Neoliberal feminism in contemporary South Korean popular music
Discourse of resilience, politics of positive psychology, and female subjectivity
This paper examines how South Korean popular music (K-pop) promotes neoliberal feminism by a
discourse of resilience. In a therapeutic narrative of overcoming obstacles and achieving goals, K-pop videos
deliver a hegemonic message that individuals have to be responsible for their success and well-being rather
than blaming external, institutional conditions. While ostensibly promoting female empowerment, the videos
update and reinforce patriarchal gender norms and expectations. To substantiate this point, I analyze music
videos of the most successful K-pop group, Girls’ Generation’s “Into the New World” (2007) and “All Night”
(2017) to investigate how they promote resilience discourse along with neoliberal positive psychology as a
hegemonic ideal of female subjectivity.
Article outline
- 1.Introduction: Discourse, governmentality, and politics in popular music
- 2.Discursive De-construction of K-pop Female idols’ success
- 3.Celebrity: Discourse, pedagogy, and politics
- 4.Neoliberal feminism: Resilience discourse and positive psychology
- 5.“Into the new world”: Presenting resiliency as ideal femininity and key to success
- 6.“All night”: How paid-off female resiliency would look like
- 7.Conclusion: Feminism in K-pop as neoliberal exploitation of female aspirations
- Notes
-
Reference
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Cited by
Cited by 2 other publications
Kim, Gooyong
2019.
From Hybridity of Cultural Production to Hyperreality of Post-feminism in K-pop: A Theoretical Reconsideration for Critical Approaches to Cultural Assemblages in Neoliberal Culture Industry.
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