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Girl's Generation's constructed

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Sophie Dang

on 3 October 2013

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Transcript of Girl's Generation's constructed

Girls' Generation's constructed
feminine and sexual representations in the South Korean music industry.

Yih Ling, Kim & Sophie
Uncle Fans
“People in their 30s and 40s are emerging as the main cultural consumers, and Girls’ Generation specifically targets the men in that age group,” says Lee Soo-man (53), CEO and producer for SM Entertainment.
"Ahjusshi" or "Samchon" translates to Uncle.

It is defined as male K-pop fans who are 30 or older.
소녀시대소녀시대소녀시대
The male's gaze at Girl's Generation is "legitimized" and "normalized" as the voluntary support and pure love of uncles for their nieces.
The word 'uncle' now masks itself for pedophilia, fostering sexual tensions with considerable age gaps.
Encouraging the Lolita Effect by borderlining on incest objectification.
Demographic
Music Videos
Advertising Endorsements
Any questions?
Brand Ambassadors
Korean Music Industry
Lolita Effect
Lolita Effect
A book on the media's sexualization of young girls

Appropriated from Vladimir Nabokov's novel, Lolita, where a middle-aged man becomes infatuated with a 12 year-old girl

Projecting girls as sex objects before they have even reached puberty and are sexualized beings

SNSD portrays an 'innocent' image, which enhances their sexiness

Foucault suggests the separation of sexuality from morality
Song
Lyrics
Heteronormativity
Heterosexuality is the norm
Homosexuality in South Korea is becoming more widely accepted, but it still considered taboo and non-traditional (tied closely to morality)
Homosexuals are generally still discriminated against
Korean celebrities have been fired since "coming out"
Forced to suppress 'alternative' forms of sexuality
SNSD continues to perpetuate heteronormative sentiments
Gender and sexual objectification
- Gender is performative and shapes social structure while identities are products of and sustained through interaction with others.

- Girls’ Generation is perceived as a feminine girl group, often sexualised as ‘fantasy girls’ and as sex objects.

- Their manager is constantly constructing Girls' Generation's image as a demure girl group to portray ‘innocence’ as seen in their MVs, brand endorsements, or just in public to cater to their audience.
- Manager decides their outfits, songs and choreography.

- The girls are manipulated and victimised through various cultural representations – especially how they are constructed to us via the media we consume.

- The camera focus, pans and zooms in on and difference between cuts that show pieces of the body (“honey thighs”) as opposed to full face and body shots.

- Their choreography can be said as ‘stripper moves’, ‘cute-fied’ then polished to a maximum degree.
Targeted to both men and women, and some are only targeted to women tend to operate under the assumption that the viewer is a straight man which forces the audience to look through a straight man’s eyes.

GG’s MVs are tailored to straight male desires and meant to objectify them.
The way some shots are framed and edited tells us that, “This is our love interest.”

Active viewers as well as gay men are forced to temporarily surrender their identity when they watch GG’s MVs.
Media pressure induces these members of the GG to look a certain way and they comply with the pressure.

GG fashions their internationally desirable femininity to manufacture themselves into objects of desirability within a competitive environment.

Although bodily accomplishment can instill pride and self-confidence, those who fall short of prevailing standards can experience public shaming and feelings of self-recrimination.
Conclusion
- Sexually objectified women are dehumanised.

- Pop culture tells women and girls a hurtful lie: their value lies in how sexy they appear to others, and they learn that their sexuality is for others.

- GG’s representations of the ‘perfect girl’ makes common people feel like they have to reach that ‘pop star’ look.

- GG will not be recognised as musicians but as sex objects in the long run.
- Point of View camera style which is directly
presenting the girl's within a male gaze
Ace Bed
Daum website
LG Smartphone
FreeStyle Sports website
These images of them undeniably offer visual pleasure for their audiences and in doing so can promote greater openness about sexuality more generally.

It is a simple marketing tool and branding technique to use sex to sell which facilitates sexual assault.
References
What is heteronormativity? | GEA – Gender and Education Association . (n.d.). GEA – Gender and Education Association | Changing the Future | Educating about Gender . Retrieved October 3, 2013, from http://www.genderandeducation.com/issues/what-is-heteronormativity/

Ajosshis & Girls’ Generation: The Panic Interface of Korean Sexuality | The Grand Narrative. (n.d.). The Grand Narrative | Korean Feminism, Sexuality, and Popular Culture. Retrieved October 3, 2013, from http://thegrandnarrative.com/2010/02/15/girls-generation-korean-sexuality/
A slave contract is a long-term, often unfair agreement signed by K-pop musicians with their management agencies
Due to the success of Girl's Generation many other agencies have sought out this model, image, style and music.

This objectification and treatment is not solely to women but to men as well.

Common themes of passivity, innocence, romance and naivety.
Their hit songs 'Gee', 'Hoot',
'Genie' are all written by male lyricists.
Yoo Youngjin, Kim Bum Soo,
Kenzie and Lee Young Bae.
Full transcript