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Idol: Ideal Display, Outright Loss.

Lee, Sooah.

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Idol: Ideal Display, Outright Loss.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Idol: Ideal Display, Outright Loss./
作者:	Lee, Sooah.
出版者:	Ann Arbor : ProQuest Dissertations & Theses, : 2021,
面頁冊數:	113 p.
附註:	Source: Masters Abstracts International, Volume: 83-02.
Contained By:	Masters Abstracts International83-02.
標題:	Design. -
電子資源:	https://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=28548087
ISBN:	9798522970239

Idol: Ideal Display, Outright Loss.
Lee, Sooah.

Idol: Ideal Display, Outright Loss. - Ann Arbor : ProQuest Dissertations & Theses, 2021 - 113 p.

Source: Masters Abstracts International, Volume: 83-02.

Thesis (M.F.A.)--Pratt Institute, 2021.

This item must not be sold to any third party vendors.

There is a culture that attracts everyone's attention in a capitalist society where visual elements have become more important than ever. It's K-idol. K-pop captivates everyone with its powerful fandoms, colorful performances, highly refined images, and well-coordinated branding. It is a trend of the times that all marketers and media are paying attention to and is, in fact, a leading player in Korea's soft power. At a time when K-pop is more popular than ever, as members of society and as consumers of popular culture, we need to pay attention to the mechanism of K-pop.This paper takes a step back and asks questions to the K-pop industry, which seems like an unstoppable train that doesn't have any interference. Rather than dealing with how great K-pop is, this paper looks at the oppression within the K-pop industry, commercialization and idolization that is interwoven with spectacles, and the contradicting desire of our society's fascination with it. In conclusion, what this study is trying to do is not solve the problem, but visualize the problem and evoke a new gaze. This thesis questions how K-pop commercializes humans to products. Without thought and without debate, this force in pop culture exposes a society that willingly and unconsciously turns everything (including people) to consumer goods and monetary value. How did people devolve into aimless passive consumers in the spectacle of K-pop? Since when have K-idols become Ambassadors loved by luxury brands? Why don't people treat idols as artists? Where did all the fanatic behavior of K-pop fans come from? How did this industry become a sustainable industry? To all these questions, this paper analyzes the mechanism of the K-pop industry and provides a clue to the answer.The study explains from a Marxist perspective that the K-pop industry commodifies people with an extremely capitalist logic, and exploits consumer labor through the medium of images. Based on Guy Debord's Society of Spectacles, this thesis draws parallel lines with the contemporary society that consumes K-idols by juxtaposing Debord's theses with an interpretation on the K-idol industry, to define this culture as a total form of colonization of capitalism. To support this claim, ethnographic research conducted on K-pop fandoms, and several case studies about K-idols were referred to. This thesis critically analyzes the mechanism behind the K-idol industry's structure to suggest a new perspective to potential human resources who are willing to be converted into an image, calculated as capital, and evaluated by the public, and to the industries that are going to use that image. Also, it has a purpose to emphasize the responsibility of image producers who are making eye-catching and mind-blowing visuals.

ISBN: 9798522970239Subjects--Topical Terms:

518875
Design.
Subjects--Index Terms:

Capitalism

Idol: Ideal Display, Outright Loss.
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520 $a There is a culture that attracts everyone's attention in a capitalist society where visual elements have become more important than ever. It's K-idol. K-pop captivates everyone with its powerful fandoms, colorful performances, highly refined images, and well-coordinated branding. It is a trend of the times that all marketers and media are paying attention to and is, in fact, a leading player in Korea's soft power. At a time when K-pop is more popular than ever, as members of society and as consumers of popular culture, we need to pay attention to the mechanism of K-pop.This paper takes a step back and asks questions to the K-pop industry, which seems like an unstoppable train that doesn't have any interference. Rather than dealing with how great K-pop is, this paper looks at the oppression within the K-pop industry, commercialization and idolization that is interwoven with spectacles, and the contradicting desire of our society's fascination with it. In conclusion, what this study is trying to do is not solve the problem, but visualize the problem and evoke a new gaze. This thesis questions how K-pop commercializes humans to products. Without thought and without debate, this force in pop culture exposes a society that willingly and unconsciously turns everything (including people) to consumer goods and monetary value. How did people devolve into aimless passive consumers in the spectacle of K-pop? Since when have K-idols become Ambassadors loved by luxury brands? Why don't people treat idols as artists? Where did all the fanatic behavior of K-pop fans come from? How did this industry become a sustainable industry? To all these questions, this paper analyzes the mechanism of the K-pop industry and provides a clue to the answer.The study explains from a Marxist perspective that the K-pop industry commodifies people with an extremely capitalist logic, and exploits consumer labor through the medium of images. Based on Guy Debord's Society of Spectacles, this thesis draws parallel lines with the contemporary society that consumes K-idols by juxtaposing Debord's theses with an interpretation on the K-idol industry, to define this culture as a total form of colonization of capitalism. To support this claim, ethnographic research conducted on K-pop fandoms, and several case studies about K-idols were referred to. This thesis critically analyzes the mechanism behind the K-idol industry's structure to suggest a new perspective to potential human resources who are willing to be converted into an image, calculated as capital, and evaluated by the public, and to the industries that are going to use that image. Also, it has a purpose to emphasize the responsibility of image producers who are making eye-catching and mind-blowing visuals.
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