Download pdf
An Analysis of Anti-Feminist Expressions in K-pop Culture
- 1 Beijing Bayi School
* Author to whom correspondence should be addressed.
Abstract
This paper critically examines anti-feminist expressions in K-pop culture, using a mixed methodology to analyze selected works. It highlights the impact on artists, global fandom, and cultural trends, emphasizing the necessity for intervention from stakeholders in the industry. While acknowledging the evolution of gender representation in K-pop, the paper addresses persistent criticism of objectification and commodification of female idols. Recognizing K-pop’s global influence, the study emphasizes the need to address anti-feminist nuances. It explores how K-pop fandoms influence perceptions of gender roles, particularly among youth. By challenging anti-feminist elements, the study aims to promote progress in attitudes towards gender equality. The paper also focuses on the paradox of stardom for female artists, examining how patriarchal bias and male management perpetuate anti-feminist practices. These practices restrict female artists’ autonomy and reinforce harmful gender norms. Highlighting power dynamics and systemic issues within the industry, the study emphasizes the influence of K-pop artists on their fans and cultural trends. It calls for collaboration among artists, agencies, fans, and policymakers to advocate for change and gender equality. In conclusion, this paper contributes to the discourse on anti-feminism in K-pop. By uncovering hidden undercurrents and exploring sociocultural implications, it aims to raise awareness and promote diverse gender representations within K-pop and society. The study envisions K-pop as a catalyst for positive change, leading to a more inclusive and progressive society celebrating gender equality.
Keywords
K-pop, anti-feminism, gender representation, cultural impact, fandom
[1]. Oh, C. (2014). The Politics of the Dancing Body: Racialized and Gendered Femininity in Korean Pop. In Y. Kuwahara (Ed.), The Korean Wave (pp. 53-81). New York: Palgrave Macmillan.
[2]. Jin, D.Y., & Yi, H. (2020). Transnationality of Popular Culture in the Korean Wave. Korea Journal, 60(1), 5-16.
[3]. Saeji, C.T. (2013). Juvenile Protection and Sexual Objectification: Analysis of the Performance Frame in Korean Music Television Broadcasts. Acta Koreana, 16(2), 329-365.
[4]. Epstein, S., & Turnbull, J. (2014). Girls’ Generation? Gender, (Dis)Empowerment, and K-Pop. In K.H. Kim & Y. Choe (Eds.), The Korean Popular Culture Reader (pp. 314-336). Durham: Duke University Press.
[5]. Lin, X., & Rudolf, R. (2017). Does K-Pop Reinforce Gender Inequalities? Empirical Evidence from a New Data Set. Asian Women, 33(4), 27-54.
[6]. Yoon, K. (2018). Global Imagination of K-Pop: Pop Music Fans’ Lived Experiences of Cultural Hybridity. Popular Music and Society, 41(4), 373-389.
[7]. Sung, S.Y. (2014). K-Pop Reception and Participatory Fan Culture in Austria. Cross-Currents: East Asian History and Culture Review, 3.
[8]. Mavin, S., Williams, J., & Grandy, G. (2014). Negative Intra-Gender Relations Between Women: Friendships, Competition, and Female Misogyny. In S. Kumra, R. Simpson, & R.J. Burke (Eds.), The Oxford Handbook of Gender in Organizations (pp. 223-248). Oxford: Oxford University Press.
[9]. Chuyun, O. (2014). The Politics of the Dancing Body: Racialized and Gendered Femininity in Korean Pop. In Y. Kuwahara (Ed.), The Korean Wave (pp. 53-81). New York: Palgrave Macmillan.
[10]. Epstein, S., & Turnbull, J. (2014). Girls’ Generation? Gender, (Dis)Empowerment, and K-Pop. In K.H. Kim & Y. Choe (Eds.), The Korean Popular Culture Reader (pp. 314-336). Durham: Duke University Press.
Cite this article
Diao,Z. (2023). An Analysis of Anti-Feminist Expressions in K-pop Culture. Communications in Humanities Research,18,69-74.
Data availability
The datasets used and/or analyzed during the current study will be available from the authors upon reasonable request.
Disclaimer/Publisher's Note
The statements, opinions and data contained in all publications are solely those of the individual author(s) and contributor(s) and not of EWA Publishing and/or the editor(s). EWA Publishing and/or the editor(s) disclaim responsibility for any injury to people or property resulting from any ideas, methods, instructions or products referred to in the content.
About volume
Volume title: Proceedings of the 2nd International Conference on Interdisciplinary Humanities and Communication Studies
© 2024 by the author(s). Licensee EWA Publishing, Oxford, UK. This article is an open access article distributed under the terms and
conditions of the Creative Commons Attribution (CC BY) license. Authors who
publish this series agree to the following terms:
1. Authors retain copyright and grant the series right of first publication with the work simultaneously licensed under a Creative Commons
Attribution License that allows others to share the work with an acknowledgment of the work's authorship and initial publication in this
series.
2. Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the series's published
version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgment of its initial
publication in this series.
3. Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and
during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See
Open access policy for details).