@article{ART003306494},
author={김지은 and Chong, Ki In},
title={Changes in the Representation of Female K-pop Idols in Music Videos Before and After the 2015 Feminism Reboot},
journal={Cross-Cultural Studies},
issn={1598-0685},
year={2026},
volume={77},
pages={55-86}
TY - JOUR
AU - 김지은
AU - Chong, Ki In
TI - Changes in the Representation of Female K-pop Idols in Music Videos Before and After the 2015 Feminism Reboot
JO - Cross-Cultural Studies
PY - 2026
VL - 77
IS - null
PB - Center for Cross Culture Studies
SP - 55
EP - 86
SN - 1598-0685
AB - This study analyzes the evolution of gender sensitivity in Korean society since the 2015 "Feminism Reboot" and its impact on the portrayal of women in K-pop music videos. The findings reveal that before 2015, music videos were predominantly influenced by the "Male Gaze," which often objectified female bodies. For instance, AOA's "Miniskirt" exemplified 'sexualization' by fragmenting the female body; Lovelyz's "Hi~" illustrated 'botanicalization' by placing women in passive settings; and Davichi's "Don't Say Goodbye" showcased 'reification,' reducing women to objects for male bonding.
Post-2015, following the Feminism Reboot, this representation began to shift. As a transitional piece, Wonder Girls' "Why So Lonely" highlighted the violence women face under patriarchy using a "mirroring" technique. Subsequently, songs like Sunmi's "Gashina" and ITZY's "DALLA DALLA" centered on "Self-love," promoting self-affirmation while rejecting external judgment. Additionally, Moonbyul's "Eclipse" ventured into "Gender Queer" themes by challenging the gender binary, using suits and group choreography that were traditionally male-dominated.
In conclusion, the K-pop industry is transitioning from a unilateral production model. The examples of BLACKPINK and BTS illustrate how the public, now more ethically aware, is actively engaging in the creation and revision of content. This indicates that K-pop music videos are evolving into "collaborative texts," co-created by artists and audiences as they navigate gender sensitivity.
KW - Feminism Reboot;K-pop Music Video;Male Gaze;Mirroring;Collaborative Text
DO -
UR -
ER -
김지은 and Chong, Ki In. (2026). Changes in the Representation of Female K-pop Idols in Music Videos Before and After the 2015 Feminism Reboot. Cross-Cultural Studies, 77, 55-86.
김지은 and Chong, Ki In. 2026, "Changes in the Representation of Female K-pop Idols in Music Videos Before and After the 2015 Feminism Reboot", Cross-Cultural Studies, vol.77, pp.55-86.
김지은, Chong, Ki In "Changes in the Representation of Female K-pop Idols in Music Videos Before and After the 2015 Feminism Reboot" Cross-Cultural Studies 77 pp.55-86 (2026) : 55.
김지은, Chong, Ki In. Changes in the Representation of Female K-pop Idols in Music Videos Before and After the 2015 Feminism Reboot. 2026; 77 55-86.
김지은 and Chong, Ki In. "Changes in the Representation of Female K-pop Idols in Music Videos Before and After the 2015 Feminism Reboot" Cross-Cultural Studies 77(2026) : 55-86.
김지은; Chong, Ki In. Changes in the Representation of Female K-pop Idols in Music Videos Before and After the 2015 Feminism Reboot. Cross-Cultural Studies, 77, 55-86.
김지은; Chong, Ki In. Changes in the Representation of Female K-pop Idols in Music Videos Before and After the 2015 Feminism Reboot. Cross-Cultural Studies. 2026; 77 55-86.
김지은, Chong, Ki In. Changes in the Representation of Female K-pop Idols in Music Videos Before and After the 2015 Feminism Reboot. 2026; 77 55-86.
김지은 and Chong, Ki In. "Changes in the Representation of Female K-pop Idols in Music Videos Before and After the 2015 Feminism Reboot" Cross-Cultural Studies 77(2026) : 55-86.
