After the class on sexual objectification, explain what you think about sexual objectification in K-pop. Sexual objectification refers to “the act of treating a person as a mere object that serves another’s sexual pleasure” defined by Caroline Heldman in her Tedtalk. This is evidently shown in k-pop music videos featuring females, in which case they … Continue reading Discussion 5
Kim Suk-young chooses to analyze “Twinkle” by TaeTiSeo and “Who You?” by G-Dragon, as they are two practices of pre-recorded video works that aim to imitate the aesthetics of a live performance, rather than conforming to the K-pop phenomenon of having a kaleidoscopic theme. What is another example of a K-pop music video that shares … Continue reading Discussion 4
Do you think a solo/group artists’ career is financially sustainable in this digital era (of streaming and social media)? Has technology improved or made the conditions more difficult for artists to sustain their careers? What compromises may artists be forced to make in order to be financially sustainable? Consider how few groups are as successful … Continue reading Discussion 3B
We all understand that without fans, there would be no stars — but how much power do fans really have? Discuss the power of a fan/consumer and what this could entail (how much impact do we have)? Nowadays, the success of an idol group is largely dependent on the support of their fans. As the K-pop industry … Continue reading Discussion 3A
How can Korean idols balance the need to be nationalistic (as demanded by Korean audiences, the government, media companies, and advertisers) while still attracting international audiences who (if they notice them) may dislike/react negatively to these nationalistic elements? In order to achieve their “highest value”, Korean idols must meet the demands of nationalism by Korean … Continue reading Discussion 1
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