A new episode of Neverland is up! Without further ado, let’s dive into it!
This is the first time the opening sequence is showing in an episode – if you’d like to read my deep dive on the choices I made during the OP, please click here. We also get the title of this new episode: “City of Glass.”
This is a literary reference, though not to The Mortal Instruments book. Rather, it is a reference to City of Glass by Paul Auster, a mystery with heavy psychological undertones. Without getting into spoiler territory, the novel’s main themes are the perception of reality, child abuse, and language. I highly recommend reading the graphic novel version, which has been of huge influence to me as a visual artist and to how I have approached this remaster.
The connection with Neverland and City of Glass may seem superficial at first, but I wanted to communicate a similar disassociation from reality. The thing about music videos – particularly those in K-Pop – is the backstory is often told through bits and pieces, largely symbolic ones. The graphic novel version of City of Glass also uses highly symbolic elements to immerse you in a world inherently disassociated from reality. And, as you’ll see in this episode, a disassociation is beginning.
The first scene is from “Stigma”, the “Wings” teaser for V. V gets arrested (again) for vandalism, and is getting interviewed by cops. I didn’t do a whole lot of editing here because I genuinely really like the sequence as it stands; however, I did incorporate elements from later in the teaser, because I plan on using the rest of the teaser at a later point. The scene depicts V’s (presumed) father abusing him and his sister, using V getting beaten by an unseen figure to communicate this.
The video then cuts into “I Need U” (the original version). V is sitting around, takes a walk, takes out his anger on a water bottle, then goes back to his house. Upon seeing his (presumed) father beat the sister, V goes and kills him. I made sure that the music ramped up intensity, and the diegetic sound design fades away as the stabbing continues. It cuts back to “Stigma” right at the end of the sequence, and V asks the cop if he can make one last call. Full disclosure, whether or not the sequence with the cop is in reality or not is entirely up to you. While I have my own intent with the scene, I structured the scene such that it can be interpreted either way.
We then cut away to Namjoon in the “Reflection” teaser. Namjoon tattoos a bird on himself (gotta admire those fine motor skills) then burns the drawing he was basing it off of and drinks the ashes.
He then passes out and the colors get more intense. I played with the sound design a bit here because I wanted to communicate a feeling of suffocation and, as said earlier, disassociation. Interspersed are clips from “Blood Sweat and Tears” that depict V jumping off a balcony.
When Namjoon finally comes to, he hears a phone ring and tries to get into a phone booth. Try as he may, he can’t get in. If the call is coming from V, this means he can’t reach one of the people he cares about so deeply.
The final sequence is back to Jin in the black and white room. Weird things start to happen, like the distortion of the world around him. He goes to open the window, and instead there is a mirror – and his reflection is in color. When he turns away from the reflection, he turns to color as well, and walks to the door. Once again, I want the absence of color to communicate something.
Jin eventually walks down the hall and sees the same painting that Namjoon was tattooing. We see a number of flash forwards to events that will occur later in the series. He walks towards them, presumably to find something or someone, then we see on the floor of the black and white room – which is now in color – he has six photos, each representing another member of the group.
V is trapped in memories of something he did. Namjoon is removing himself from reality to the point where he can’t reach those he loves. And Jin can’t seem to fit into the black and white room. All three of them are trying to disassociate from their own actions, at some grave consequence. This is something I intend to play with further, but I think this is a good way to wrap up this analysis. The next episode will be up February 1st, 2020, and we will get more with all the members as opposed to vignettes.
But for now, I think we can leave this here. I welcome any constructive criticism, and I hope that you all enjoy the new episodes in the coming weeks!
To bring in the new year (and new decade!) I have brought to you the first episode of the Neverland Project. With it, I am giving a breakdown of the seven minute episode, so that without giving too many spoilers for my intent for the rest of the fan project, I can show you my own creative choices and what they might mean for future episodes.
BTS’s story as portrayed in these music videos centers around several themes – mental illness, abuse, youth, and death. While the first two are prevalent in the rest of Neverland, it’s the last two – youth and death – that are central to this episode. The title Neverland – which I pulled from a tag embedded in some of their promotional posts for “Most Beautiful Moment in Life Part 2” – is evocative of both. Neverland, as it originates from Peter Pan, is an island in the sky where children don’t grow up if they choose not to. Keep this in mind.
We start with lines from the end of The Ones that Walk Away from Omelas by Ursula K. LeGuin. This short story is once again about a paradise hiding something extremely dark, without spoiling anything. It’s something that is repeatedly referenced by BTS in Spring Day, and fits thematically with the rest of the work. But the lines are also about moving on from something tragic – in a way, accepting your grief.
I didn’t edit much of the first bit with the clips from Prologue. I honestly love this scene for how it establishes character relationships with little to no dialogue, as well as introducing the motif of the photograph. The gas station setting will also be relevant in later episodes.
The montage is taken directly from the original movie I made back in 2014, comprised of clips from “I Need U” and “Prologue”. It shows every character and the motifs of trains, water, and drugs. There is a film grain filter over it to establish this as a flashback. I also introduce color as a technique – note that Jin stays in grayscale, even when the rest of the world begins to turn to color when he finally looks at the photograph.
Next is V and Namjoon running from cops. I had to mix the audio myself, since this came directly from the “Run” video. I used “Dope” as the soundtrack, because V’s lines immediately flow into Jin’s, but then the scene cuts off. Plus, that’s a song about working hard and not caring what people think – very indicative of where this story begins, and not where it ends.
I always felt that “Begin” as a teaser was very ambiguous, and I wished to use many of the images from it. But in the original Neverland, I simply dropped the trailer in with minimal editing. But I hold myself to a higher standard than that now! I am a twenty-one year old film student, I want to show off!
So, I edited the clip – rearranging the clips so that it was an actual dream. The colors are also more vibrant and intense than in the original. I don’t know if this is what was intended by the band or the producers, but alas, I am acting as an editor to tell a story I think works. This is not a knock on the original. I simply wanted to give my own take.
The last sequence was most difficult. Everything starts grayscale, with the apple in red. When Jin focuses his camera, the flower alone enters color, and then as the candle blows out, the color returns, mostly. It’s still muted in areas.
There’s also a dream sequence, using clips from Spring Day, where everything seems to be happy but again, nothing really is.
Note that when Jin enters the room, in the last seconds of the video, he steps out of the color and into a grayscale room.
This may not be as long of a breakdown as the ones for later episodes, but I hope it shows you how proud I am of this project. The next episode will be up on January 15th, 2020 – with that, there will be more details about my process. But for now, I hope you like this episode, and that it’s able to interest you.
Before the first episode of Neverland goes up, I want to talk about another band that I’m very passionate about. They’re a band I saw live almost by accident at KCON NY 2018, and I’ve been effectively in love with since. They’ve got an edgy style, they’re not afraid to push boundaries, they’re talented dancers and singers, and – importantly for me – they write their own music.
I am of course talking about the JYP boy group Stray Kids. I honestly didn’t know them barely at all before I saw them (I was there to see Super Junior) but I quickly grew fond of them. They have a great spirit and are all about positivity – things I generally need in life. K-Pop is hard to love when you know the idol industry can be so taxing. To see a band so full of life – largely because of their own work – makes me really excited to be a fan in general.
Fans that keep up with Stray Kids probably expected my first Stray Kids article to be about “Levanter” since that’s been doing really well at the music shows and is their most recent release. And I do plan on talking about that – however, my heart is set on “Miroh” as of late. And can you blame me? It’s a great pop beat with a good hook, gets your heart racing, has great choreography and never has a dull moment. It’s a great song to jam out to. The lyrics also hit hard – “It’s not hard in this rough jungle” is very indicative of where new K-Pop is heading.
I actually want to talk about the VFX of the video – because that’s what caught my film student eye when I first watched this video. It was surprisingly not too fake looking or ostentatious, but is prevalent throughout the video. There’s also a variety of filters and camera effects that give the feeling of a cohesive time and place, a world that you want to experience more of.
Color is the basis of all film effects, and there is much to be said in way of color for “Miroh”. The entire film is very cool toned, with occasional warm lights to balance it out. Most of the video is blue and red, even the clothes falling along those lines. The backup dancers wear black and the boys begin to adopt black as a clothing color later in the video, along with neon green. However, since so much of the video is in the cooler palette, I’d say the dominant color palette of the video is the cool tones, with light and dark blue being the two dominant colors and red being an accent.
The color pushes the story to us. The story is admittedly a bit vague, but it’s the standard dystopian story with a Stray Kids twist – oppressive force appears, seems to be in control, dancing boys come in and save everybody. This has a number of symbolic meanings, largely pertaining to the idol industry but also to the way kids are treated in any environment where people enjoy ignoring them. Since the message of the song is pushing through adversity, the oppressive force of men in lavish suits is representative of such adversity. This is a theme that’s come up in K-Pop videos as early as Brown Eyed Girls’ “Sixth Sense” in 2011.
Blues invoke generally calm, peaceful, and melancholy emotions in us – so red as an accent stands out as a color indicative of passion. The combination of the two perfectly underscores the themes of the video. Most dystopian K-Pop videos either go the route of green undertones to look more cinematic or white overtones to look more sparse. Stray Kids does neither – they have their own spin on the visuals, which automatically sets their video apart from the norm.
The first instance of VFX we get is around 15 seconds in, and it’s a transition. We go from some security footage to I.N standing in front of the security televisions, but this is done through glitch effects that are centered around I.N himself, so it feels like they are moving with him.
The next (major) effect we get is Felix’s glitches. It starts with him speaking the lyrics to the song while the backup dancers run towards the oppressors. As the beat ramps up, it cuts between different clips of him talking, but saying all the same words, giving the feeling of being choppy. Then, the background turns into pieces of code and stock footage of the city they’re in, all animated to the tempo.
Of course there is the title card that says “Miroh” and the giant lion balloon. The balloon in particular shows up throughout the video as a repeated symbol of power. The thing is, in this video, it doesn’t show up in too many shots, and in those shots, it tends to be one of the only effects there. Digital VFX work best when you rely mostly on practical effects, (trigger warning: gore) and then use digital for certain elements that won’t carry otherwise. Everything that the boys interact with firsthand is a real set piece, so digital VFX like the balloon make the video even more powerful.
In terms of practical effects, there aren’t too many to speak of here, since the video generally relies on the band members and their dancing. But there are a few we can talk about, notably around 2:50 in the video. The setting goes from day to night, and while the backdrop is definitely digitized (very well, I might add) the lights on the band members change, so that it actually looks like a transition to night. This is a very simple and powerful effect that really works to establish a change in time. Building on this, there are also flood lights in the back that toggle in and out during dances, which also separate these scenes from the day sequences where we actually see the oppressors.
There are some other effects throughout the video. Bang Chan’s face and hands are stabilized as he physically moves in a circle, so it feels more like the world around him is spinning. There are also transitions that glitch across or bubble outwards, giving a sense of motion. The thing is if the video didn’t have these transitions, the video would still be great. A good effect means that the video could work without it, and these transitions generally elevate the video, they do not distract from it.
I want to come back to the backgrounds being digital for a brief second. We see the boys on rooftops a lot. These backdrops generally don’t change, beyond moving with the camera angle (the day night shift is an exception.) However, the backdrops are far enough away that we don’t have them in sharp focus, which I think is beneficial to the video. If they were in sharp focus we’d actually be able to see that they weren’t real (just look at any Transformers movie that tries to go into hyperrealism with its effects.) Plus, the dramatic camera shots give a feeling of believably to these images.
The last effect I want to talk about is the noise filter over everything. The entire MV has a noise filter over it, which makes it feel like the movie was shot on film and not digital. This is extremely important to the video as a whole. It flattens all of the effects, and gives us the feeling that everything is part of one environment. The issue with shooting on digital is you have perfect images, and adding effects to the background, while easier, can look fake. Having a noise filter over it makes it grittier and more real.
“Miroh” is a beautiful video. Stray Kids doesn’t cease to disappoint on even the smallest things. The scope of this video is very small but it feels so much bigger – and that’s what you want from a music video, the feeling that something is bigger without forcing it. “Miroh” does this perfectly, in great part because Stray Kids themselves have the skills to carry a video without the extra stuff. The effects just bring out everything good about them. Good filmmaking is best at its most minimal, but when you have special effects and they work, nothing can beat that.
Here is the opening sequence and breakdown for The Neverland Project, my fan project based on BTS’s music videos from “I Need U” through “Spring Day”. As someone who is seeking to educate through my blog, I think I would be doing a disservice if I didn’t give a rundown of techniques used on a project of my own. I will avoid spoilers as much I can for the actual project, but I may leave some hints scattered in – so keep an eye out!
Before I start, I want to say I’m not trying to “solve” the mysteries of these videos, or speculate as to what the originals are about. As far as I’m concerned, BTS made the videos with their ideas, and have even made comics in their universe and such. That is all unrelated to what I’m doing. I am telling my own narrative through this method. I’m using the members and their acting, and the various images, putting my own spin on them. Thus, I’m not really taking anything as “canon” or “not canon”, but creating a work that you, as viewers, can analyze and derive meaning from on your own.
I wanted to create an anime-style opening for Neverland, for a number of reasons. One was probably ego, since I wanted to flaunt my editing skills. But can you blame me? The other was a desire to use a lot of clips that I didn’t think fit in the actual narrative storyline. I particularly wanted to use BTS’s Wings Tour teaser, because I loved the experimental shots and general symbolism. I also have wanted to – even long after I stopped listening to BTS regularly – make a video using “Boy Meets Evil”, because I think it’s a song that climbs so beautifully. It ramps up tension extremely well. So, I figured, why not make an opening sequence? I’m doing an episodic structure anyway.
The theme went through a number of iterations, because I couldn’t settle on the order of images and the colors. I also had way too much going on in way of commissions, schoolwork, and another project I’ve been working on that’s completely unrelated to K-Pop. So I figured that a teaser video could expand upon my concept while I work on finishing the rest of it. The work itself is half done, with the first episode needing a bit of fine tuning before its release.
So now that we have a bit of context for the production of this piece, let’s get into it!
The opening shot is from BTS’s “Spring Day” – it is a train entering a tunnel. Tonally speaking, I think this is the perfect shot for Neverland. I feel like the themes I play off of from BTS’s work include anxiety taking away the figurative light from the lives of young people. So, since both come up frequently in the work, and both are in this image, this is the perfect opener.
Then, I have V climbing up the tower. (Prologue) This will be a scene in a later episode. Notice that this is all in black and white – color is a motif I use frequently in all of my work. It communicates emotion and personality well. But the absence thereof also says something.
We see V look at the camera. (Wings) Things become color for a split second, before we move into Namjoon walking through the train. (Spring Day) When he opens the train back door, it’s the Omelas motel.
Interspersed with this is Jin staring up the stairwell. (Spring Day) He’s in full color, the rest is in black and white. As he pulls his hands up to frame the screen, the world becomes color, and when he puts them down, he himself becomes black and white. Once again, this is my way of playing with color to indicate certain plot points or themes.
This next sequence revolves entirely around V. It cuts between two shots – the first is V growing wings. (Wings) The second is him standing on top of the tower from earlier. (Prologue) Below the wing shots, I’ve added color images from “Stigma”, which show a confrontation with cops. This will come into play early in the story, so log these images. Also log the absinthe imagery (Blood Sweat and Tears) and Namjoon standing in the train. (Spring Day)
The incidental sequences with J-Hope, Jungkook, and Jimin are all crucially important to the story. I won’t say how, but note that J-Hope is in full psychedelic color, while Jimin and Jungkook are in gray with elements of color around them.
Another grayscale scene – just Jin watching his friends through the camera. (Prologue) It cuts to a full-color shot of fireworks. (Reflection) Things become very montage-heavy after this. I heavily edited and layered many of these images, but note that the elements of color start to get bolder and more experimental – and we amp up to full color as the music progresses. I did this to increase tension, since viewers will acclimate to one way the motif is being used, and this acts as a change of pace.
Note the rest of the images used throughout the opening. J-Hope is pulling at the walls in a padded room. (Mama) V falls on the ground, beaten by an unseen force. (Stigma) All of the boys have a pillow fight. (Run) Distorted retro images of Jin and other experimental elements flicker across the screen. (Epilogue) Jimin submerges his head in water. (I Need U) Jungkook runs towards the motel. (Spring Day) Suga is surrounded by fire. (Epilogue) Jin’s face cracks open as if he’s made of glass. (Wings)
All of these images will become important scenes later on. I don’t mean that each one will be game changing, pivotal etc. But, these images will have much more clarity in the future.
In the final moments of the opening, I have BTS walking through a field. (Spring Day) Yes this image has appeared already, and I probably will use this image at some point in the Neverland episodes. But I also added V smiling at the camera, with his wings wide, and Jin’s face cracking again. (Wings)
I should note that V is not a malevolent figure in this story, but as you will come to see, his actions do affect the story significantly. So, who is the protagonist? Is it him? Jin? Or one of the other members?
This concludes the breakdown of my edits for the Neverland opening. I welcome any constructive criticism – anything can help me to improve my work. I started this project because it posed a challenge – creating a story from a bunch of connected films that take on wildly different filmmaking styles is no small task. It’s even more difficult to communicate a feeling through these constantly shifting pieces. So this has been an adventure for me. There will be more episodes coming soon, starting January 1st and generally releasing every few weeks.
This is a long time coming. I’ve been promising this article for a while, as a part of my Cinnamon Bubblegum series. But, with recent developments in the K-Pop industry, I think it’s pertinent that I talk about this video now.
Of course, I’m referring to the deaths of Sulli from f(x) and Goo Hara from KARA. A lot of people are saying that this is casting a light on the pressure K-Pop idols undergo. However, I think that the pressure of idols is common knowledge. The concern for me is how often K-Pop fans are willing to ignore these pressures, in order to be consumers. I think personally, that it is possible to be a healthy consumer of K-Pop. So, that is what I am going to do. I am going to use Twice’s “Likey” to explain to you how to be a healthy consumer of K-Pop.
While “Likey” a solid pop song and extremely catchy, the heart of it is in the lyrics. The song is about social media and how it becomes difficult to draw a line at the high you get from likes online, and how you take care of yourself and your mental health.
For instance, take these lyrics:
BB크림 파파파 립스틱을 맘맘마 카메라에 담아볼까 예쁘게
Put on BB cream, pat pat pat Put on lipstick, mam mam ma Shall I make a pretty pose for the camera?
For those of you who don’t know, BB Cream is a type of makeup. It’s a combination of moisturizer and foundation. It’s extremely prevalent in Korea and other Asian countries, but is also common in American makeup.
Basically, the song talks at length about how getting dolled up to look pretty is difficult, but we do it anyway for the sake of our internet audiences. It’s very similar to the point made in the video for Sunmi’s “Noir”, though “Likey” is far more subtle about getting the point to come across.
The thing about “Likey” and Twice’s other music videos is that they don’t necessarily show the point of the video overtly. A lot of the messaging, while powerful, is toned down and made subtle. This is both a good and bad thing. On the one hand, I want to see more overt conversation happening, but at the same time, the subtlety is key to its success. You won’t notice the message the first time around, but you’ll notice it the second time. It means that the more you watch it, the more you’ll be able to get out of it.
This is absolutely a valid approach to filmmaking of any kind. For example, take Train to Busan, the 2016 Korean zombie movie. It’s a movie about zombies, sure, but there is a prevailing amount of class imagery. The main character himself is a successful businessman, accused by characters of being a “leech” – even his own daughter says this about him. Every person who he or his daughter take the time to help, however, ends up helping them in the long term. An old woman, a homeless man, a middle class man and his pregnant wife, some high school students – all are disenfranchised in some capacity by Korean societal classism and attitudes on age and gender. In the end, it’s the people on the train who submit to these ideals on their culture that become the horror of the film, not the zombies.
Comparing a Twice video to a zombie movie is probably a strange comparison, but Korean films and music videos make use of subtlety beautifully. “Likey” is no different. In the video, you see Twice performing everyday tasks, but recording them on handheld cameras. The visuals are even “filtered” at times, which takes the girls from moderately made up and undersaturated to an oversaturated world where they’re in different outfits and playing around. Hearts appear throughout, much like an Instagram post. The album is even named “Twicetagram”.
This is a good way of communicating the ideas of the video because if you like the song and peppy visuals on the surface, you will be more interested in what’s happening underneath. Once again, this is like Train to Busan. If you like zombie movies or thrillers, you will probably enjoy this movie, and if you watch it again – because it’s Train to Busan and you love it – you will see all of the subtle hints at the real message. It’s brilliantly done for this reason. Twice’s videos all tap into this same propensity for subtlety, and because of that, they’re brilliant.
STEPS TO BEING A HEALTHY CONSUMER OF KPOP
For this next part, I’m going to be pulling elements from this video, and presenting different steps for being a good K-Pop stan.
1) LIKE, BUT REALLY, COMMENT
I already mentioned the proliferation of cameras in the video, as well as filters and social media imagery. But one moment stands out to me. The moment where Momo is sitting in a chair while everyone does her hair and smiles around her. She looks visibly uneasy. She doesn’t want to sit in this seat, but she does. This is also the part with the “BB Cream pat pat pat” lyric. She’s posing for a camera but doesn’t want to be there.
There’s a lot of hate towards K-Pop idols on the internet. Some of it is from anti-fans who hate K-Pop in general, sometimes it’s fans trying to start fan wars. Sulli from f(x) was an advocate against this behavior and ultimately, the hate against her likely contributed to her death.
We don’t really think about how the idols feel about this, and it makes sense why. Trainees often have their internet access restricted, so they don’t see the things people say about them online until a great number of people already swing one way or another. Then, they tend to refine their online appearance, the same way normal people do. They tend not to get involved in fan wars because they don’t want to antagonize people. It’s a lose-lose situation, unfortunately. If they respond, they get hate from the people hating on them. If they don’t, then they run the risk of seeming detached, and people turn against them.
So, what can we do? Well, the support on social media helps. But likes only get you so far. It’s a very superficial way of telling someone you appreciate them. Especially on Instagram, where many idols congregate – there is no dislike button or anything, so your only choices are liking or commenting to tell a singer how you feel about them. As a result, there’s a number of people in the comments that do nothing but hate on these people. The things that will catch each idol’s eye more are the comments, since that’s where people are saying how they feel, and if there is too much hate in those comments, they will start to believe the hatred.
Instead of liking a post, comment on it. Words are a far less superficial form of validation and while there is a parasocial nature to any interaction with a celebrity, the fact of the matter is it’s a good way to show that you care. It might take a little longer, and a little more effort, but when they see how much love they’re getting in place of the hate, it does something positive. It shows them that they do matter to us, collectively.
2) SPEND RESPONSIBLY
There’s a lot of consumerism in this video. Jeongyeon ogles clothes she sees in a store window, store sign imagery is rampant – even the outfits push an air of consumerism. They often look too polished for the environments these girls are in. It feels off-putting, overtly glamorous, likely on purpose.
K-Pop is ultimately an industry, which makes money off of digital sales, concert tickets, and merchandise. I’m not knocking it for that – I’m in the film industry, which makes its money off of production, movie tickets, and merchandise. I do not claim superiority over the idol industry in any way. But what film production has taught me is that I should be careful about which creators and filmmakers I should support.
I strongly dislike Stanley Kubrick’s films in great part because he as a filmmaker was a terrible person. It took me forever to watch The Shining, and when I did, it left a sour taste in my mouth anyway because I knew he was abusive to the lead female actor. The one Kubrick movie I do like, Full Metal Jacket, still leaves a sour taste because he would shoot a single shot thirty times. In his mind, the first twenty-nine times, it wasn’t perfect, but he wouldn’t give any criticism to his actors to improve it.
In my book, a director who manipulates everything to the point of being his definition of perfection to the point of mistreating his actors is not a director, but a dictator. That said, despite my misgivings, I have to acknowledge the contributions he made to filmmaking. I won’t sit on my high horse about it and negate such contributions. But I’d rather watch something like Baby Driver than sit through A Clockwork Orange.
Apply the same principle to K-Pop. Some record companies are known for mistreating their singers; some are less severe. Some idols are cruel or arrogant; some are not. I don’t believe in cancel culture, but what I do believe is thinking about why you’re spending money on something. Merch is fun and all, but I don’t know if I necessarily would’ve bought any of SeungRi’s music if I knew Burning Sun would happen.
I absolutely am willing to spend money on Twice because I think their message is incredibly positive. Songs like “Feel Special” are incredibly important in an industry that has long since relied on songs that don’t have as much dimension, and are meant to make you feel good on the surface. I feel the same about Twice as I do about ITZY and Stray Kids. So, I’ve gladly bought their music.
If you truly admire your favorite bands, no matter what record company they are from, then you should absolutely spend money on them if you want. Support the idols you most believe in, but also hold them accountable. If something doesn’t sit right with you, focus your attention somewhere more positive. Because fueling a fire of negativity won’t do any good.
It intrigues me that “Likey” depicts these K-Pop idols doing normal activities – getting ice cream, dancing in a school gym, and riding a skateboard. These singers would likely get mobbed in public if they did any of these things. But that’s the point of the video. These girls are human beings. They eat ice cream, they go to school, they do all sorts of activities we do.
There’s a lot of discussion online about whether or not K-Pop fans support an industry that is exploitative of “woke” culture when it historically treats women and minorities badly. I personally think the debate lacks perspective on both sides. On the one hand, some K-Pop fans would like to assume everything is okay and that there are no issues. On the other hand, shamelessly bashing the industry is not going to get us anywhere. Many people exist in the middle of this debate, thinking that yes the industry needs to be fixed, but that doesn’t mean we should stop listening to it. However, many of those fans tend to be quiet during these debates on the internet.
I personally exist somewhere in the middle, but I think my opinion can best be expressed this way: “Idols are people too.” To take any establishment, be it a company or industry, and say that it’s all bad because of the policies or people in power – that removes any level of nuance from the debate. More harmfully, this takes empathy away from the people directly affected – in this case, the idols. When we rope the entire industry together and say that it’s all terrible and we should steer clear of it however we can, we forget that there are people caught in this system.
Imagine that every act you did was suddenly televised. What would it do to your psyche? We all think we want success, but when we get it, we always wish we could go back. But that doesn’t make you any less of a person. I think the issue with the current debate over K-Pop is we assume that the K-Pop idols are a part of the industry and that’s where their own agency and thoughts end. Much of the debate is “The industry is bad, therefore all idols are fake,” and “My favorite idols aren’t fake, therefore the industry isn’t bad.” The issue is not black and white.
What we need to do, collectively, as fans, is this: we need to remember these idols are human beings before anything else. The industry can be cruel but we can’t forget that there are humans caught in it. We can hate on bands or companies until we’re blue in the face, but in doing so, we forget to have perspective. We can’t allow ourselves to do that.
The industry is rapidly changing, always, every day. New bands keep appearing, new record companies, new songs. Every time I go to bookstores in Koreatown, I see a new album for a younger group that I haven’t even listened to once. But the principles I’ve addressed here will likely not change. The fact that social media affects the psyche, the fact that we should spend on the singers we truly believe in, and the fact that these are people with real feelings we should be empathetic towards – these are all important things we need to keep in mind in the future.
Jonghyun, Sulli, and Hara were not the first. They will probably not be the last. But it’s on us to prevent what happened to them from happening again. Where you put your likes, your comments, your money, and your love – it matters, in the end. Your voice matters as much as their music.
This is Part 2 of a multi-part series. Please check out part 1 [here.]
Fashion is one of the most effective tools in all of filmmaking – in fact, one of the most effective tools for communication in general. Fashion tells a person your personality, your background, and your artistry. Fashion can be used to create a character. It can be used to make a good impression. It can even be used in diplomatic relations, to communicate an idea. Fashion is one of the most useful things in the world, because it ultimately is a form of communication. In film, there are a lot of variables that change what the costume designer will choose. While that may seem like something that everyone would agree with, the decisions behind costumes are not intuitive ones. One swatch of material can alter the entire film.
What makes K-Pop so fascinating is how fashion is used to communicate a group aesthetic. Girls wear matching skirts and heels, while boys wear baggy pants and oversized shirts. Of course, there are a number of reasons K-Pop group fashion is the way it is. Everything has to give enough freedom of movement for the idol to dance. There needs to be cohesion so that no one looks out of place. And each member still needs to look individualized enough to be identifiable so that you can pick a clear favorite.
In addition to these principles of K-Pop fashion, there are also elements directly affected by the music video or song. The genre of the music video dictates whether you dress in an edgy or cutesy or creepy way. If the music video takes place in a different time period than the present, all the outfits have to be period as well. If there is a story arc, then the outfits must reflect the individual characters – what their interests are, what their past is, what their eventual fate might be. If anything feels askew to the audience then the spirit of the video is lost.
ITZY has only had two major music videos as of the writing this article, but their awareness for fashion is incredibly acute. While everything is eye-popping and beautiful, there is a level of harshness that makes it all the more wonderful to watch. I don’t mean harshness in that their fashion is bad – I mean that in the sense that it goes against the grain of what most K-Pop girl groups are doing, and therefore shatters expectations. It doesn’t capitalize on its weirdness, but it capitalizes on its difference. What makes it harsh is how it is used and what it communicates.
In this exploration, we’re going to cover “Dalla Dalla” and “Icy” at the same time, and we are not going to split it up by members. Instead, we’re going to cover four themes: cohesion, branding, makeup, and message. There will also references to other bands or works of art. None of this is meant to insinuate that ITZY is stealing their fashion from anybody – rather, it’s to provide a frame of reference so as to clearly illustrate the impact these girls have. The only way to make art is to learn from the artists that came before you.
Cohesion (or lack thereof)
As stated before, there is this tendency for K-Pop bands to have extremely coordinated outfits. Bands like AOA are good examples of this, where everyone wears the same outfit. I find this extremely frustrating in videos, unless it’s a video like gugudan’s “Chococo” where the plot kind of relies on everyone being dressed the way. It just feels a little lazy to me. K-Pop relies heavily on people being able to choose their favorite member, so when everyone is dressed the same my first question is “but why?”
A lot of boy bands manage to get away by the seat of their pants by having everyone dressed in the same style. BTS, SHINee, and EXO all do this – and they are not the only ones. So many sport coats or various forms of jacket, tight pants that are weirdly wide at the crotch (so as to maximize dance movement) and minimal difference between outfits. This isn’t always a bad thing, but it always tends to be the same kinds of outfits that get this treatment. It’s usually done to create a sense of unity between members so that they all look like they’re part of a group. The thing is, some bands take the same basic outfit and manage to do a fantastic job of differentiating members with subtle features as opposed to just “here have a scarf” (see my articles on EXID’s “L.I.E” and Dreamcatcher’s “PIRI”).
On the opposite end of the spectrum, there are times when bands just don’t care about cohesion at all and do whatever they want. Again, this is usually a guy group – BIGBANG and BTS specifically. I plan on doing an article on BIGBANG’s “Fantastic Baby” sometime soon (Burning Sun ruined them for me as I’m sure it did for many people, so I’ve been apprehensive about writing one) but one of the things that has always stood out to me is how different everyone looks. No one is wearing a matching outfit until the final moments of the video. Then of course we have BTS’s “Dope” which relies almost entirely on everyone wearing outfits for different professions. Girl bands also do this, but usually when they’re isolated, not in fully choreographed parts of videos. Boy bands have less restrictions in this respect.
ITZY leans into individuality more than cohesion which is incredibly refreshing. This largely has to do with the fact that the band relies on its message rather than typical K-Pop group creation. Their fashion largely reflects their “I don’t care” disposition and as a result, they aren’t relying on looking like each other.
Take for instance, “Dalla Dalla”. Their are two elements that tie all the outfits in together – the color black and the occasional splash of glitter. At one point they all wear fur but it’s only for a brief moment. But their styles are wildly varied. Their accent colors are also widely varied. Their jewelry and hairstyles are varied. They also don’t have an overabundance of pencil skirts – I mean pants are more comfortable for dancing. And walking. And everything else.
In “Icy”, they almost completely do away with coordinating styles except for white accents on some of the outfits and some branding in one choreography section. The styles are even more varied than before, akin to something like a BIGBANG video. This does have to do in part with the plot, but not very much. The plot of “Icy” is girls not caring what other people think of them, so they get placed in a number of situations where they are clearly outsiders. So they are simply meant to look “different”. I actually think that this is fairly effective here, more so than it would be in “Dalla Dalla” where there is not much plot. What we get in “Icy” is a fully realized version of that idea.
Branding in fashion has been an interesting component. It’s been a major part of fashion since the 1960s that has phased in and out of style over time. It used mainly to flaunt a brand, and was adopted tenfold by the black community in the late 20th century to the point where brands such as Chanel began to copy black designers and their use of logos. Our current century of fashion doesn’t really advocate for “branding”. If anything I’d say the retro album t-shirt has replaced the designer logo among millennials and Gen Z. Furthermore, modern fashion emphasizes people combining different pieces however they decide so as to turn it into a form of expression. You may notice certain groups claim different fashion trends – but very specific ones, so as to let you combine whatever you like and express yourself, how you choose. (For anyone who is interested, I recommend watching the CNN docuseries “American Style” to learn more.)
Brands in K-Pop, however, have generally been sparse until recently. Logos and designs have been common, but in a genre that generally relies on the coordination of its idols, it can be distracting for everyone to have a logo. As a result, virtually nobody has a logo on their jacket – unless it’s a hip hop style boy band which, again, pulls influence from African-American fashion.
ITZY, however, leans into the branding completely. Precisely 38 seconds into their first video, “Dalla Dalla”, we get a glimpse at a brand name. Again at 1:06, and again at 1:10 (this time more than one, as all five members are there). They’re peppered throughout the rest of the video. It’s usually a belt buckle, or something on the shirt. “Icy” goes all out – when we first see all five girls together, four of them have logos on their shirts – largely because they’re wearing athletic wear, something that has an abundance of logos. In one of the other dance sequences, the band has matching outfits, all from the same brand, with matching logos. But, it’s all very different pieces from this brand (Iceberg, in case you’re wondering.)
“Icy” is branded content but not in the way most people would understand it. There is a lot of promotion of different fashion labels – Versace, Iceberg, Chanel, Sportmax, DSquared, and many others – the promotion is centered around the members themselves and the labels do not get explicitly mentioned. The pieces are used to build the personalities of the members, not distract from them. Furthermore, these are all luxury brands, and I find it unlikely that most fans would have the means to buy them. Not implausible, but not likely, since most younger fans are probably going to be dependent on their parents and parents are not typically willing to spend that much. I find it much more likely that they’re used to depict ITZY as a band that’s indulgent and takes care of themselves, which is at the core of their message. Obviously, it’s unlikely that the members chose these outfits themselves since JYP probably has an army of stylists. But ITZY appears to be a brand promoting self-indulgence, self-care, and a general “Screw the rules” attitude.
In essence, they’re the embodiment of the “Treat Yo Self” principle.
When I was ten years old, I went to a birthday party. A bunch of my female classmates were there already, and they were being treated to manicures and makeovers. All of the girls went straight to picking their favorite colors for eyeshadow – glittery greens and blues that looked extremely gaudy. I ended up surprising the makeup artist when my fourth grade self asked for brown. I had been reading fashion magazines, and I had light olive skin, I knew that warmer colors looked good on me and my brown eyes would look even bigger if I had brown eyeshadow on. I was super proud of my choice, and the makeup artist seemed to like it too. I remember getting a bunch of blank stares from all my classmates, but in the end it didn’t matter. I looked damn good, and went home feeling like I made a good fashion choice.
I don’t wear a lot of makeup now, but I always take great pride in it. I love experimenting with tons of different colors, brands, etc. One of the reasons I love cosplay is because makeup is such a beautiful and powerful component to it. I used to spend a lot of time filming videos for theater in my high school, and my favorite thing to film was always the makeup room, because you could see a person transform into someone else.
Makeup is always interesting in K-Pop because it’s used by everyone. Men use it. Women use it. It can be over the top and it can be bareface, which means that you don’t want people to think you’re wearing anything, but secretly you are. It’s extremely transformative, but it affects how you see the idol. From G-Dragon’s glitter covered face in Bang Bang Bang, to his lip art in Fantastic Baby, to his sunken eyes in Coup D’Etat…basically, everything G-Dragon has done to his face is worth an article.
The point is, makeup is a transformative tool that no one should ever take for granted. So it’s interesting to me how so many female groups are minimalist in their makeup choices. They actively avoid overwhelming you, the audience. ITZY is no different in this respect, but I think it’s done for a different reason. Most girl groups go for bareface makeup with small bits of color. This is largely done to emphasize innocence. But ITZY is actively against that textbook innocent message. So what does the minimalist makeup do?
It’s actually pretty simple.
It makes them look good.
ITZY’s entire core is about making you feel good about yourself. Live vicariously through them and learn their lesson of not giving a f*** about what other people think about them. So when they wear makeup, they’re not doing it to be eye catching. They’re doing it to look good. Take, for instance, “Dalla Dalla”. Most of the eye shadow is smokey brown or black, but it’s not overt. It does just enough to highlight their eyes. Their lips are generally neutral tones, warmer glosses or nude lipstick, neither of which makes them look artificially pretty. There’s a little bit of shine/strobing but it’s actually very tastefully done.
It gives you a reason to pay attention to their face. Similarly, there is minimal hair dye in this – their hair is dark, either brown or black, which makes it look much more natural. The styles are varied, and there are colored accents, but it keeps them from feeling doctored.
The concept changes somewhat in “Icy”, but it still makes them look natural. The whole theme of “Icy” is inserting girls in situations that don’t match their personality types, so the makeup reflects that. As such, Ryujin has a cat eye going, because she is surrounded by prudes at her job interview. Lia has deep red lipstick because she’s wearing a formal outfit in a restaurant that is not. Yeji has glitter under her eyes, but her outfit is ostentatious and she’s in a grocery store, so it absolutely works. I’d also like to point out her aesthetic is incredibly similar to that of Jolyne from the Japanese manga Jojo’s Bizarre Adventure – a character who exudes “I don’t give a crap what you think of me.”
Yuna has similar makeup to what she had in “Dalla Dalla”, but it’s actually much less overt – not smokey, a little more pink. Chaeryeong is wearing pretty much the same kind of makeup as in “Dalla Dalla” but like Yuna, not as overt. This largely has to do with the fact that she’s just casually on the street, looking cool and doing street performance – which is considered a natural, genuine form of art.
But the fact of the matter is the makeup never distracts from the members themselves. Because they make it work. They look great, it’s not done to make all the members look the same or be part of some major theme. It’s instead emphasizes their core message. I will say that the hair is a bit distracting, but what’s a summer K-Pop release without bleaching your hair.
ITZY’s makeup is all about making the members seem individual. They are a band, but they have lives, independent hobbies, and so on. JYP wants you to be aware of that. So, when it comes to the most beautiful expressive and beautiful of the human body, the face, they want you to see the members as beautiful on their own terms.
As evident by everything I’ve said so far, Itzy’s image revolves heavily on them seeming organic and unabridged. Nothing is done specifically to shock you as the viewer, nor is anything done to make them seem copy-pasted. Each member is unique. This is not just evident in their songs and videos, but in their fashion as well.
What this ultimately tells the fans who are watching is that it’s okay to be yourself. These idols are young adults in the modern age, where young people are struggling to find a balance between image and authenticity, being present online and being present in the real world. This is a loaded thought when it comes to K-Pop, an industry that is extremely manufactured – however, something about ITZY’s combination of fashion, music, and video work makes them feel more alive than many idol groups do.
ITZY wants its viewers – particularly its young female viewers – to feel heard. Having this seemingly random combination of logos, a relatively minimalist style of makeup, and a lack of cohesion between members makes them feel all the more like a unit. But it also makes us feel like we can relate to them. JYP Entertainment, as I’ve said before, has always been good about finding a hole in the market and filling it. When BTS went into a more pop direction, the hole they left behind for edgy social commentary got filled by Stray Kids. As Red Velvet has teetered the line between vibrant colors and vaguely disturbing imagery (“Peekaboo”), we got Twice, a band that uses its cheerfulness as a way to subvert expectations. And now we have ITZY, which fits both markets, but simultaneously represents the group that fits in neither.
So if you fit in ITZY’s demographic – even if you don’t – take some lessons from the way they dress. No I don’t mean dress in Versace all the time. But dress to make yourself feel good, and confident. If that means wearing overalls and sparkly makeup in the middle of a bustling city, go for it. If you don’t want to wear much makeup and dress in all black, do it. If you like dressing like a character from a manga, I am in full support. But the point is that you need to dress the way that makes you feel good, the way that makes you stand out. It’s not that wearing brands will make you stand out – your confidence will do that for you. So when you wake up tomorrow, make sure you feel good about yourself.
Twice began their successful journey with their show Sixteen, but the inciting incident, you could say, was “Like OOH-AHH”’s success. As stated in my article on “Like OOH-AHH”, Twice tapped into a new way of approaching bubblegum pop by adding a ton of spice to it and subverting the idol making machine. This is what I dubbed cinnamon bubblegum pop – definitely sweet, but with a powerful underlying kick. Now the question is – would this be a one time thing? Or would they continue this format?
All was answered by the time “Cheer Up” came along. “Cheer Up” is one of Twice’s most iconic music videos. It’s incredibly creative both in concept and in film technique. It’s a beautiful example of color correcting and editing – both of which are intrinsic to K-Pop – but it also shows what is most unique about Twice, which is their ability to subvert the expectations of what K-Pop idols are.
“Cheer Up” as a song is a very lighthearted song with a great hook. While it’s electronic predominantly, there is some instrumental elements and a beat that sounds almost like it belongs in a rock song not a pop song. It doesn’t have the best line distribution of K-Pop songs but generally speaking the verses give each member a moment to shine. The hook is balanced with English and Korean, though the English parts are accented and arguably mispronounced. However I think this adds to the charm so I have no complaints.
The concept of the video is introduced in the very first moment. We see a man with a camera instead of a head, with a colored magnifying/tinting lens in his hand, looking at all the girls as they eat in the kitchen. He finally sets his sights on Nayeon, puts magnifier in front of the camera lens.
Suddenly, the entire video changes. Nayeon is sitting on the floor, as she was previously, but she has a 90s-early 2000s era phone instead of a smartphone. The color grading is completely different, making it much darker, and we can see from the light from the windows that it’s supposed to be night. The room is much cleaner. She and her friends seem scared. It’s clear that the lens changed not just Nayeon, but the genre Nayeon appeared in.
In short, the video is about portraying each girl in a way that matches their personality by surrounding them with a genre of film or TV that clearly illustrates certain traits. However, there are a number of ways to interpret this idea. You could argue that each genre is supposed to represent each member in the real life – I don’t necessarily agree with this because certain members have either ultra-specific or ultra-broad genres applied to them, and it’s also hard to pick a genre that specifically encapsulates a person. There may be another interpretation though. The website kpopmap.com drew an explicit comparison between each member and a specific movie. Therefore it wouldn’t be so much about representing each member as it would be representing these particular films. While I love this idea, I don’t think that it’s as clear cut as that. But the beauty of art is that it can be interpreted any number of ways. I could very well be wrong, maybe they were meant to indicate specific movies, but I don’t necessarily have the same frame of reference so I was not able to read all of the potential indicators.
Before getting into my interpretation, let’s look at what we have:
Nayeon has a dark, saturated video that looks emblematic of most horror films, particularly the 2000s style with films like “Paranormal Activity”. She is holding a phone though, and this is where I agree with Kpopmap: I do think the phone is a specific reference to Scream. Scream – which came out in 1996, features an iconic scene where Drew Barrymore is being harassed on the phone by who we later find out is a serial killer. But in short, I think this is meant to show Nayeon in a general horrifying situation (obviously made Safe For Work), which in turn establishes her character as timid, fearful, or perhaps more accurately, cautious.
Mina is dressed in a schoolgirl uniform, a style emblematic of teen slice of life or romance in pop culture. Her shots are colored very softly, with light pinks and yellows and whites dominating the shots. She spends most of the video holding a card, waiting under cherry blossoms, while her friends encourage her to do something (presumably go and meet this boy, or maybe even the viewer, and confess love). This establishes Mina’s character as someone romantic and gentle.
Sana’s section is overly colorful, in all the craziest ways. Everything is saturated pink and yellow, the set pieces are patterned, and all of the girls wear colorful outfits and hold wands or other fun objects. Little animations are scattered throughout the video, mostly of objects that shouldn’t have faces with cute eyes on them – mainly musical notes. It’s very Banjo-Kazooie in that respect. As mentioned in my “Like OOH-AHH” article, Sana’s member profile establishes her as a very optimistic person – I think the magical girl style is meant to give us that personality trait.
Tzuyu, the beloved maknae, is in a sepia-toned section, with her dress being laced up by the other girls. She has an old fashioned bed with a canopy in the room, along with a vanity and paintings. Eventually she runs outside, carrying her skirt with her, and the outside is a beautiful mansion complete with a fountain. This is meant to establish Tzuyu’s character as sophisticated and formal.
Momo’s parts of the video show her in a subway, wearing all black with a green jacket and holding guns. She has Jihyo and Jeongyeon on either side of her, also holding guns, being her wingwomen. She’s in what appears to be a dilapidated New York subway (note the exit sign has the 1, 2, 3, 7, A, C, E, and S trains, all of which are metro stops – I have yet to find the station which allows you to transfer to all of them though.) I think this is meant to make Momo seem like a badass, sexy cop-type girl or secret agent. This would in turn establish a type of maturity.
Jeongyeon’s segments remind me of art films in general – you know, the kind that tend to get the Oscars. She has an apartment with tons of furniture, dangling curtains, plants, fans, art…all the things to establish a mysteriously enticing character in a film. She herself is wearing a silk shirt with pink accents and a dark patterned slip – she’s meant to be sexy in a more adult way, as opposed to Momo’s action type sexy. She also has a promise ring, which establishes her as someone’s significant other – probably yours. But it could also be she’s just wearing jewelry for the sake of wearing it. Either way, she has soft colors as well, but darker ones, making her seem like a deeper, more spiritual person.
Jihyo gets the chorus parts – she’s dancing the choreography in sporty uniforms with all of the others, and the brightness of the video makes it look like it belongs in some teen movie like High School Musical (though probably better.) There isn’t much to say here, but it does establish Jihyo as a dancer, and while her main function in the band is leader, this will come into play later.
Chaeyoung, one of the band’s two rappers, gets to be a cowgirl, but a slightly more modern one. She gets a car, she gets a gun, she gets a wanted poster, she gets a super-gold color scheme, hyper-saturated colors, and film noise put over her screen. She gets the quintessentially American setup, which is in complete contrast to the other rapper in this band.
Dahyun, the last rapper, gets the traditional Korean hanbok, fan, and palace. All of the camerawork in her scenes makes it look like she was shot for a drama. Her color scheme is mostly greens, reds, and whites, with some elements of gold, but everything is undersaturated so it doesn’t overpower anything. I think since she and Chaeyoung are the two rappers in the band, they are meant to mirror each other by being representative of two cultures.
My personal view of the video is that it is meant to use cultural iconography – some specific to a work of pop culture, some not – to show us specific personality types in their extremes as the basis of making a group. Idol groups are often constructed under the false pretenses of “you need X member to fit X personality type” in order to create something relatable. While I don’t want to be the kind of person who thinks every music video is somehow about the idol industry (just as I don’t think every movie is about capitalism) the argument can be made that art only exist because of the climate in which it’s created, and in many ways reflects that specific climate. I think that Twice’s “Cheer Up” reflects idol culture by dissecting what it means to have “the funny girl” in a group with “the sexy girl” or “the grown up girl” or “the childish girl”.
Twice is an interesting group in this respect for a number of reasons. They were made through television, so it doesn’t much matter which member fit which specific responsibility so long as they were all talented and had good chemistry. Continuing, they all come from different places: Momo is from Kyoto, Japan; Sana is from Osaka, Japan; Mina is from San Antonio, Texas and is of Japanese heritage; and Tzuyu is Taiwanese. There isn’t really much of an opening to tokenize any one member as “that foreign girl” in an industry where that happens far too often. And lastly, they all have different personalities and JYP Entertainment has always been able to bring out the best of individual personalities in its wide variety of idols without making it feel inorganic.
The video ends back in the original kitchen, except rather than having the members back to the way they were, they’re all wearing the outfits from the different genres. Tzuyu is standing as if waiting for someone asking her to dance, Mina is being shy and clutching her handbag, Nayeon is still on the floor panicking over the phone, Momo and Sana are in a gun versus magic shootout, Dahyun is fanning herself, Chaeyoung is spinning her gun and blowing it off like she’s shooting with it, and Jeongyeon is dancing around with a cup of what’s likely alcohol. But the most interesting subject for me is Jihyo, who we established earlier, functions as the dancer in this metaphor, is dancing still. In fact, she’s doing the exact same choreography, on a loop, seemingly not getting tired. This is one of the main reasons I think that the video comments on and subverts the idol industry.
The camera man scratches his head in confusion before putting one of the lenses back in front of him. He doesn’t quite know what to do with all these girls and their varied personalities. I think ultimately though, that’s okay. There’s a reason I had to stop picking biases of the groups I liked – every member has something unique about them to love. I think that the video for Cheer Up is emblematic of that – that it’s okay to be different, to not quite match up with everyone else, because when you’re in a group of your friends, it doesn’t much matter what sets you apart. All that matters is what brought you together initially.
This week I’m doing something a little different, and updating you all on a project I’ve been working on for a while. Before we do, however, I feel compelled to tell you all a story.
Like many artists, I have anxiety and ADHD. I choose to treat them like assets. ADHD allows me to be a perfectionist and tackle multiple projects from different angles. Anxiety acts like a motivator. However, while I am better adjusted now, throughout middle and high school I had difficulties with them. I usually expressed my anxieties through art, as it was what allowed me to connect with others – it didn’t matter whether or not someone had the same experiences I did exactly, but so long as the feelings could get across to my audience, I felt a sense of victory. Unsurprisingly, I became attached to K-Pop because of its unique way of expressing emotion.
My film teacher in high school gave me a great environment to work in, one in which I could escape from everything else that stressed me out. My freshman year I started editing with K-Pop music videos, particularly BIGBANG, for assignments. One of my videos took a month of work, a video art piece comprised of a number of pop culture references talking explicitly about my anxiety. Looking back on it, it was by far not my best work, but it was an important piece for me in my artistic development.
For the rest of high school I had a safe and secure outlet for everything happening in my life. I spent a lot of time editing K-Pop videos, molding them to match messages I wanted to communicate. My sophomore year, I made a two-part video art piece about the two sides of the K-Pop industry. One was emblematic of the poppy, bright, and happy side we were all accustomed to, the other was a darker piece that was explicitly about artists who either evolved in different ways or struggled to get to where they are (particularly BIGBANG and Super Junior, but with a lot of VIXX mixed in for their Error and Voodoo Doll concepts.) I ended up posting it under the pseudonym Romana Pond, one that I’ve had since I was fourteen to conceal my identity to avoid people finding my location online (there aren’t exactly a lot of people with the last name O’Hop in the United States.)
My anxiety hit its worst point when I was seventeen, for reasons best reserved for another day. However, my friends at the time were very protective me, and I entered therapy. At the same time, BTS was in their Most Beautiful Moment in Life phase. “Run” had just came out, and I sat with a friend at school and started running through all of the connections between that, “I Need U”, and “Prologue”. I watched a couple of theory videos online about what the plot may be, but I wasn’t quite satisfied with the stories that were being told. Not that there was anything wrong with them, I just didn’t connect with the fan interpretations in the same way I connected with the music videos.
Thus, Neverland was born.
Neverland was one of my first experiments in narrative filmmaking. I wanted to build a cohesive, concise narrative and tell the story I wanted to tell. Obviously, that’s hard with nonlinear music videos, all of which have different aesthetics. Not only did I have to base my story off of the existing motifs, I had to create my own. One of them turned out to be subtitling – I synced some subtitles with the music in the background or dragged them out longer for maximum impact.
The second motif, however, was much harder. I wanted color to be an important storytelling element, as a way of justifying and connecting the different aesthetics. This required me to go frame by frame and cut certain people out, making them grayscale to explain certain plot elements – particularly, deaths. I had tried a similar effect in my video art pieces before, but it’s a different situation when you have a 40 minute short film as opposed to a 6 and a half minute art piece. However, in spite of the difficulties, I enjoyed working on it. I ended up using this effect in another experimental piece in college, using clips from the K-Drama Blood to depict the relationship between the two main characters. I recommend watching it, but there are spoilers for the show, so if you do want to watch a vampire doctor crime show with an adorable romance…maybe save this video for later.
The editing process ended around the time BTS’s Wings came out. I spent a month trying to get support for the video at my high school, so I could have a screening. Finally, I got permission from the school to show it at a small lunchtime screening in early December. It got fairly good reception from my peers at my small high school. To get a wider audience, I posted it on my pseudonym account. Anyone who met me would know that I was the person behind it, but I was careful not to release that information elsewhere. Besides, I didn’t really care about glory or anything, the satisfaction of other people’s enjoyment was enough. The full movie is below.
Fast forward almost three years later. I’m about to start my third year at NYU Tisch School of the Arts as a Film and Television major. I’m not much of a BTS fan anymore – I just don’t particularly like their new music, and after seeing BIGBANG fall apart from one night to the next, I’m always skeptical when a band becomes that famous. This isn’t out of dislike for the members themselves, I have a lot of respect for them. It’s more about personal taste.
That said, I rewatched Neverland recently. I was still proud of everything I had accomplished, but I realized there was so much I had learned in two years of NYU Film that I felt I could do much better. The story still means a lot to me, and BTS’s music from 2 Cool 4 Skool through You Never Walk Alone will always be among my favorite K-Pop songs. I am still enough of a fan at heart to appreciate what they created.
I still have other projects: a documentary that will be officially announced shortly, and a number of scripts and commissions, not to mention updating Reel K-Pop. But there is a feeling of satisfaction that comes from K-Pop editing that I have honestly missed, since schoolwork tends to pull me away from the personal projects I want to work on. Now that I have time over the summer, even with summer internships, I wanted to get back to what I love: writing and editing.
Which brings us to The Neverland Project. The Neverland Project is a remaster of Neverland, this time in 1080p with (hopefully) better editing. I plan on doing it in episodes as opposed to one full movie, and updating this website on my progress. I’ll also give mini analyses on what my thought process was in how I edited the final product. I plan on uploading a teaser in the very near future, but again, since I have other projects going on and articles to write, that might not be for a while.
My aim with this work is not to take anything away from BTS – instead, I want to show where the heart of BTS’s work was, and where my heart is. I want to show people what K-Pop is, and also what it can be. I want to be an educational resource for film students and enthusiasts. And with any luck, my experience in creating this work will be useful to others who want to find their own voices.
Before we start, I just want to apologize for the lack of uploads these past months. School took a lot out of me and since I’m on vacation, I have a number of personal projects that I’ve been working on, one of which will be announced soon. Also, because of the event in April, K-Pop for Filmmakers, I had the most historical case of burnout, and it took a long time to get my creative juices flowing again. So here we are, two months later, finally with an article. In order to prevent this kind of burnout from happening again, I’m going to stop with the regimented schedule, but also add more personal updates. I will also write smaller articles so that they can come more often.
I talk about VIXX way too much in this blog but here we are again, with another solo – instead of Ravi, though, we have Leo. Leo, or Jung Taekwoon, is the second eldest member of VIXX, as well as one of the band’s primary vocalists. He’s a fan favorite for a number of reasons – early in his career he was quiet and reserved. Members would play games like “make Leo laugh” to try to get him to break under pressure, usually by blowing balloons in his face or doing aegyo and whatnot.
As VIXX evolved so did Leo. He became much more outgoing and lively on screen, and his quietness turned into something more artistic. Silent cuteness turned into an ethereal beauty. This is a transformation that all of the VIXX members went through. I remember seeing VIXX live when I was a teenager, and my dad commented that in their dance routines, they moved like paintings. Every move was a work of art.
Leo in particular tends to embody this artistic sensibility. While the other members of VIXX definitely do (I spoke a lot about this in my article on Ravi’s “NIRVANA + Alcohol”) they also tend to delve into comedy a lot and while Leo does do that, he has a different angle for it. Rather than making jokes he usually comes at comedy from a more serious angle. This is likely because he’s an actor as well as a singer (most members of VIXX are) but he prefers to adopt characters rather than make gags. As a result, most of what you get with him is subtle and flowing as opposed to handed to you outright.
All this in mind, Leo’s song “Romanticism” is in turn about someone he views as a work of art (to quote, “a pervading and perfect masterpiece”.) The song is all about sensuality. It’s very provocative while still classy. It’s very smooth, mostly electronic sounds, kind of like listening to music through dream. It’s not very “hooky” but it’s still a nice song to listen to on a warm day or on a date night. It’s not meant to be powerful, it’s meant to be sweet and romantic.
The video is almost purely visual, and I don’t mean that in a bad way at all. A lack of story is not a detriment to a music video. What pieces we have of a story are a woman running away, lights flashing, both Leo and the woman falling through the air with Leo reaching, and some scenes of them whispering and caressing each other.
The video ends with them sitting across a dining room table, staring blankly at each other, transitioning to Leo sitting at the end of the table alone. If we take what we see at face value (which we kind of have to considering the lack of story overall) is just a sensual relationship, but if the last scene is any indicator, there is probably not a lot of conversation between the two parties. This is a fallback of an overly physical relationship.
“Romanticism”, as an MV, is incredibly simple, which creates some brilliant uses of space to drive a mood forward. There are only five sets throughout the MV – a hallway, a bedroom, a dining room, a beach, and a studio. However, these locations turn out to be incredibly versatile. Bedrooms lend themselves well to close-ups and more creative angles, whereas hallways and long dining rooms generally require more consistent perspectives, usually focusing only on one or two points. Outdoor scenes give a sense of openness that’s hard to get – in fact nearly impossible – to get from a room of any kind, except maybe a cathedral. Studios are the most versatile sets, with lighting from all sorts of angles and the ability to change the lighting setup when necessary.
The color scheme of the video is mostly warm colors – golds, pinks, blues, and browns. Of course there’s white and black to offset both. However, the beach scene is very cool-toned, which we’ll come back to later. In fact, despite the warm colors, there are also plenty of times where the same colors are cool toned as opposed to warm toned. Cool tones give a sense of calm while warm tones give the feeling of passion. I feel like this is a pretty accurate description of Leo himself – a quietly crackling fire of musical and artistic spirit.
Let’s focus on what this fire is wearing. Stylists for K-Pop are always able to isolate the idol visually so that you are immediately able to identify them. Often, this is done by hair color, but the entire outfit needs to be able to highlight personality traits about the singer, and then the outfits of the dancers need to highlight the singer while underscoring those same traits. Leo’s style is generally large, thin shirts and tight pants. Big jackets are always a thing, and rarely are those jackets zipped up. It’s a very polished look but it’s also very free looking. He wears black and white, with occasional blue and gold accents.
While dancers wear these colors too in this video, often they will wear white while Leo wears black, or a different style of clothes so that it’s obvious who’s the centerpiece. The girlfriend character wears pink, light and dark, and is the only person in the video who does this, so she is immediately recognizable. She also wears dresses, skirts, etc. which gives her a unique silhouette. As stated before, hair is also a big factor. Leo’s hair is blonde, unlike anyone else, and he has some nice angular side bangs going on. Likewise, his girlfriend in the video is the only girl with short hair.
Ultimately though – this is all well and good, but the video stands out in one powerful way. Lighting. The video is lit in very clever ways, since most of it was filmed indoors, on sound stages. For example, the studio I mentioned earlier was lit in different ways – with a diffuse light behind that changes color, face and fill lighting in the front, and LED lighting on top of the awning. This allows for a number of different lighting options and since it’s easy to change the colors of those lights with gels (or even via computer) you can construct a wide variety of moods.
In other shots, there is a significant use of “practical” lighting. Practical lighting is when a lighting fixture in the scene is visible to the audience. When you see a lamp in a movie, that’s practical lighting. In this case, there are candles, ceiling lamps, and table lamps. At certain points throughout the video the lamps in the hallway flicker.
But what makes this lighting interesting is that it lends itself to surrealism. The combination of the practical lights, something we are all very familiar with, and diffused background lights make the space feel like it’s glowing. The combination of the two is somewhat otherworldly.
The most interesting use of lighting though is in the beach scenes. They’re filmed after the “golden hour”, which is when the sun is about to set and the light is intense. These shots, instead, are much softer. Clouds streak across the horizon but there is still plenty of sky to see. It’s a nice soft blue, with gold from the little bit of sun we can see. But what makes it fascinating is they still brought face lights for Leo. The face lights are pink, putting him in a stark contrast to the background. While everything else is cold and somewhat gentle, he is a bright highlight, like a posh firework.
What makes “Romanticism” special is its simple understanding of the principles of filmmaking. It doesn’t require fancy hair or masks or high heels to make an experience worthwhile. I think the lesson Leo gives us is not to let extravagance get in the way of the soul of the art – and this music video is a clear example of that.
EXID’s one of those girl groups that everyone knows and everyone likes no matter what. Even if you don’t love them, there’s always one or two songs you can’t stop listening to. While I am not quite a big enough fan to necessarily consider myself a part of the fandom, I always thought their dance routines were on point and they had a very natural chemistry. The songs were great, their voices were all distinct…there has always been a lot to like about them. Not only that, a number of people around me are big fans of theirs, so I have a pretty consistent exposure to them. Heck, my dad’s bias is Solji.
I definitely wanted to do an article on EXID at some point, it was really a matter of figuring out what to write about. Yes, “Up and Down” is iconic, but I wanted to start with something different. “Ah Yeah” was a great choice too, but I felt like that had been picked apart already by everybody. “I Love You” is on my list, but I didn’t want to go with something too recent. EXID’s had a lot of hits after all.
I finally figured out what video I wanted to write about when making the pre-show playlist for an event I’ve been preparing at university on K-Pop. I asked my girlfriend for help, as I didn’t want to have videos from groups I already was covering, I wanted to show the diversity of K-Pop as a genre. I knew I wanted to show an EXID video, and my girlfriend suggested I watch “L.I.E”. I watched it and fell in love with the video quickly, and added it to the lineup.
So there we had it. I had the perfect choice for a music video to write about.
In 2016, K-Pop was getting increasingly popular. Blackpink, Momoland, I.O.I, Pentagon, and KNK all debuted. VIXX had their Conception trilogy. BTS had “Young Forever” and “Blood Sweat and Tears”. SHINee sold out of their “1 of 1” cassette tape in twenty four hours, and not because everyone with a cassette player suddenly started listening to SHINee. 4minute broke up, but HyunA continued making music. Jessica Jung made her solo debut after leaving Girls Generation. It was not the biggest year K-Pop would ever have, but it was by no means their worst year, and the journey would be far from over.
2016 was also the year that we found out about Solji’s hiatus from the group to take care of her life-threatening hyperthyroidism. As a result, L.I.E would be the last song in two years we would see a five-member EXID. EXID was also at major popularity – not the peak that they got from “Up and Down”, but the consistent kind of popularity that comes from when a group is genuinely good at what they do. As for the music video, it’s a creative little video, with a high production value and gorgeous colors.
Everything sports a pink hue, with purples a a secondary color, and red as a tertiary color. We also get teals and blues that are positively gorgeous, and the occasional black accents – a dress, painted doors, and so on. Oh, and don’t forget the sparkly gold embroidery on the uniforms. And yet, there is something about it that feels distinctly not cheery. It hides something behind its own cuteness and suggestiveness. There seems to be a quiet anger – sometimes an overt one – and a distinct sadness to a number of elements. But still, it doesn’t stop cheering you up. If anything, the misplaced melancholy makes it almost more fun to watch, because it’s hard to understand why it’s there in the first place.
Which brings us to the Five Stages of Grief.
Elisabeth Kübler-Ross, a 20th century psychiatrist from Zurich, Switzerland, wrote a book in 1969 called On Death and Dying. As near-death studies were her focus, she proposed a theory about how people deal with the end, or any tragedy. She broke it up into five parts – Denial, Anger, Bargaining, Depression, and Acceptance. This was the birth of the Five Stages of Grief.
So, naturally, I’m going to connect a theory from the late 60s to a music video about sexy Korean girls in hotel uniforms.
Kübler-Ross proposed the stages as a way to understand the way people deal with death, but they can apply to any other kind of tragedy. For instance, let’s say a breakup. Where on earth would we get this notion? Perhaps, I don’t know, from the mysterious man at the beginning of the video, in a mask?
Keep in mind, there has been a fair amount of fan discussion to this end. Looking at the comments of “L.I.E”, people have noticed that it appears that each girl represents something. It’s just a question as to what that something is. Some people think that the story is very literal and that the girls are about to go murder the guy who checks into the hotel. Some even go as far to say that it’s a revenge kill on behalf of Jeonghwa, who we see lying in the elevator. Other people have a different theory entirely and say that the girls are representative of different ways of dealing with anger. I think that both of those theories have merit, but I personally disagree with both.
I think that to say that all K-Pop videos have a cut and dry story, especially when there’s craziness and weirdness going on, is kind of undercutting what the music videos try to do. As a filmmaker I can tell you that many K-Pop videos are trying to challenge the viewer, not just be aesthetic. In fact I would go as far to say that aesthetic is a secondary component to most videos – the difference between K-Pop and Western music is that the two concepts are not mutually exclusive in K-Pop. You can have a video that challenges you while still being visually pleasing. I’ll cover a number of videos I think that do a good job of that, but let’s keep the focus here, on EXID.
The reason I think that the girls represent the five stages of grief is because there’s five of them, for one thing, but they’re all in very different, isolated situations. They all behave differently and even though they generally speaking wear the same uniforms, they all have different color schemes attached to them and different ways of wearing those uniforms. Because of this we can more easily split them up and try to figure out what each member signifies. It’s kind of like tarot, each card has a different meaning. So let’s see what we can read here.
The song is a pop song, but I would say more of a classic pop song. Electronic music is mixed with some solid drum beats and some easy guitar parts. It has a clear build to the chorus and the bridge is still playfully climbing. There’s a rap break, and two electronic dance breaks – which I would say is more of a feature of K-Pop than it is of anything else. It’s a product of the fact that the members have to dance as part of training. Very few K-Pop groups can get away with not having this training (unless you’re in YG Entertainment).
All of the line distribution is fairly reasonable, so each girl has a chance to shine. I’ve mentioned this in other articles as something that bothers me heavily about K-Pop is when bands give certain members all of the lines and then ignore other members. This song by and large avoids that pitfall. I’d say there’s always an issue when you have a member who does mostly rap, because they will likely only do the bridge or one verse. But in spite of that the band generally keeps things even between members.
The set really leans into the hotel concept, with everything taking place on a sound stage that’s made to look like different parts of a hotel. We have the front lawn, the front desk, a hallway, an elevator, a bedroom, a bathroom, and a kitchen. However, as is a pitfall of having a video shot on a sound stage, it’s hard to make things look realistic.
EXID and the production company August Frogs lean into the lack of realism. The colors are bright and vibrant and there is no attempt at making you feel like you’re really there. If you get immersed you get immersed because of the beauty. Frankly, I don’t know of many hotels that are a single story but also have at least six floors represented by their room numbers, and two elevators, one red and one pink. I also don’t know of many hotels that have such vibrant reds and purples…except maybe The Grand Budapest Hotel.
I’ll cover these set designs more with each individual member and show pictures accordingly, so as not to be redundant.
Instead of uncovering each member in chronological order, like I did with “PIRI”, or doing it with a criteria of how much screen time each member gets, like I did for “Fly High”, I am going to instead do it in order of the five stages of grief, and what each member inherently represents. Again, the five stages are Denial, Anger, Bargaining, Depression, and Anxiety. Therefore, that is the order I shall do this in. For each member, I’m breaking this up into two parts, production design and story. This isn’t an act of laziness, to group up the costumes, colors, and sets in this way – I just think those three things, such as they appear, are inextricably linked in this video. The symbolism will ultimately arise from discussion of each member.
Before we do that though, I just want to take a moment and highlight the outfits that the band wears in the dance sequence. There is no particular significance to these, but they are sexy and powerful in heels and I love them for it. I also like the silver accents and how each member manages to stand out. Each member looks good in their own special way. The long socks really highlight Solji’s height. The high neck on Jeonghwa’s shirt and the silver accents on the waist draw your eyes to Jeonghwa’s long torso in a really pretty way. Hani’s got the short sporty sleeves and a nice V-neck which gives her figure a lot of dimension. Hyerin is tiny so the off-the-shoulder look is perfect for her. And LE…well LE just looks great. High ponies and long sleeves are a good look for her. Then again I’m biased.
Solji – Denial
Part 1: Production Design
Solji spends the majority of her time in the hallway, which is lit coolly with fluorescents and small ornate lamps. The deep turquoise is more unfeeling than it is for any of the other members, largely due to this lighting. This is further exacerbated by the black doors, but undercut by the red carpeting. Blue hues usually indicate sadness or calm but red indicates nearly the opposite – rage and passion. She also appears in the red elevator. The red elevator is gilded with gold and is smooth and pristine, with a lighter red carpet below.
Of course we can’t talk about color without talking about Solji herself. Solji is a paler person so she looks good in cool tones, and she can also pull off orange hair. Anyone who looks good in orange gets points in my book. Her hotel uniform is white and a cool, bright purple, with a red streak on the side, a small red bow tie, and black heels. The shirt is open in the back, and the skirt is long but tight – she’s tall, she can pull this off. Of course, don’t forget her hotel EXID hat and her “KILL X” name tag. Her makeup is also cooler, with pink lipstick and eyes that are smokey enough to grab you, but also not smokey enough to be distracting.
She also wears a black dress, when she’s in the red elevator. This stood out to me because it seemed so out of place against the red and gold. Black, gold, and red is a weird combination. But I think this has to do with what Solji is intended to represent in this story. Either way – not gonna lie, this dress is gorgeous. It’s something I’d definitely wear for myself.
Part 2: Story
As stated before, Solji spends most of her time in the hallway, the shots of her in the elevator appear to just be inserts (though that’s not to say they’re not important in understanding her character). We see her lying on a room service cart, holding a room key and looking at it. This happens to be the room key for the aformentioned masked man, which happens to be 690. I don’t know if this is inherently a “69” joke but judging from the inherent sex appeal of the MV, I wouldn’t put it past the filmmakers.
Solji also sits on or in front of the cart on her knees, singing to herself or looking at the camera. Then of course, there are the numerous shots of her carrying a tray of food, knocking on doors, etc. Typical room service actions. There is something weird about the way she acts though – as we’ll see in later segments, she is basically the only member who is completely calm. Everyone else is kind of losing their minds but she’s somehow managing to keep it entirely together.
It’s simple, she’s in denial.
It’s pretty clear that the guy at the beginning of the video is meant to represent a generic boyfriend, not necessarily anyone’s in particular. Solji is the one member who doesn’t seem angry with him even as she is probably fully aware that he has another girl with him. The doors are closed, so she can’t see it – maybe it doesn’t exist if she just ignores it.
I also think that this makes sense when we consider this weird framed shot of a peach over Solji’s rear – again, this is mostly a sex joke because EXID does that a lot. They’re one of those girl bands where sex and attractiveness are kind of linked to their humor. Usually they do this by subverting expectations, and this random peach is no exception. But it’s kind of fitting if you consider the themes of denial surrounding Solji. Solji turns around to look at it/the camera, as if to be like “What are you doing?” If we consider that Solji represents the Denial stage of grief, she probably is only just now coming to the realization of her own objectification and lack of importance in the relationship.
Or it could just be a peach that’s meant to represent a butt for the hell of it.
Hyerin – Anger
Part One: Production Design
Hyerin spends half her time in the hallway and the other half in a hotel room. The hotel room is turquoise with wooden floors and a blue comforter on the bed, with white and black accents all over. There is a distinct mix of cool and warm lights – cool coming from the window but warm coming from the lamps. It’s very theatrical. This is further exemplified by the way the hall looks in all of Hyerin’s scenes – more often than not, the doors are open and light is pouring in, likely because she’s supposed to be a maid. But this creates a disorienting mix of lights that leads to a chaotic feeling for Hyerin’s character.
This chaos is brought to light in the form of Hyerin’s clothing. Hyerin’s maid outfit is practically made of weird fancy textures. There’s a frilly apron, a frilly trim along the skirt, lace around her neck, and bows along her chest. And of course there’s the hat, the black heels, and the KILL X name tag. However, she disregards the hat and heels quickly. Her hair is also short, and quickly becomes a mess after the hat’s off. When she’s in the hotel room she’s dressed similarly – while it is a fancy black dress, the cut of the top and the choker are still reminiscent of her maid outfit, and her hair is curled more.
Part Two: Story
If the outfit and lights weren’t enough to convince you that Hyerin is representative of anger, how about the fact that half the video is spent depicting her throwing things. When we first see her, she’s staring at a Ken doll in her room, before ripping his head off and singing to it. She seems almost drunk, but I feel like she’s more disoriented than intoxicated. The rest of her scenes in that room are spent with her ripping flower petals off of some roses and throwing the petals around, before lying on the ground next to her Ken doll surrounded by the petals.
This then brings us to her scenes in the hallway, where she’s dressed as a maid. She pushes her cart down the hall, seemingly polished, before hitting the door of room 690 with her duster. The duration of the time spent in this hallway is spent with Hyerin throwing towels and pillows, playing with her duster, hitting everything with her duster, ruffling her own hair, and even singing into her shoe. You could argue that this is Acceptance and not Anger, but I feel like she’s being happy to intentionally spite someone. I mean hitting doors is not indicative of someone who’s particularly level headed.
Hani – Bargaining
Part 1: Production Design
Hani spends a lot of time at the front desk, and in the kitchen. The front desk room is red with blue in the foreground, light colored wood making up the desk and key wall. The entire room is cool toned, from the black trim to the pink bells on the desk, but Hani herself isn’t – in fact, in this room, she looks particularly vibrant and radiant. Yes her skin is pale but her uniform is not.
We then get to the kitchen, where the production design is fairly different to that of the front desk – or really, any other room in this video. It is a small, confined space – low ceilings and thin walls, and the camera always shoots downwards to make sure you see Hani and the room as small. Even the lamps dangle low around her head. The walls are an unmemorable pink and the furniture is a distinctly bland teal with brown accenting. There is a weird spread of food on the table, including lemons, meat, and three different pepper shakers. There are also oranges across the room and flowers all over the place. But again, it’s alright, because Hani seems to take all the color that the walls and furniture left behind. She looks like she’s not meant to be there.
She is also the only member lacking in a costume change. She has a coat on top that has ruffles, and a skirt on the bottom. There is red trim along everything and gold buttons along the front. She also keeps her hat on until the end. And let’s not forget the Kill X on her name tag.
Part 2: Story
We begin Hani’s story at the front desk, where a mildly upset Hani hands the key off the wall and gives it to our masked boyfriend. She doesn’t even touch him, just drops the key in his hand. When the boyfriend takes his new girlfriend’s hand, he doesn’t seem to notice how Hani is reacting – she’s watching their hands with a blank, yet seemingly angry facial expression. She turns to the camera and smirks when the two leave.
The immediate next time we see her, she’s in the kitchen, preparing to cook. She tenderizes the meet with mallets and also examines one of her several pepper shakers. She also spends a bit of time looking at one of the oranges, which has been cut but not fully lengthwise – which makes me wonder if this has to do with the peach scene and my theory about objectification. But oranges do symbolize fertility, luxury, and even good luck in some cultures. So I think the orange is more about what you read into it as opposed to having a concrete meaning. Plus, she is cooking. So maybe it just has to do with that.
Interspersed with this are inserts of Hani sitting on the front desk, or just abesntly pressing the buttons on the front desk. She seems bored but also expectant. Something is clearly supposed to happen, but it hasn’t yet. Eventually though, Hani has clearly had enough. Her lyrics in the bridge consist of her singing “go to hell”, and after this point, Hani throws the pepper shaker, rips her hat off, starts drinking champagne, even going so far as to pour some of it on her head. The room seems to start moving as the lamps begin rotating and the camera tilts.
There’s a lot to get into here. The main reason I think Hani is representative of Bargaining is because she seems to be forcing herself to ignore things. It doesn’t feel like willful ignorance the way Solji’s acting does. Instead it seems like she’s trying really really hard to not pay attention to things. She’s also the only memeber who doesn’t change uniform, as if she’s trying really hard to be a good hotel employee and good chef at the same time. Or, perhaps more accurately, trying to balance her own interests and the interests of this guy. That could also explain the boredom she feels at the desk – she’s probably thinking “If I do all of this right, he’ll come back to me.” Of course, this doesn’t happen. Hani eventually gives up and gives into some pettiness and starts overdoing the pepper, likely just to irritate and anger her (former) boyfriend.
Jeonghwa – Depression
Part 1: Production Design
Jeonghwa has three sets – the hallway, which is lit the same way it is in Solji’s scenes, and both elevators. The pink elevator and the red elevator, as far as I can tell, are actually the same elevator, but the shots are colored so wildly differently that I will refer to them separately. Nonetheless, the pink elevator has fluorescent lighting from the top, whereas the red elevator has a spotlight that’s a much warmer hue.
In both elevators, Jeonghwa is wearing her uniform, which has a grayish mauve piece underneath a shrug, and let’s not forget the red trim and gold buttons, and the KILL X name tag. But Jeonghwa also wears a police uniform and ankle boots, an outfit that seems to come out of nowhere. It’s a dark blue, as police uniforms often are, with a belt and a V neck so her chest is shown off – your typical sexy police uniform fare.
Part 2: Story
The biggest indicator I have for why Jeonghwa represents depression is the fact that she’s lying on the floor for most of the video. This is one of the reasons many people have actually speculated that she’s supposed to be dead, especially since she has her body in that typical murder outline shape. But the thing, is lying down and doing absolutely nothing is a typical symptom of depression. In a way the fact that she’s lying in a presumably moving elevator (while her shoe floats through the air no less) is likely indicative of the fact that the world is moving without her.
The biggest hitch in that analysis is why she’s dressed in a police uniform for part of the video. My best guess is that she is meant to be channeling a sort of “what else has he done” attitude, and trying to figure out the extent she should be upset at all. It’s a fairly defeatist attitude, but it’s the best I’ve got.
It also strikes me as odd that the man presumably comes into the elevator while she’s in there. There are two possibilities for this that would give somewhat of a justification to this. One, maybe the guy is coming to beat her down even further in her state. Two, maybe it’s not the same guy, and some sort of rescuer. I mean we only see his shadow, it’s not so far fetched that this could be the case.
LE – Acceptance
Part 1: Production design
LE’s sets are the front lawn and the bathroom, but two different parts of the bathroom. There’s a lot of hot pink in her sets, mostly in the lights. Her blue bathroom has pink lighting (and a cactus for reasons I can’t even begin to explain) while a cold spotlight shines down on her. When we have close ups of her in the bathroom, by the mirror, the light on top is pink, causing the light blue tiles to look pink, and the mirror is the color of bubblegum. While the lawn has almost no bright pink, there is still a soft pink that makes everything glow a bit against the blue bricks and white columns.
LE’s costumes are among the more provocative. Her uniform is short shorts and jacket with her stomach exposed. She mostly rocks a curly ponytail, sometimes high sometimes low, and her makeup is mostly neutral, which makes her bright red nails stand out. She also wears a silky bathrobe for a number of scenes, and is naked in the bathtub for the rest. Everything about her character is confident and relaxed. Oh and the KILL X name tag. Let’s not forget that.
Part 2: Story
LE has minimal story, but it strikes me as interesting that she’s the first member we see. She’s the valet of this hotel – the boyfriend drives his car up, gets out with his girlfriend, and LE apathetically takes the keys while the boyfriend is chummy with his girlfriend. The rest of her shots are all inserts – her in the bathtub, her looking in the mirror, her lounging in the car. It’s pretty black and white here.
The biggest reason that I believe LE represents acceptance comes down ultimately to the fact that she has no story. She mostly lies surrounded by floating rubber ducks. But I think that’s the point – she’s apathetic to the guy, and has moved on from whatever pain she felt. The opposite of love isn’t hate, it’s apathy. She just doesn’t care. And that’s the important thing here.
There is, of course, one character I have omitted from this analysis: the boyfriend.
The X referred to on the KILL X name tag is probably the boyfriend. He looks like a dopey guy in suspenders and he’s also wearing floral print and a mask. Everything about him just seems ridiculous. It begs the question what they saw in him in the first place – but I think that’s the key here. People have 20/20 hindsight about relationships and we see here, the attraction that these girls feel is inherently misplaced. At the end of the video, he stumbles out of the hotel room, looks around, and explodes into yellow foam. I don’t think the yellow is of any particular symbolism, it’s just an opposite color to turquoise and a primary color alongside red. So it’s a visual technique. But why would he stumble out of the room? He probably got kicked out by his new girlfriend, and explodes when he realizes he can’t keep cheating but still doesn’t want to take responsibility. Or maybe he just explodes in the minds of the girls as they officially move on.
I love “L.I.E”. I really love it. It’s so gorgeous and playful but also has plenty to uncover. It’s a good song, and each member has a moment to be the star. It’s a fun romp with an uplifting message: screw boys who wrong you, they don’t matter.
At the end of the video we see the girls running through the halls together, laughing, having fun. Everything is on their terms now, and they don’t need some adulterer to validate them. With such a milked topic, it’s interesting to me that EXID and August Frogs could do something so unique. Any and all K-Pop fans should watch this video, to learn how to mix the crazy and the symbolic. The joy in this MV is trying to understand, after all.