Sexual objectification of female idols is a well-known problem that currently exists in K-pop culture. It is a phenomenon that is evidently shown in almost all female idol’s music videos. From the enticing choreography and the provocative wardrobe all the way to the director’s choice of the camera angles (Lin and Rudolf 2017: 28), female … Continue reading “Insane”
Music videos in K-pop often engage audiences through story telling, visual stimulation and identifiability. Holt suggests in recent years music has transitioned from an aural form of communication to an audiovisual convergence (2015, 50) as a result of the increase of an online presence in mainstream media. Now, the video is just as important as … Continue reading “Heaven”
Since the late 2000s, the boom of the K-pop music industry has significantly aided in Korea’s economic growth (Lin and Rudolf 2017: 27). With such a heavy influence in the music industry, the world turns its eyes onto K-pop music and celebrities as inspiration for their own dreams and aspirations. Unfortunately, many of K-pop’s contents, … Continue reading “Mind Your Own Business”
In 2013, Ailee released the song “U&I” as part of her new album “A’s Doll House”, and the music video has close to 10 million views on YouTube. The powerful vocals, stunning visuals and American-style theme are all examples of cultural hybridization to appeal to foreign audiences. As Ono and Kwon (2013, 206) stated, this … Continue reading “U&I”
In Korean popular music (K-pop), where female idols are often objectified and expected to fit into the ideal, feminine image, Ailee’s “Singing Got Better” music video (MV) can be seen as a cathartic eulogy reflecting on overcoming a gender-imbalanced relationship. In particular, the MV and the lyrics allude to elements of female objectification and sexism, … Continue reading “Singing Got Better”
AILEE 