously resembles a gay porn video.

Probably actually objectifying the woman even more than the men though, then I take it all back: Rain’s performances do best epitomize the ab craze!

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

Conformity and Celebrity in Korean Advertising: Some Quick Thoughts

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What? Belgian surrealist art on a blog about Korean sociology? Yes indeed; but never fear, for I’ll be criticizing something Korea-related soon enough!^^

The painting in question is Golconda (1953) by René Magritte, and I’m sure many of you have seen it before. But what did you think it was about?

Personally, I’d always assumed it was a critique of conformism. But Charly Herscovici, who was bequeathed copyright on Magritte’s works, commented that (via Wikipedia):

Magritte was fascinated by the seductiveness of images. Ordinarily, you see a picture of something and you believe in it, you are seduced by it; you take its honesty for granted. But Magritte knew that representations of things can lie. These images of men aren’t men, just pictures of them, so they don’t have to follow any rules. This painting is fun, but it also makes us aware of the falsity of representation.

So although our interpretations aren’t mutually exclusive, the painting may not be quite as drab and negative as I thought. Still, does that make the concept suitable for a phone commercial?

Not really:

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No, I can’t really think of any relationship between the artistic concept and the voiceover droning on through the “U” section of the dictionary either. And ironically, the result probably emphasizes conformism and/or uniformity more than Golconda does too; particularly by starting with the word “unique”, only then to visually demonstrate how owning a Galaxy S phone will make you anything but.

Explicitly stating the opposite however, Rain’s (비) recent commercial for the SK-W Phone provides an interesting contrast:

And at least the copywriting does match the video this time (translation from the uploader):

– Do you want to be in the spotlight as just one of all dressed in the same form?

– You can be a real star only when there is an aura about you.

– (Rain’s voice): Your desire to want someone’s attention is one good enough reason to want ‘W’.

– ‘W’ which is really quite something with its own shining aura (repeated two times)

Or in other words, if you’re just the same as everyone else, then owning a special SK-W phone will compensate for your lacking any special qualities, thereby helping you get the girl.

Or will you? It takes no great leap of the imagination to see that if I can get a shining aura of sexual magnetism to rub off on me by purchasing the phone, then so can you too. Indeed, you can argue that the explicitness of the above message actually only serves to highlight that mundane, self-defeating reality of consumerism.

So why then, were over 100,000 sold in the month after its release?

Alas, I know nothing about the merits of the phone itself. But some advertorials have directly linked its success to Rain’s dancing in the commercial, and I can disagree with that at least, finding the first part of his dance more reminiscent of an imitation of Robocop than anything else (source, right). Instead, I would attribute it more to the fact that it simply features one of Korea’s biggest celebrities, an unfortunate mainstay of Korean advertising. As Londoner Bruce Haines puts it, currently head of Korea’s largest ad agency Cheil Worldwide (제일기획):

Q) What’s one big difference between advertising in Korea and the UK?

A) Celebrity endorsement – a huge proportion of Korean ads depend on famous people. Of course, it’s not uncommon in the West for stars to endorse a product, but generally the ad has a core idea and makes use of the celebrity endorsement to enhance the original concept. Not so in Korea. In its crudest form, Korean advertising degenerates to beautiful people holding a bottle. This is one of the things holding back the reputation of Korean advertising worldwide.  (10 Magazine)

And on top of that, perhaps I’m really quite misguided in assuming that the messages of conformity wouldn’t find a receptive audience among Korean consumers too. After all, however much of a gross generalization it sounds at first, in fact emphasizing both have been strong political and economic prerogatives of the South Korean state for much of its short history, and with profoundly gendered consequences.

What do you think? Either way, if this collection of my thoughts on the 2 commercials must(?) have a conclusion, then it would be that I’d like to see more alternatives to the dominate narrative of simply throwing expensive celebrities and/or their bodies at consumers. And I don’t mean simply throwing art at them instead!^^

In the case of smart phones specifically, perhaps we could have ones that emphasized how they can be genuinely helpful and empowering for ordinary people?

At first, I thought this one qualified:

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But in hindsight, a demonstration of how phones can help you be like everyone else isn’t quite what I had in mind. If you know of any then, please pass on any better ones, for phones or anything else!

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