1. 2015 1 37-78 37 MV * ** 102 11 4 103 3 8 * IASPM 2012 2012 9
Leiden University IIAS SONE ** e-mail: [email protected] 2. 2015
1 38 K-Pop Scott Lash Celia Lury following the object K-Pop MV 3.
MV 39 2009 Wonder Girls Nobody Billboard Top100 PSY Style Billboard
UK Chart YouTube MV 2000 Web2.0 Holt, 2011PSY Style MV YouTube
20062007 4. 2015 1 40 90 200919991997 1999 2012 2012 20042007
ballad dancing song 2000 Howard, 2006; Russell, 2008 2012 149 2011
167.7% Korean Pop Music K-Pop 2011 SM Entertainment 5. MV 41 SM
Entertainment Visit Korea Year K-Pop Lee Soo-Man IT K-Pop CTCulture
Technology K-Pop MV 6. 2015 1 42 cultural proximity Sinclair,
Jacka, & Cunningham, 1996; Sparks, 1998; Straubhaar, 1991
Sinclair, Jacka, & Cunningham, 1996 cultural discount; Hoskins
& Mirus, 1988 K-Pop cultural commonalities 7. MV 43 posteriori
authenticity K- Pop cultural hybridity K-Pop K-Pop K-Pop
ocularcentrismscopic regimeimage-based cultureJay, 1988; Jhally,
1990 8. 2015 1 44 Mirzoeff, 1999 80 Aufderheide, 1986; Goodwin,
1993; Kaplan, 1987 visuality synaesthetic Bal, 2003 Scott Lash
Celia Lury thingification of mediathe mediation of things cultural
object Nike Swatch Lash & Lury, 2007, pp. 4-9 Lash Lury 9. MV
45 Lash Lury following the objects biographical approach Lash Lury
Lash & Lury, 2007, p. 20 2010 2012 SM Entertainment SM MV
SM01-05 K-Pop SM Girls Generation 10. 2015 1 46 YouTube MV K-Pop
FacebookTwitter YouTube BBS PTT 2011 2012 23 10 FM01-10 13 FF01-13
18 32 K-Pop / FM01 , 20 2012/05 FM02 , 26 2012/02, 03 FM03 , 18
2011/10 FM04 , 25 2012/06 FM05 , 23 2012/06 FM06 , 20 2012/02 FM07
, 24 2011/12 FM08 , 30 2011/12, 2012/01 FM09 , 23 2012/01 FM10 , 21
2011/10 11. MV 47 / FF01 , 27 2012/03, 05 FF02 , 20 2012/05 FF03 ,
23 2012/04 FF04 , 24 2012/01, 02 FF05 , 25 2012/03 FF06 , 22
2011/11 FF07 , 23 2012/02, 03 FF08 , 26 2011/9 FF09 , 28 2012/01,
02 FF10 , 25 2011/10 FF11 , 23 2011/12 FF12 , 32 2012/03 FF13 , 19
2012/05 K-Pop K-Pop 2008Kim & Shin, 2010; Russell, 2008; Shin
& Ho, 2009 J-Pop 2009J-Pop 80 subgenre 90 12. 2015 1 48 idol
groupShin Hyeonjoon2005 1998 J- Pop J-Pop K-Pop glocalization MTV
OK Banks, 1997; Otake & Hosokawa, 1998 SM Russell, 2008, pp.
138-140 80 MTV OK Noraebang KTV Noraebang 90 Otake & Hosokawa,
1998, pp. 186-188; Russell, 2008, pp. 148-150 SM K-Pop Howard, 2006
K-Pop J-Pop ballad K-Pop ballad 13. MV 49 Bennett, 2004 ballad
K-Pop SM SM03 SM01 90 rock tradition Longhurst, 2007; Negus, 1999SM
J-Pop H.O.THigh-five of Teenagers 1996 star manufacturing system
DSP MediaSechskies FinKlJYP Entertainment G.O.D. 14. 2015 1 50 SM
SM03 90 K-Pop Shin & Siriyuvasak, 2007 90 event 15. MV 51 SM
SM03H.O.T. SM 2001 SM Avex 2002 BoA Russell, 2008 2000 K-Pop 2005
Asianess 2000 Shin & Siriyuvasak, 2007 2000 global feeling Rain
Jung, 2011 Rain MV Rain Jung Ji-Hoon Fanclub H.O.T. 1998 1999 16.
2015 1 52 JYP Entertainment 2007 Rain MV Rain Rain K-Pop 90 2000
2000 K-Pop Shin2009 Rain K-Pop Rain JYP Rain K-Pop 2000 SM BoA 17.
MV 53 SM SM02 Rain SM Longhurst, 2007, p. 44 SM 2000 2010 K-Pop
2008-2010 408 OSMU; One Source Multi Use 18. 2015 1 54 SM
Entertainment S.M. Entertainment Japan 2001 93.5% Star Light 2003
S.M. ACADEMY 75.00% S.M. Entertainment China 2004 Galgaly Family
Entertainment 2005 24.00% Dream Maker Entertainment 2006 85.00%
S.M. Entertainment Asia 2006 85% S.M. Pictures 2007 33.94% S.M.
F&B Development 2008 100% Mstudio City 2008 31.03% S.M.
Entertainment USA 2008 100% S.M. LUDUS 2008 38.16% KMP Holdings
2010 22.96% ALEL 2010 SPAO 49.00% S.M. Town Travel 2012 100% S.M.
Culture & Contents 2012 100% SM Entertainment 2012 Web 2.0
K-Pop SM02 SM05 K-Pop YouTube MV MV MV HD/1080P K-Pop MV 19. MV 55
materiality K-Pop MV HD MV FF13 YouTube 2011 11 K-Pop K-Pop SM SM05
GeeOh! signified signifier rhythmize MV MV K-Pop MV FF03 20. 2015 1
56 FM04 K-Pop MV MV MV FM10 MV pose FF05 K-Pop MV K-Pop 21. MV 57
K-Pop MV K-Pop MVMV Goodwin, 1993 2000 MV PSY Style MV 2013
Gentleman MV SM SM01 K-Pop MV MV MV MV SM04 MV K- Pop MV MV
fetishismMV 22. 2015 1 58 MV K-Pop MV K-Pop SM YG Entertainment
2000 G-DragonPSY BIGBANG2NE1 MV Style Icon Award MV MV MV MV MV MV
MV Live MV FF02 MV FM05 23. MV 59 YouTube N MV MV MV SM MV MV MV
2009-2013 MV 1 Gee (2009) 2 Oh! (2010) 3 Run Devil Run (2010) 4
Hoot (2010) 5 The Boys (2011) 6 Paparazzi (2012) 7 I Got a Boy
(2013) 24. 2015 1 60 SM SM04 MV Gee Oh! MV Oh! Oh! Oh! MV
Kaplan1987 MV classical mode male gaze Mulvey, 1989 80 90 2000
AKB48kawaii SM SM SM02 kawaii 25. MV 61 idol MV 2010 Run Devil Run
MV Oh! You better run run run run run Hoot Shoot! Shoot! Shoot!
Kaplan1987 MV socially conscious mode 26. 2015 1 62 Stacey1994
female spectatorship Pearce, 1991 MV scopophilia 2010 MV SM Lash
Lury2007 2011 The BoysMV MV Baudrillard2006 MV 27. MV 63 FF12 SM
SM05 MV K-Pop SM MV Kaplan1987 post-modernist mode self-reflexive
2012 Paparazzi MV bricolage Bolero Singing in the Rain MV 28. 2015
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Hey let me introduce myself; Here comes trouble! MV Paparazzi 29.
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FF09 90 fandom self-empowerment Fiske, 1992; Grossberg, 1992;
Jenkins, 1992 Howes, 1996 MVFF06 FF08 FF11 see through 31. MV 67
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Visuality, Embodiment and Gender Performance of Korean Pop: A Study
on the Production, Consumption and Appropriation of the MVs of
Girls Generation Ming-Tsung Lee* ABSTRACT This paper tries to
resolve the puzzle firstly: how can Korean pop (K- Pop) become
transbordering since Korean is not the main language in the world?
It can be attributed to the policy input and capital integration,
the textual circulation through emerging audio-video platform
on-line, as well as the specific textual form with intensive
visuality and embodiment. This paper applies not only traditionally
visual-textual analysis but also the new methodology called
following the object by the British sociologists Scott Lash and
Celia Lury. The researcher regards K-Pop as an object of cross-
cultural consumption and tracks its circulation from local
production to glocal consumption. Through the interview to the
K-Pop professionals, review of the relevant articles, textual
analysis of the music videos and the ethnographic fieldwork of
local fans community, this paper tries to answer the two questions:
(1) how does K-Pop produce itself by the strategies of
visualization and embodiment, as well as gendered performance; (2)
how do the fans appropriate the K-Pop texts to re-perform and
re-shape their gender identities in their everyday life. Keywords:
embodiment, gender identity, Girls Generation, K-Pop, music video
(MV), visuality * Ming-Tsung Lee is Assistant Professor at the
Department of Sociology, National Taiwan University.
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