頁數:37﹣78
韓國流行音樂的視覺性、身體化與性別展演: 以「少女時代」的MV產製和消費挪用為例
The Visuality, Embodiment and Gender Performance of Korean Pop: A Study on the Production, Consumption and Appropriation of the MVs of “Girls’ Generation”
2015/
122
作者(中) 李明璁
作者(英) Ming-Tsung Lee
關鍵詞(中) 少女時代、身體化、性別認同、音樂錄影帶、視覺性、韓國流行音樂
關鍵詞(英) embodiment, gender identity, Girls’ Generation, K-Pop, music video (MV), visuality
中文摘要 本研究首先要回答:韓國流行音樂(K-Pop)何以能在韓文並非強勢語言的限制下跨越國界?除了政策投入與資本整併,更仰賴新興網路影音分享平台的流通,與文本型構中高度的視覺性與身體化。有別於一般音樂錄影帶分析僅著眼於文本的視覺元素,本研究在方法上援用社會學家Scott Lash和Celia Lury所提出的追蹤物件(following the object)方法論,關注K-Pop作為消費對象物的跨文化流通歷程:從其生產到消費的全球在地化。透過對韓國音樂產業人士的訪談、相關文章的回顧、MV的文本分析、以及台灣本地迷群的參與觀察與深度訪談,本文亦將討論回答以下兩個子題:(一)在韓國流行音樂的發展脈絡中,視覺化、身體化與性別化的文本如何被設計產製,並在全球進行跨文化流通?(二)在地迷群如何挪用這些視聽素材,使之納入日常生活中的次文化實作與性別展演,進而形塑自身與群體的性別認同?
英文摘要 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.
 
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