Tag: k-pop girl group

ITZY Blitzy Part 2 – Dress Like You’re Icy

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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.

Screenshot from “Dalla Dalla”
Screenshot from “Dalla Dalla”
Screenshot from “Icy”

Branding

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.

Makeup

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.

Screenshot from “Dalla Dalla”

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.”

Jolyne from Jojo’s Bizarre Adventure (source: Pintrest)
Jolyne from Jojo’s Bizarre Adventure (source: Pintrest)

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.

Message

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.

Or at least, dress like you’re Icy.

ITZY Blitzy Part 1 – How ITZY Speaks to its Audience

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This is the first in a series of articles covering JYP’s newest girl group ITZY.

I tend to jump all over the place with the K-Pop bands I listen to, whether they’re male or female, pop or rap, OG or 4th generation. As of late though, it’s been hard to keep up with all the new groups. There are so many, from many companies, all of varying degrees of quality, as well as an over-saturation of the long-standing top bands, such as BTS.

As a result, I didn’t get around to listening to ITZY until a few weeks ago, but I have to say, I was pleasantly surprised by how high quality they were. I’ve heard them referred to as JYP Entertainment’s version of Blackpink, but I honestly don’t think that’s doing them justice. I think that they’re a response to Blackpink, or at least the type of band Blackpink is. At the same time, I think they’re a response to Twice, JYP’s biggest group. It combines elements of both, and yet it’s neither.

There are three camps of girl groups right now. There are the extremely girly bands, like Saturday, Momoland, and Twice. Then there are bands that take a more “mature” approach, like Blackpink or EXID. There are benefits to either approach, often revolving around what age group the fan base consists of. Then there are bands that try to be antithetical to both of these. Dreamcatcher would be the best example of that: it’s a band meant to be totally unique in a genre where it’s very easy to fall into a trap.

ITZY is, in my opinion, in the third camp because of how it incorporates elements of the first two, but the band has other unique qualities that make it stand out. First off, their title tracks have been hooky and electronic, but also relatively upbeat without crossing into the territory of being too procedural.

Secondly, they have sharp dance moves that require full body like GFRIEND, as opposed to a band like AOA where their choreography is mostly small movements. But it’s the sharpness that makes them stand out – it’s something guy groups tend to embody more than girl groups.

Thirdly, their songs have a message of loving yourself, but not watered down like BTS’s new catchphrase “Love Yourself” is. It’s much more about people viewing you negatively for the way you are and not caring, as opposed to the simple act of loving yourself because you’re special – in short, it’s not a superficial self-love, it’s anger and vehemence at a system that tries to pigeonhole you. (Ironically, this message was most prevalent in BTS’s early content, particularly “N.O” and Rap Monster’s single “Do You”.)

Lastly, they have an intriguing use of fashion and branding in their videos. It’s very much meant to enhance the members as opposed to rope them into a concept.

If we look at these qualities, it becomes clear: ITZY is a girl group handled exactly the same way a boy group is. They’re a band with good songs, sharp dance moves, and clothing that enhances their personality as opposed to distracts, who’s also allowed to be angry. These are all qualities you’d see in a big name guy group like BIGBANG or SHINee. I mentioned in my article on Twice’s “Like OOH-AHH” that Twice is given guy group-style songs that have more punch, and called them a cinnamon bubblegum band. If Twice is cinnamon, then ITZY is a ghost pepper. They don’t hit – they bite.

I think that this makes them antithetical to many other girl groups because it’s in direct opposition to the way most girl groups are conceived. JYP has always been good about finding an opening in the market and making a band that exactly embodies this. I think that Itzy is the closest thing we have to a representation of what a modern late teenage, early twenties aged girl is like. They have more depth than that, as well as charm. They’re not a stereotype in any particular way, they just kind of exist. None of them are typecast into particular roles.

This movement away from typecasting probably started around 2010, as people generally speaking prefer chemistry between idols. I talked about this a bit in my Super Junior article, but the status quo of creating a group still held until at least 2010, perhaps even later. That status quo: you need a cute member, a mature member, a funny member, a cool member, and a stereotypical maknae. I would not say that ITZY has that – ITZY does have a member that’s more extraverted than the others but I would not say that a personality type is necessarily a role. From watching ITZY on weekly idol I would venture to say that they seem more like a friend group and less like an idol group. Perhaps that is a carefully constructed image, but it is an effective one. I do believe that ITZY more clearly represents young girls than most idol groups do.

ITZY has an innate connectivity to its audience of young girls that I think is really important. They don’t seem over the top happy all the time, and their songs are sassy and angry. They carry themselves with confidence and yet seem relatively calm and humble. There is less visible pressure on them to act like a stereotype, and that is something that audiences can clue into. I am not saying that their lives are devoid of pressure – they are idols, that unfortunately comes with the industry. But it’s clear that the pressure we normally see – bright smiles and constantly playing is not there. Perhaps the pressure is to seem more calm and reserved, but I don’t think that’s necessarily the case. In any event we’ll likely never know – it is, however, an image that can reach a wider audience.

I think ITZY is a group we need to think about more. They have a lot of positive qualities that I think other girl groups should have. I think the takeaway should be that idol companies should not be trying to create what is currently popular, but find the gaps in the market where people need more. K-Pop should ultimately be about giving people what they want, not telling people what they should want.

Twice’s “Cheer Up” – Cinnamon Bubblegum Part 2

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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.

Twice’s “Like OOH-AHH” – Cinnamon Bubblegum Part 1

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When a group becomes particularly popular in K-Pop, it’s for one of three reasons. One is that they take another group’s concept and do it (arguably) better – many boy groups tend to be offshoots of each other for this reason. The second reason is that they’re marketed really well to specific demographics. BTS’s popularity in particular largely lends itself to the brilliant marketing by Bighit Entertainment and the American label handling their US distribution, Columbia Records. But then of course there’s the third option: that the band is doing something unique, that hasn’t been done before.

Now that we have a couple of generations of K-Pop stars to look up to, not to mention a massive amount of younger groups, it’s a lot harder to find that one, unique idol that speaks to you personally. A lot of it boils down to personal preference – how you relate to the singer and the art matters just as much as what the company is trying to market. For me personally, I try to find artists that have something to say. Usually this translates either into the artist is in control of their writing or they have a spin on something we already are accustomed to. I tend to quantify that as combining different “concepts”, changing “concepts” frequently, or using their platform as a way to subvert expectations in some way. I don’t like it when groups get too comfortable in something safe – when I see a group do something challenging, that’s when I get interested.

I was regrettably a bit late to the Twice train, but I must say I’m on board now. It’s honestly hard for me to quantify what makes them unique because, like Super Junior upon their 2005 debut, they’re a bit of a perfect storm. A series of seemingly incidental things that seem to line up perfectly. Twice was formed through a TV show called Sixteen, similar to I.O.I, Wanna One, and VIXX. The nice thing about TV shows is that, while edited, they do expose an organic side to a person, particularly young artists. Often, this organic nature is revealed when the person is under pressure, for example some sort of singing challenge or test, or when people are interacting with each other in a somewhat private situation. Therefore, fans got to see the group form in real time based on relationships formed between members. This is easily one of the better ways to form a group.

Twice’s popularity has been rapidly increasing. Their most recent videos, “Fancy” and “Breakthrough”, have been doing incredibly well – “Fancy”, which came out 2 months ago as of this article’s posting, now has 143 million views, while “Breakthrough”, which came out on their Japanese channel three weeks ago, has 25 million. Their older videos, “Like OOH-AHH”, “Cheer Up”, and “Signal” all have 309 million, 342 million, and 180 million views, respectively. They’ve maintained a TV presence, they’ve been on tour in the US and abroad, they’ve done multiple commercials and had many endorsements: they are the biggest asset to JYP Entertainment overall.

If you ask me, the reason behind this success lies in Twice’s music and approach to videos and concepts. Their musical style evolves not in broad strokes, but smaller, more subtle ways. They generally maintain a bubblegum pop style, but even that is a bit unfair to the band. I’d say they have a cinnamon bubblegum pop style – that is to say, their music has a bit more kick to it. The underlying beats actually sound more like songs that would be in a boy group’s musical repertoire while the overall melody is an uplifting, sweet style quintessential to most K-Pop girl groups. It’s an interesting mix that isn’t common in K-Pop anymore – generally you either go hard and fast, or you go soft and sparkly. But why not have sparkles moving at the speed of light? That’s effectively what Twice is.

Visually their videos emulate this complicated nature in a lot of interesting ways. This article will be part of a series on Twice’s videos – specifically “Like OOH-AHH”, “Cheer Up”, and “Likey”. “Like OOH-AHH” because it’s the first music video, “Cheer Up” because it’s a perfect example of what I want to share, and “Likey” because…well I really like “Likey”. Don’t judge.

“Like OOH-AHH” has a number of different styles going on. The verses generally are fast paced pop bits mixed with slower, higher, melodic elements. Korean words are mixed with English throughout, in fact less so in the chorus than other parts of the song. The bridge is comprised of one incredibly soft and slow singing bit to recalibrate and then an incredibly fast and vibrant dance break. In layman’s terms, this song is an absolute bop.

Ironically, Twice’s “Like OOH-AHH” has a video based entirely around a duality. The video takes place in a zombie apocalypse while all of the girls are wearing girly, clean, adorably fashionable outfits and not showing any fear or sense of self preservation. Zombies have been done before in K-Pop. T-ARA’s “Lovey Dovey” featured a zombie apocalypse breaking down in a dance club with a number of references to Michael Jackson’s “Thriller”; Cross Gene made an entire zombie movie called ZEDD to promote their song “Billion Dolla”. But Twice taking two entirely opposite concepts made for something surprisingly fun. Whatever your expectations are going into the MV, you have none by the end. That’s what makes it so entertaining.

Looking at the intro sequence in particular, it’s clear we’re not dealing with something normal. We see a number of zombies walking around an abandoned helicopter and what appears to be an abandoned hospital. But the colors are saturated – particularly gold and rose colors, as opposed to blue like in most zombie films. Twice’s logo is in pink. The song itself is starting happy. We know we’re not in for anything normal.

Suddenly Nayeon pops out of the bed with perfect makeup in an adorable white shirt and yellow, red, and black plaid skirt, fishnet pantyhose and wedge heels and even a choker.

So already the tone of the video is set and it’s basically about as “normal” as a 40 minute movie to promote one song. But in many ways that’s a good thing. Twice doing something so different right out of the gate set the stage for what the band would be like in the future. This theme of changing expectations is rampant throughout the first half of the video – Jihyo walking past zombies on red treadmills, Tzuyu reaching for the screen while the zombies reach ahead, cutesy dancing in a building that’s actually crumbling around them, all of which makes the girls in particular seem like they radiate all that is well in the world.

Weirdly enough, the song is about something directly opposite that. Rather than the lyrics being about a girl who is a shining beacon around people who don’t care, the girl is the one who doesn’t care, and the people around her are trying to get her to feel something. It’s about a girl who wants to fall in love but just can’t, so she needs someone to prove to her that they’re worthy so that she can open up to them. So to see a video that deliberately turns this concept on its head makes a very interesting video.

Costume-wise, this bizarre rift becomes obvious with the way the girls are dressed versus how the zombies are. All of the zombies are wearing tattered clothes, more in dark tones, whereas all of the girls wear bright, clean clothes that has no rips, whether for style or for aesthetic. The girls’ outfits are mostly reds, pinks, blacks, and whites, in a variety of styles to bring out the character/personality of each member. The leader, Jihyo, wears athletic wear while Tzuyu, the youngest, wears a schoolgirl uniform. Sana dresses like a cheerleader while Momo dresses in tighter, more mature clothes. Each member has a particular way of dressing to make sure you can immediately know them.

There are also moments throughout the video that allow you to immediately remember the members. We see Mina and Momo doing stretches like trained ballet dancers while Sana struggles to get her foot up but tries to impress whoever the viewer is. This scene on its own establishes Sana as a funny optimistic person – aligned with her reputation in the K-Pop community and online profiles — and Mina and Momo as the trained dancers they are (Mina trained as a ballerina for 11 years and Momo was brought back after elimination during Sixteen because of her superior dancing ability.) That one moment in the video lets us into what kind of people we’re dealing with, both on screen and in real life.

As the video progresses, the girls dance in front of zombies in a small cement lot and inside a school bus while the zombies slowly descend upon them. This eventually turns into dancing with the zombies, who then dance with them – at first in a spastic way, but then in a more fluid way. The girls don’t care at all about the zombies being undead and have fun with each other, ultimately this leads to the zombies becoming human, as we see in the tail end of the video.

“Like OOH-AHH” is a surprisingly exciting video, with a lot of twists right from the first few seconds. Twice ultimately tapped into something that K-Pop has lacked in many respects – combining concepts and subversion of the typical tropes associated with idols. While they’re still very much a popular group, with accolades and endorsements to boot, they have an angle that’s been missing from K-Pop for a while. They’re aware that they’re popular but they also have a level of risk-taking that very few groups have had in the past fifteen years. I think what we need to keep looking for in the future with Twice is if this is maintained – but as we’ll see with “Cheer Up” next time, cinnamon bubblegum pop is definitely very much a successful endeavor.

VIXX’s “Voodoo Doll” – Heart Imitates Strife

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Trigger warning: Violence, Gore, and Mention of Abuse.

Clean version of music video here

Looking back onto my childhood, I remember other kids thinking it was odd that I liked horror. I mean, I was a girl who liked pastel dresses, pretty hair, dolls, and fairies. But then, around the time I stopped believing in fairies – a bit late, admittedly – I was enraptured by stories of vampires, demons, and the underworld. At the time, I much preferred reading it than I did writing it, but that wasn’t to say I didn’t experiment with the genre as best as a middle schooler could. When I was in high school, taking one of my first film classes, we did a unit on horror. My fascination with the genre expanded, as I was introduced to how creators designed fear.

So, you can imagine my delight when I found VIXX’s “Voodoo Doll” for the first time.

I’d seen a cosplayer – FadingForest on Deviantart – do a design based on the visual of VIXX, Hongbin, and his character in “Voodoo Doll”. I decided to go exploring on my own. So there I was, watching one of the craziest K-Pop videos ever, and absolutely in love with it. It mixed the gothic and the modern, body horror and psychological horror, hot guys and black eyeliner.

It was never the gore factor about horror that I enjoyed. In fact generally speaking, I dislike gore. Body horror has never been something I could really stomach. But when it came to horror, I enjoyed observing the extremes of the human condition. It was never about the literal story, it was all about the underlying intentions. A vampire story is about the loss of humanity when you reject the one thing that all humans have in common – death.  A possession story centers around a person who shares a body with an entity completely opposite them. A story of the underworld, the afterlife, addresses what we don’t know about our own souls, and how much that makes us scared.

And voodoo stories encapsulate our fear of losing free will.

VIXX is one of my favorite bands for a reason. Their heart and soul goes into everything they do. They all have an insane talent for the stage that allows them to take on any persona for any song. When they dance, they don’t dance just to move, they dance to make you feel something. Everything right down to their facial expressions is done to make you feel something. They are among the select few that do that for every comeback. Some bands will put a lot of care into one comeback and not in another, others will kind of rock one persona throughout their career and never change it up, even others will try to intentionally avoid having a persona so that they seem authentic.

But I wouldn’t say VIXX has a persona, at least not in the way we would associate a K-Pop band with a concept. They are artists first and foremost, and that’s what they make their careers out of. Not being pretty, not being funny, not being sexy. They do it by shocking you. VIXX also stands out in part because it’s well known that they are actors, well known that they are dancing talents, and well known for being down to earth and not pretentious. Building off what I said in my article on Ravi, VIXX’s rapper, while they were inspired by older, more famous idols, VIXX has a unique voice in their understanding of K-Pop and their enigmatic take on it.

In 2012, the year before “Voodoo Doll” came out, (which is also the year that VIXX debuted) we were awarded with many K-Pop videos, but many of them were lacking in substance. Those that weren’t lacking, for example BIGBANG’s “Fantastic Baby”, were written off by American audiences as crazy videos with men and women with weird hair. While there was a niche market for K-Pop videos that had a creative edge to them, no one really cared at the time. And that’s not to say that creative K-Pop videos weren’t being made – they were. But American audiences were neither attuned to them nor intending to seek them out. It was ultimately tragic, as we see the ripple effects now in how most American media portrays K-Pop.

VIXX ultimately started like most other K-Pop bands – on a pink soundstage with terrible hair. As endearing as “Super Hero”, their debut song, was, it was nothing compared to what they would ultimately become. They went through a number of phases, mostly hovering around the cutesy concepts, before eventually finding a voice in “On and On” in early 2013. On and On featured a story about vampires in space, which…okay yeah the premise sucked. But I’d be lying if I said I didn’t enjoy it.

Afterwards, VIXX came out with Jekyll and Hyde, two albums that intentionally mirrored each other. One was light and happy, one was dark and…well, had eyeliner spilled all over it. Both were excellent. Hyde’s music video featured some fascinatingly eerie imagery, though it was really crazy and not subtle enough for my liking. It’s a good watch though.

“Voodoo Doll”, though, is what put VIXX on the map. Shockingly vivid imagery, violence, and magic that pushed beyond aesthetics or a simple story – all this was missing from K-Pop until 2013. While gore has not been revisited by VIXX, the shock value and the idea of high concept certainly has. VIXX’s video quality is incredibly consistent, and they’re constantly pushing their own limits.

“Voodoo Doll” itself is hard to unpack. It seems at first glance that the video is about a girl torturing boys with magic, and that they’re trying to escape. On repeated watches however, it’s a little more indirect. For one thing the song is about a sort of magical servant who is even willing to kill for their master. In a broader sense, it’s about a somewhat toxic relationship where the person is willing to take the pain of someone else onto them, regardless of the damage this does to their own personal well being.

Visually, this is exemplified by the way each member is imprisoned within a cell surrounding a hexagonal room. At first I thought that they were trying to escape while the girl was mocking them and torturing them with her powers. But then the more I watched, the more I realized – the members don’t have identities when she’s not around. If you look closely at the cells, Leo wanders aimlessly in his cell, with his back hunched or fully arched. Ken dangles from the ceiling. N lies limp like a doll. Hyuk stares outside of the cell, watching the girl. Ravi does…something, it’s hard to tell because all we see is his hand. They don’t animate until she gives them purpose.

She’s toying with their love for her.

It’s all about a toxic relationship between these boys and a “master”. Now toxic relationships are something that many artists talk about, but it’s usually from a place of posthumous anger or depression in the moment. Sometimes a singer will go even so far as to make it seem like everything’s okay, and have a cheerful edge to the song in spite of dark material. VIXX doesn’t do any of that. VIXX mixes passion and rage and uses voodoo dolls as a means of explaining power dynamics in such a relationship.

Let’s break down a few of the features of an abusive relationship, and how VIXX addresses them:

Intimidation: I think this one is obvious. There is a lot of physical violence in this music video. Hongbin has pieces of glass stuck to his arms and is inside a box, Hyuk, Leo, Ken, and N all have piercings all over their body that bind them to the ceiling, and Ravi is physically restrained with ropes. Throughout the music video the girl repeatedly stabs voodoo dolls that control all of them, and we see her cutting up and stitching members while they bleed. There’s a lot of physical intimidation.

Isolation: again, this one clearly shows itself. Each of the members is in a cell of sorts, and each of the members has been restrained. They aren’t able to go far enough forward to see the other members or reach them – in Hongbin’s case he can hardly move at all. Even when the members escape, they don’t see each other. There is never a moment where they are all physically together, beyond the dance sequences.

Coercion: Coercion is a little harder to pin down since there is no dialogue. But we can see the girl clearly go up to the members and seemingly tempt them. Not sexually, just by her presence alone. That’s enough to drive them crazy. Furthermore in the actual song, Ken sings:

“웃는 너의 얼굴 한번이면 족해/내가 대신 다 해 네가 바라는 것들” (“utneun neoui eolgul hanbeonimyeon jokhae/naega daesin da hae nega baraneun geotdeul”)

“If you smile just once I’m satisfied/I’ll do everything instead, everything you wish for”

https://colorcodedlyrics.com/2013/11/vixx-voodoo-doll

The whole point of the song is that this girl is degrading the members and using them for entertainment. They want to help her, give her everything even if it makes their own lives hell.

Minimization: again, difficult to really get to the bottom of when the only words are in the song. But we can see how the different members are dehumanized by the girl. She objectifies them physically with promiscuous outfits and then she also treats them like toys. When she stabs her doll she laughs at them even as they’re in clear, visible pain. They’re less than puppets to her, they’re surrogates for whatever emotion she wants them to feel.

Visually this turmoil between partners is made clear through a number of visual cues. The colors are all vibrant and angry – reds, blacks, oranges, greens. It is brighter than the color scheme of most horror movies but I think it suits this video. It’s also overly sharpened – many K-Pop videos in 2012-2014 were sharpened to extreme lengths. I don’t normally like this, but I think in VIXX’s case it actually is advantageous to the gruesome nature of the video. It makes the gore feel grittier, like it’s less supernatural and more serial killer story. The costumes give each character a personality while still seeming relatively uniform.

N’s character is almost like a twisted version of his actual personality. He’s known for being a very sweet, soft person, and I would say loose turtleneck sweaters and couches are indications of someone very sweet. But the torn clothes, being tied to the ceiling, painted mannequins and the covered abandoned couch, all show a person with a kind heart that’s been twisted by this process.

Leo’s room looks almost like an underground chamber, like a subway covered in crinkled metal. His clothing is basically rags, as if he’s been cut on everything, but unlike the other members the only physical wounds he has are the piercings that tie him to the ceiling. But he’s a member that does some of the most expression with his body.

Ken is trapped in a box that is almost like an elevator. He’s covered in burns and tied to the ceiling. His outfit is probably most like a K-Pop idol, thin shirt and pants, but like everything else it’s all ripped. I’d say the outfit he wears is the sleekest, cleanest one, in spite of the whole video.

Ravi is in a kitchen of sorts, with food that appears rotted on the table. The window in front of him is covered with equations, chemistry diagrams, and all sorts of weird things. His own body is covered in tattoos, including one of his skin ripped open and his heart underneath. His eyes are Xs, which has become an icon of this story. The way he grits his teeth at the girl and stares her down, it’s all fairly on brand for Ravi – as I’ve said before, he’s so enigmatic in his embracing of the arts and sciences, as well as the typical hip-hop persona. This very much fits into that dichotomy.

Hyuk is in a room with a tree, with a shattered window in front of him. He’s wearing leather and thick eyeliner like a typical bad boy. He’s covered with stab wounds. The most interesting thing though is that there is bark coming off of his arms. If I had to guess as to why this is the case I imagine he’s undergone so much abuse that he’s become a part of this world that the girl has created – to escape would be to lose himself.

That leaves Hongbin – ultimately the focal point of the video. The normally cute visual is twitching, scratching, contorting inside a box. His arms and chest are covered with glass. He still has piercings in his shoulders, but they’re not attached to anything. His clothes are in actual tatters. He has the iconic Xs in his eyes. He acts like a terrifying, insane creation, less human than a corpse. It’s scary but it’s admirable how amazing he’s able to act.

Hongbin is the only character we see in the end after all is said and done. The girl comes back to her room to find all the boys have escaped, and are trying to find their way back to, presumably, our world. The girl angrily starts stabbing the doll, still bound to all of them. They all get hurt and eventually float, as they are forced into various positions. Eventually we see Hongbin fall, and get pulled back into the room.

The girl puts the glass back in his arms, restores him, and stitches him. He blinks, unfeeling, not even looking at her. She got her doll back.

A lot of people have assumed that this means the other members escaped. I don’t think this is true. If you watch closely, Ken falls too – it cuts off right before he does. This means to me that he didn’t escape either. And it seems unfair to think that just the two of them were taken back. I think that the girl is focusing individual attention on each of them, as part of her intentional control of them. She likes to play with these boys and make them completely codependent. And, judging from Hongbin’s reaction, this costs him everything that he is.

The song ends on a relatively somber note:

누가 됐든 잘 봐 그녈 울리지 마 (nuga dwaetdeun jal bwa geunyeol ulliji ma)

더 이상 잃을 무엇도 없는 나 (deo isang irheul mueotdo eomneun na)

그 누구도 모르는 내 가슴속의 슬픔은 (geu nugudo moreuneun nae gaseumsogui seulpeumeun)

째깍 째깍 다 사라지리라 (jjaekkak jjaekkak da sarajirira)

Whoever this becomes watch carefully, don’t make her cry

I don’t have anything else to give up

That person doesn’t know me, the pain in my heart

Tick tock tick tock everything will disappear

https://colorcodedlyrics.com/2013/11/vixx-voodoo-doll

VIXX’s “Voodoo Doll” will ultimately go down in history as one of the greatest K-Pop Mvs of all time. It’s overdone as far as budget is concerned. It’s just incredibly tight in terms of all the things that count – plot, editing, and the music. The singers themselves are what make this music video so amazing. It set a course for a number of K-Pop bands to come, allowing bands like Dreamcatcher to go full on horror for almost every comeback and bands like Cross Gene to do incredibly graphic music videos like “Black or White”.

While I do believe that this video is about an abusive relationship, there is some ambiguity. But I believe that is intentional here. I don’t think a good K-Pop video is meant to tell you how to feel, or what you should think of it. I think it’s supposed to guide you in a direction and allow you to figure it out for yourself. There are a number of interpretations that can come from “Voodoo Doll”, some literal and some not. But one thing’s for sure, VIXX has something. And it’s not something that is easily recreated.

EXID’s “L.I.E” – A Complete Deconstruction

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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.

MUSIC

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.

SETS

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.

Source: Variety

I’ll cover these set designs more with each individual member and show pictures accordingly, so as not to be redundant.

MEMBERS

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.

Why?

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.

Analysis

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.

Sunmi’s “24 Hours” – Strength and Intimacy

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WARNING: THIS ARTICLE WILL DISCUSS TOPICS THAT MAY BE CONSIDERED INAPPROPRIATE, INCLUDING SEXUAL THEMES. YOU HAVE BEEN WARNED.

Originally this article was going to be about Sunmi’s “Gashina”, if I’m being totally honest. But in the process of organizing a K-Pop presentation for my university, I ended up hung up on “24 Hours”. You know how you get little voice nagging at you to do something? It kinda eats away at you and pokes at your mind, trying to get you to pay attention, to listen. Well, here I stood, caught between two beautiful music videos. While I definitely want to talk about “Gashina” soon, I think my efforts are best served talking about “24 Hours” while these thoughts are fresh in my mind.

Sunmi is part of a new wave of positive female role models in K-Pop. What started with bands like 2NE1 and SNSD/Girls’ Generation has now come full force. Bands like Brown Eyed Girls and Mamamoo show strong women; younger girl groups like PRISTIN, gugudan, and Red Velvet show girls as being forces in their own right; soloists like Ga-In, Yezi, CL, and Kahi show what it means to be a woman in K-Pop. Girl groups like TWICE and BLACKPINK dominate the charts. MOMOLAND skyrocketed to fame in the course of a month. K-Pop is no longer a man’s playground.

Sunmi’s transformation from a member of Wonder Girls to a powerful artist all on her own is indicative of this change. She has an incredible presence onstage and translating that into a music video leads something innately addicting. Her style is definitely not everyone’s cup of tea, but there’s no denying that she’s very talented.

Which brings us back to “24 Hours”. The song was part of Sunmi’s reintroduction into K-Pop after leaving Wonder Girls in 2010 to pursue her academics. Sunmi would go on to resume promotions with Wonder Girls in 2015 before their quiet disbandment several years later. Sunmi is now at MakeUs Entertainment, becoming incredibly successful as a solo artist. She’s been composing much of her music on her own now, which is why it sounds so different from her early solo works (largely composed by JYP himself). Yet the seeds are planted in “24 Hours” for what Sunmi would ultimately become. Just as 2NE1 would not have been what they became without “Fire”, I feel as though Sunmi needed to do “Full Moon” and “24 Hours” to experiment as an artist before turning into the megalith she is now.

I must say, this is one of those music videos I should probably avoid watching on a loop on the quiet car of the train going home, but who cares when it’s just that drop dead gorgeous? And it’s probably better than watching something like AOA – not that AOA is bad. On the contrary, AOA is very good. But that’s not what we’re arguing here, is it? The point is, it’s a very intimate video, the kind that hath earned a 15+ rating back in the simpler times of 2013.

The song itself is fantastic, but its subject matter is something that has been tried many times before. The verses and chorus are all about how time is finite and “24 hours is not enough”, wrapped in a healthy dose of sexual implications. The beat is pop but very percussive, and yet the vocals remind me almost of a tango. The bridge is even reminiscent of that. There’s also the prevailing use of clocks ticking, especially at the very beginning – it feels like you’re listening to a time bomb.

Color-wise, this is a testament to the incredible use of color that K-Pop has. Everything is very soft, but implies sensuality. Sunmi’s hair is mauve, and it’s the only thing that’s pink in the entire music video that isn’t a lens flare. Whites and blacks are paired with faded golds, reds, and indigos. Even purple makes an appearance. There’s also a great use of metallics, off-whites, browns, and grays, particularly in the background. Sunmi’s skin is also gold-hued, which is very different from the pale skin she had in “Full Moon”. Her boyfriend for the MV is also gold-skinned. As my mother calls it, it looks like they were dipped in honey.

The story seems fairly simple at first glance. Girl meets guy, girl has sexual relationship with guy, guy stops reciprocating. But what’s interesting is that at the end of the video, after all is said and done, the entire video starts rewinding. This is probably tied to the lyric about how 24 hours are not enough time, and Sunmi is rewinding time to spend more time with her new squeeze. However, it’s possible to see this in a more melancholy way – perhaps Sunmi and her boyfriend broke up when her boyfriend stopped reciprocating, and she’s rewinding time to undo her past transgressions, or try to win him back.

The video likes to play mind games. With the time changing and the motion blurs, combined with clever cutting, the entire music video becomes a sort of dreamlike experience. I mentioned in my article on Ravi’s “NIRVANA + Alcohol” that movement is important in making a K-Pop video. That is evident here. Much of the edits revolve around how Sunmi herself moves. Keep this in mind with the dance sequences, as the cuts help you follow how she moves.

Let’s keep that in mind when analyzing the dance. The camera starts at her eye level and generally speaking stays on the ground, going up. This is commonplace in a lot of K-Pop videos, done in part to highlight the complex dance movements, also in part to emphasize the sexiness of idols (which we’ll get to in a minute). I noticed though that Sunmi is not always in the center of the shots. This actually ended up being beneficial in some cases, because we get shots of Sunmi from the side that look spectacular. There’s only so many center shots you can get from an MV.

I remember watching this video again for who knows how many times and freaking out over an incredible scene. At the very beginning we see her get lifted by her boyfriend, gently put against a wall, then rolled into a bed in a seamless transition. It looks like she’s outside at night for one minute, then suddenly in the apartment, then on the bed.

It looks like one shot, but how did they make this work? They can’t have made her do the exact same poses, that’s physically not possible (unless you’re Tatiana Maslany in Orphan Black and can do LITERALLY ANYTHING). After watching the video too many times while writing this article, I can tell you how they did it, and it’s actually pretty interesting.

There is only one transition in this clip, going from the initial dance sequence to the apartment scene. The dance sequence, which involves the initial part of choreography in the rain, is done in a studio, and I would assume that the apartment scene is done in a studio as well. When the light flickers on beat with the music as it turns into the very first verse, you may notice the rain machine stops. As the camera pans to the right, keeping the focus on Sunmi’s face, we see that one of the walls has neon lights on the back as well as other assorted lights. The other assorted lights are in fact fairy lights against a curtain. The orange light from the first dance sequence fades out so it looks like they’re really outside. When Sunmi is lifted up, a deep gold light turns on and the camera moves behind a curtain of fairy lights. Since the camera isn’t focusing on them, it looks like outdoor bokeh. The couple spins and there’s a crossfade to a pitch black screen.

Not a moment too soon, we’re introduced to the apartment. If you notice however, we only ever see two walls in this scene, forming a corner. The light keeps on Sunmi and is meant to loo like moonlight, but it’s really a spotlight. Sunmi’s boyfriend rolls her to the side, in front of the camera, and onto the bed. How does this work? Well, for those of you who are familiar with BBC’s Sherlock, you may be familiar with this scene from A Scandal in Belgravia.

In this scene, the bed is pushed up with springs, and Benedict Cumberbatch doesn’t move. He’s holding a bedsheets in his hands, and pulls it up to his chin. There’s a similar thing happening here. The bed is vertical. The pillows are pinned to it, as are the sheets. It’s meant to look like a horizontal bed but that’s just a trick of a change in camera angle – you can see it if you slow down the frames and watch in slow motion. The camera shifts 90 degrees to the right, but does it in a subtle way. You can also tell because Sunmi’s hair is somehow floating above her head, which wouldn’t make sense unless you saw the entire screen from a different angle.

This moment is one of brilliance. It’s cut nearly seamlessly. If you’re not paying attention, you might not have realized anything was changing at all. It’s meant to fool you. I think the fact that this whole sequence has evaded me for so long is a testament to how well it fools you. (Except the bed thing, that took me maybe three or four watches to get because I’ve seen Sherlock).

One of the things I always look for in a music video where women are the artists is how many men there are at the center of the story, and whether or not their faces are shown. When women are objectified the focus is always on their bodies, so my curiosity is always drawn to whether or not the same treatment is applied to men. A good example of this is “Kill Bill” by Brown Eyed Girls. The entire music video revolves around the original Tarantino films, but to keep the women at the center, men are either facing away from the camera, or they have a cowboy hat pulled low over their faces.

Sunmi’s video, while not going to that level of reverse objectification, does a good job of putting the focus on Sunmi herself. The camera is always facing her face in story sequences. When it isn’t, the man in the music video has his face bowed down or looking away from the camera. Sometimes his back will be to you, while Sunmi runs hands over his muscles. But more often than not, she’s looking at you.

We also get no uncomfortable shots of her body. The only ones that come close to me are her feet at the beginning of the video, when she’s sitting on the bed, and the one scene where she takes off the shirt she’s wearing, and you don’t even see her do that in full. You could make an argument that the thumb over her lip is inherently sultry but I wouldn’t necessarily qualify that as complete objectification.

There is of course the nature of wearing a men’s shirt and her shorts, something that’s considered inherently sexualized. My personal take on this is that just because something is sexy does not make it objectification. Sunmi dresses similarly in later videos, and even has undressing sequences. Furthermore, we were recently introduced to girl group Laysha, which literally revolves around being sexy, even going so far as to have a flashing scene in one of their MVs (facing away from the camera, of course), so clearly the bar for what counts as exploitation or objectification has risen significantly. I do want to talk about that more in this context but for now I’m just going to leave this screenshot of Laysha’s music video “Party Tonight” to make my point.

Laysha’s “Party Tonight”

Before we go on, let me just say I have no problem with sexy girls in videos as a general rule – I listen to AOA and Laysha and any other sexy girl band. But I do think it’s important to understand what the limits of what society at large deems appropriate. As far as I’m concerned, Sunmi’s video “24 Hours” falls within the realm of what I consider okay, if pushing it somewhat. That said, I fully acknowledge that many people would consider this kind of content inappropriate, and that is for you to determine and grapple with on your own. I am here to provide an analysis but I cannot dictate what your morals should be, only state what my morals are.

With all this in mind, it’s interesting how the video depicts intimacy. Some of it is overt, for example Sunmi lying in the bed with her supposed boyfriend, or her crawling on top of the table. But it also depicts intimacy in subtler ways. A hand going over Sunmi’s face, her sitting on the bed with her knees up, the transition into an a modern tango. Furthermore, the video uses shots that are mostly out of focus, so Sunmi and her boyfriend are the ones your eyes go to. It also uses a number of very clever transitions so that you barely notice anything but the two of them and their dances and sexual escapades.

Overall, this video does a great job of depicting Sunmi as a strong idol in her own right, but it lacks the power and punch that later videos of hers have. In those videos she’s powerful, but in this one, she’s eye catching. I think that without “24 Hours” we wouldn’t have the Sunmi we have today, just as without those early Madonna songs we wouldn’t have the Madonna we have now. While Sunmi is very different from the Sunmi of “Gashina”, “Heroine”, or “Siren”, we can appreciate who she was in “24 Hours”, and appreciate this beautiful art.

Dreamcatcher’s “What” – Style Versus Substance Part 2

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Check out Part 1: Dreamcatcher’s “You and I” – Style Versus Substance Part 1

In my article on Dreamcatcher’s “You and I”, I talked about the importance of balancing plot and visually pleasing images in a music video. I used “You and I” as an example of a music video that does a good job of balancing those things. In this article, I’m going to continue that discussion, but this time try to show it from a different perspective – where the balance between the two principles is thrown off, and the video feels disjointed. This is of course my critical opinion, but it is not the only opinion, and I welcome constructive arguments against my analysis.

Dreamcatcher’s “What” is one of their best songs yet, but its video feels not nearly as story driven – or at least, not well. There are elements of a story here, and the video is beautiful to look at, but there isn’t enough coherent substance to make it particularly gripping. However, it is a very captivating video visually, I just want to explore how the story takes a backseat to other elements of the video.

“What” is overall a great pop-rock song. It has amazing vocals, and the verses and chorus are clearly defined by electric guitar riffs and solid drums beats that get your heart pumping in the meter. It has good mixes of English and Korean words but doesn’t fall into the trap of using a ton of English words in the chorus and making it some weird half-translated mess. The bridge has some nice rapping by Dami but also JiU’s powerful vocals, keeping the styles balanced. Overall the song is a home run.

The video sports a more pop color scheme than past videos – deep fuchsia and indigo with hints of bright orange and other colors. Costumes take on a variety of styles, mostly modern hip fashion styles. Suits come back, this time in red, for JiU, and we see Gahyeon wearing more adult clothing than past videos where she was confined to the schoolgirl aesthetic, probably because she’s the maknae. There’s also a lot more sparkle – everywhere. Not exclusively on set, not exclusively in the costumes – there are sparkles all over the place. It’s a very flashy video and if you like that style then you’re going to love this video.

The camerawork is fantastic, and I do love the set. It feels far more modern than Dreamcatcher’s other videos, but it works for the song and fits the aesthetic that is put forth. I want to be clear – I don’t hate this music video at all. I actually love it. I just think that technically speaking, it could have been done better, and in the spirit of giving this music video a fair assessment, I think I should be hard on it.

As said before, story is implied in this video, but not in a way that is particularly cohesive, so I’ll do my best to try to unpack what I can. There are only a few actual storylines, the primary one being JiU’s and Yoohyeon’s. I usually try to unpack the details first, since I’m a more detail oriented person, but since the video is fairly lacking in story, I want to try to get to the bottom of theirs first, then get into the details.

JiU wakes up, fully clothed and in heels, in the street, and judging from her expression, it seems to be an unfamiliar one to her. She looks around in fear and confusion. Simultaneously, we see Yoohyeon in her bedroom, trying to sleep. There’s a snowglobe next to her with crystals inside, and that becomes a recurring image. At one point, Yoohyeon falls back onto her bed, eyes closed, and we see the sky flying past her, as if she’s rocketing through it in her sleep.

Eventually, JiU looks up above her at the rooftop of a building labelled “CACHETTE” (French for “hideout”). Yoohyeon is standing on the rooftop, with the skyline behind her. Yoohyeon suddenly wakes up in a room with paint dripping down the windows, and playing cards floating around her – all of them labelled Joker. We also see JiU wake up in the same location as before.

We’re led to believe there’s something important about the building, or at least a specific reason that the girls all end up there. We see Gahyeon and Siyeon outside it as well, and JiU – as well as a figure we can’t fully make out that goes inside it.

SuA is inside the building, and it appears like there was some sort of party or event happening, because there are balloons and confetti everywhere, not to mention pink caution tape. Gahyeon walks through it and surveys the damage, eventually running into SuA, who appears to be doing the same thing. We also see Gahyeon running out, only to be reversed on the footage and pulled back in.

As far as a coherent story goes, that’s about it. But we can get some stuff from subtext – Handong is hidden away in a closet somewhere, illuminated by red light from outside. Dami is sporting a more masculine and mature appearance – manspreading while surrounded by many chairs. Not sure why there are so many chairs, but I accept. We also see SuA teleporting while she’s singing between doorways, behind pink caution tape.

The rest of the inserts are generally disjointed – hands spray painting things, various shots of Yoohyeon’s room, JiU and Siyeon surrounded by umbrellas, a small clown toy spinning, the book from “Good Night” sitting on a pile of sand with a flower growing out of it…you get the idea.

“What” is good…but not great. Call me spoiled, but I vastly preferred “Fly High” and “You and I” in both technical aspects and story aspects. It was much clearer about what we should be looking for, without expecting the viewer to figure it out. It is by no means a bad music video, in fact I would argue that this video rivals some music videos put forth by more established groups. It’s effectively saved by it’s song, it’s choreography, and the talent of the members.

“What” does, however, push forward more visual things as opposed to substantive things. This isn’t always a bad thing though. The colors and costumes, for one, are much more eye catching. I love the use of pink and the way lighting sets a mood. But it uses special effects in a way that feels inorganic – the nice thing about “Fly High” is that effects were used sparingly, and even in “You and I” where effects were used frequently, they were done more realistically, to build the world instead of just showing off. And yes, the effects are definitely striking in this video – but also not very polished. It’s very clear that Yoohyeon is in front of a green screen when she’s standing in front of the skyline, and when Yoohyeon is rocketing through time and space on her bed, it does not look real.

The disjointedness of the story is probably what bothers me the most. Not because a music video with a disjointed story is bad, but it seems disjointed in the wrong way. Having a bunch of connected pieces out of order – that’s okay. I think that that can be done well and have a very positive effect. However, when doing that, you have to go off of somewhat familiar imagery, even if you incorporate something new.

I mention VIXX a lot in my articles, but that’s because they are a case study in good music videos. I want to take us back to their Conception trilogy, featuring the albums “Zelos”, “Hades”, and “Kratos”. The trilogy came out in 2016 and spanned several months, with the music videos “Dynamite,” “Fantasy,” and “The Closer”. Each of the videos was connected, telling a story rooted in Greek Mythology but not necessarily driven by it. Each video and song was wildly different from the last, but what made this trilogy work is the consistent imagery. N had the green eye tattoo on his hand, Ravi is associated with wine, and characters would often represent specific gods from mythology. I bring this up because the trilogy balances its plot with its visuals, constantly changing the visuals to match the music while keeping the story and its motifs solid.

“What” is clearly trying to establish a new direction for the band – maybe we’ll get less of the retro schoolgirl aesthetic and more modern concepts. However, even in doing so, it is important to maintain the story that has already been established, if you are trying to allude to or rely on it. And the video makes allusions to other Dreamcatcher music videos – the book from Good Night especially, along with the timing changes that were particularly frequent in “Fly High” and “You and I”. There’s also the notable absence of the infamous photograph of all the girls in white, motif that has been used frequently. I have a theory for how “What” could connect to the other videos, assuming it does, but that is still a big assumption on my part.

I think that “What” is a good music video, but it doesn’t feel like a good Dreamcatcher video. It doesn’t play with what it has, instead it tries to make something new but still rely on the old, and does so with not a lot of continuity. There’s still a lot to enjoy here, it just didn’t sit right with me personally. As we see later though, with “PIRI”, we get the best of “What” and also the best of the earlier videos as well…but that’s for next week.

Dreamcatcher’s “You and I” – Substance Versus Style – Part 1

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When taking on a music video, substance and style are two different modes of filmmaking. Substantive films can have subtleties and steer away from overt, crazy imagery, often using the singers as characters in some drama or even getting rid of the singers altogether and focusing solely on a story. Stylish films often negate story, or have the story implicitly shown through subtle cues.

Within style for K-Pop, the biggest component is movement – constantly moving cameras, fast edits, dance shots, everything is very dramatic. You have to keep the viewer engaged not in the stories, but in the visuals. If the visuals have a story that’s even better, but the story is not necessarily what is primarily at play. Balancing style with substance is what makes a good music video.

Dreamcatcher’s “You and I” has a stylish music video, with enough substance so that the visuals still have meaning. But it focuses more on visuals and special effects than story. There is still story present, but it’s meant more to look appealing than communicate a coherent plot. Is this a bad thing? No. But it’s a different approach than Dreamcatcher’s usually story-heavy videos. A primary focus on effects and dance makes for a video that would work as a pleasant surprise for most fans.

Similar to “Fly High”, “You and I” has a more pop sound than rock, but still falls in the genre of rock-pop pretty well. Its chorus is catchy both in Korean and English, with lines in both languages to make it a more easily accessible song to both demographics. The chorus is primarily in Korean, but the hook is in English – “Baby you and I”. It has soft verses with dramatic drum beats, slowly building with time, with a magical quality to it that makes the song feel light and heavy at the same time.

The colors in this video are mostly shades of blue, with some scenes taking on primarily reds and blacks. Other colors are either neutral tones, or harsh blacks and whites. Costumes are more modern, but a few retro pieces that appear. There are also these short corset outfits with long sleeves in white, and leather straps in black – not something I would expect anyone to be wearing in the early 1900s. This starts the direction that this video takes towards style as opposed to substance – but as we can see here the two are not mutually exclusive.

There is not a lot of story in the video as a whole, but there are a number of moments with story that connect so that the video doesn’t feel like you’re watching incoherent nonsense. The film mainly revolves around Yoohyeon, who we see at the beginning of the video running towards some sort of portal. There are also a number of shots of JiU pushed to the forefront, but Yoohyeon is the star of this one. There are a few inserts, so I want to cover the inserts first to give all of the members some attention.

Most of the members don’t get anything related to the plot. Gahyeon has one insert, where she is in a mirror, being held by JiU. The mirror shot is also mirrored, so it’s more duality. Handong has a scene where she’s surrounded by strings, spiderwebs, and candles, next to a set of stairs and some canvases. Dami doesn’t even have a story shot, she just appears in another dimensional space, in a glass snowlgobe-like cage, before breaking it with her staff. This may get called back to in Dreamcatcher’s later music video, “What”, but at the time this didn’t appear consistent thematically. SuA has an insert next to a camera, but we’ll get back to the camera in a minute.

I will say this though about SuA’s scene. If you look closely behind her, at all of the photos, we’ve either seen a lot of them before, or can recognize them for thematic reasons. The picture from “Chase Me” is up there, as are some images that appeared on the wall of the final shots of that music video. We also see a darkened photo of a girl that appears in an earlier scene of this music video (but for sake of keeping this organized, we’ll touch on this later). There is also a picture of two women, seemingly twins, holding hands – and if you’ve seen Dreamcatcher’s “PIRI” music video, which came out this February, this might strike a chord.

Shot from “Chase Me” for comparison.

There are two distinct zones, one that seems more realistic with rooms of a house and hallways, and one is some sort of alternate dimension, with floating objects, gray space, sand, and spiderwebs. The background of the second dimension is filled with stars and clouds. The biggest floating object that gets the most attention is the portal, a stone circle with space opening in front and light shining through it. Well call this the netherworld, since it appears to be something along those lines.

The one character who gets a lot of inserts is Siyeon, all of them surrounded around the same motif – photographs. She has a lot of old photographs that she studies with a light board and develops in a room with a lot of red lights. Hanging in the back of a room is the infamous photo from “Chase Me”. We also see the picture of the girl in shadow, which is on the wall in SuA’s insert.

One of the photos she develops – with the accompanying Gayeon and Handong – has supernatural qualities and catches on fire spontaneously. I assume that this is a callback to Good Night when the girls burn the photograph, ultimately saving SuA from the clutches of a tree monster. We can’t really see what’s on it, but it appears to be a picture of a girl surrounded by spiderwebs.

  • Shot from “Good Night” for comparison
  • Shot from “Good Night” for comparison

JiU’s scenes are reminiscent of the ones in “Fly High”, where she’s running through hallways – in a suit, this time, instead of her school uniform. The suit has creative stitching and patterning all over it, immediately reminding me of the suits in VIXX’s “Voodoo Doll”. This time though, we see what’s chasing her, in the reflection of the mirror – some sort of gray smoke monster hand. As she runs we see her stumbling and stopping right before a top, spinning on the ground. We also see her standing with her head slightly askew and her eyes blank while the lights from outside flicker past.

This brings us to Yoohyeon, who is the focus of the majority of the video. She has a number of shots where she’s sitting in a chair and JiU is standing behind her. The other girls are standing, scattered throughout the room, staring straight ahead and being perfectly still. JiU drops sand and starts whispering some incantation, and we see the gray smoke apparition, taking the form of a person, flying out of Yoohyeon’s body. I would assume that this is Yoohyeon’s soul, but it’s not very clear.

Later in the video, we see Yoohyeon walking an older woman to a couch, then posing behind the camera, the same camera that SuA is seen with earlier. The woman poses for a picture, sitting still – she seems older but more along the lines of middle aged, with brown hair. When Yoohyeon is about to flash the camera, she pauses and looks up in horror. The woman looks at her maliciously, then we see a shot of Yoohyeon with a shot of a spider appearing on the wall. Yoohyeon faints upon seeing it.

As far as I can tell, the woman is not real, but a representation of the spider that Yoohyeon murders in Fly High, which she kills with a magnifying lens. Since a camera with a a flash is another contraption that uses lenses to manipulate light, it’s an appropriate comparison. Later we see Yoohyeon sit on the couch where the woman was sitting, with some determination.

In the last part of Yoohyeon’s story, we see her running towards the portal, trying to presumably get back to the real world. However, she doesn’t make it, and collapses to her knees. However, this is shown in conjunction with the girls standing around her sleeping body in the netherworld, and her waking up. There’s also a shot that appears to be of some significance, where she’s reaching towards the sky and the gray fog surrounds her hand.

These shots are likely not in order – I would presume that a lot of these shots are meant to be at the beginning and we’re uncovering things as Yoohyeon comes to terms with them. So the order of events would be that she wakes up in the netherworld first, the gray mist surrounds her hand, she ends up plagued by nightmares or images in this netherworld, then tries to escape but fails. In conjunction with this, all of the shots of JiU seem to be in the real world, but if we take the hand in the mirror at face value, it seems like the netherworld is some sort of mirror world, akin to Neil Gaiman’s Coraline.

I find that the camerawork in this is on par with videos like “Fly High”, where here is a much clearer idea in the cinematographer’s mind of what to get and how to work with the editor to get the right effects. A lot of the video is either slowed down or sped up, but not to an extent that seems unnatural, and in keeping with the frame rate so that nothing feels off subliminally. There are also a lot of gorgeous wide shots and close-ups, but the camera is almost never stationary. It moves with the music.

It also works beautifully with the dance – something that Dreamcatcher’s earlier videos were lacking. They had beautiful dance routines but rarely could you get to see everything. The dance is more central to this video as opposed to the story, so we really get to see it in all its glory. I think that’s important – the use of scarves works well to help you follow and capture the movements of their dance. It’s similar to VIXX’s “Shangri-La” stage where use fans as an inherent part of the choreography. I also like Dami’s use of canes, though I think that this is definitely underused.

Back to my original point – the difference between style and substance. The entire video is trying to balance story and visually pleasing motifs, and does so very well. In terms of substance, there are always pitfalls at trying to tell a nonlinear story. It’s a lot harder to follow than most story-based music videos. Does “You and I” do a good job of trying to get the story across? Or does it fall victim to what nonlinear stories try to do?

The video is inherently stylish – it’s entirely possible for people to watch the music video and just watch for the dance, and not pay attention to the story at all. The images are entrancing almost to the detriment of the video – you can get caught up in how pretty everything looks and not think about what the story is at all. And it’s clear how much money and production value they put in to make this video stand out, so in that case I would say it doesn’t do a good job of getting its story out there.

However, if you’re a fan like me, you won’t be content to just watch and not try to tie in some story. I do think it’s a valid approach to make music videos that have story only if you’re trying hard enough to look for it (BTS’s “Run” I would say is particularly good at this, as is f(x)’s “4 walls”). There are plenty of people who watch music videos and try to connect story pieces together, and plenty of fans who are invested in the girls’ characters, as well as the girls in real life. So having a story that is implicit, in the background, while making the song more to the forefront and having a few key story moments pushed to the front – that is a good approach to making a music video. It keeps the fans who like mystery-solving happy but also makes it accessible to casual fans.

In the end though, the approach that this video takes is not as much about story, but more about making the girls front and center. And that makes it a much more enjoyable experience – you’re watching a video that makes you not only invested in the world the characters live in, but appreciative of the girls’ individual talents and how they play off each other. Good costume and makeup design help with this, but also making the dance more central – that’s the biggest piece. Everything else takes a backseat and lets you appreciate the artists more, and that is a good move on the part of the directors.

Overall, “You and I” is a compelling must-watch for K-Pop fans. It has enough for the casual viewer and more than plenty for the invested viewer. It keeps you on your toes but also is entrancing and enjoyable in a less involved way. I personally think this is one of Dreamcatcher’s best videos yet. They still have a long way to go as a band that’s really only existed for 2 years – but they have potential, and this video uses their potential to its fullest.

CONTINUE READING: Dreamcatcher’s “What” – Style Versus Substance Part 2

Dreamcatcher’s “Fly High” – Unsettlingly Mesmerizing

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There’s something oddly fascinating about the concept of schoolgirls. There is an implied innocence to them that isn’t allotted to schoolboys, but at the same time they are consistently sexualized or represented by older women. They exist in the societal limbo between children and adults, taking on one form or the other whenever it’s convenient.

Dreamcatcher’s music video “Fly High” takes advantage of the concept of school girls to tell a dramatic, fantastical story. The song is on their “Prequel” album, so it’s safe to assume that this is part of the story that was established by their previous music videos, “Chase Me” and “Good  Night”. The music video is distinctly less horror than the previous ones were, and yet, it is unsettling in a very atmospheric way. There is still fantasy at play and something bizarre and uncanny, that makes you emotionally invested.

The song has a lighter feel than their previous songs, but still fits the rock pop feel that they’ve consistently had going. It sports nice piano at the beginning with a sweet drum beat, with an intense electric guitar and the occasional violin in the background. The vocals are smoother than they were in “Good Night,” probably to fit a more pop feel. Overall the song has a better drive and beat, so let’s see how the video holds up in comparison.

The color scheme is a generally soft palette with bold colors, covering most of the rainbow. It’s like watching a period piece, only colored infinitely better. Every time there is a shot, there are clear focal points, while everything continues to be coherent and have a consistent feel. The colors that stick out most are dark red, dark blue, varying shades of gold and white. There isn’t as much darkness as in other videos – night scenes have much more creative uses of light, and the video as whole does not have as dark of an atmosphere. That said the video as a whole isn’t bright and happy – it goes into a strange direction.

Since the story is so difficult to unpack and scattered in a bunch of smaller pieces, I’m going to address each one separately. We’re going to start with individual members, then break into pairings of members, and end with the scenes that have all of the members.

SuA

She only gets one scene by herself, but appears in scenes with other members. The one scene we see of her, she’s walking backwards through the woods.

Handong

Criminally underused, but still has her brief moment. The only one where she’s alone is her sitting in a bathtub, staring off into space while water drips from her hands.

Siyeon

She spends most of her time walking backwards and forwards through the woods, carrying a bunny toy. Like the other girls, she operates almost as if she’s in a trance. At one point though, we see her carrying something else – a rolled canvas.

Dami

Dami reprises her role as someone interested in the occult. We see her pull a book off the shelf, then read something to herself while on the floor. She’s surrounded by books, candles, and picture frames. There’s also a floating book for some reason – still can’t figure out why. She’s by the door, claiming the space as her own, and what appears to be the same bookshelf she got the book from, judging from the wood. As the camera moves closer while she’s speaking, feathers also scattered on the floor blow around her. Whatever she’s doing is working.

Gahyeon

Gahyeon has one particularly interesting moment. We see her lying on a bed, surrounded by beautiful flowers of varying colors. There is also a single deer antler on the bed with her, by her feet. The deer antler is likely a callback to the deer heads in “Good Night”, but it does emphasize that Gahyeon’s character has something to do with nature. Her hair is even green on the ends. A hand hits the light switch and shuts it off. Feathers start flying about what we later realize is the room Dami is doing the ritual in. Gahyeon opens her eyes, and the door closes.

She thrashes about in the bed, while interspersed are clips of a woman in a white veil, carrying a candlestick, walk through the halls and towards Gahyeon. We don’t get a confirmation as to who this woman is but we can assume at this point it’s another member. Anyway, Gahyeon thrashes, seemingly immobilized. A hand with strange fantasy paint reaches out and covers her eyes.

Yoohyeon

Yooheyon is one of the two members with the most screen time. However her most important scenes involve JiU, so I want to cover those separately. The scenes that Yoohyeon gets by herself are vague, but nonetheless something that pulls in her audience. The first moment of note is Yoohyeon singing in the attic, and in the living room/parlor. The lyrics for this particular shot sequence translate into “Like I’m trapped in forgotten time / I’m trapped / In this night / A dangerous rainbow is engraved.” She makes a clock motion with her hands at the part about time, in the attic, and also a gentle choking motion at the part about being trapped, in the living room.

In a later shot, we see Yoohyeon walking towards a mirror that’s precariously placed in the yard, near the street. She walks towards it and stands in front of it ominously. Cut to her sitting in front of the mirror and touching it, and black drips out from the area near her hand and down the mirror. In the behind the scenes, Yoohyeon described it as “evil” that was supposed to be dripping out.

We also get a shot of her running through the yard, but then she stops and turns around to face the camera. When she does it cuts to a new shot of her, in the woods, wearing dark blue. She walks forward, her face empty and ominous. We see her walking away from the building, down the same path, closer to night than before.

It’s presumed, based on context clues, that Yoohyeon is the veiled figure that messes with Gahyeon. Those context clues are mainly just Yoohyeon’s predisposition to the evil things in the MV as well as the fact that we see Yoohyeon in the attic, same as the veiled figure. This is mostly conjecture but it could make sense.

JiU

Ah yes, JiU. She has the most screen time out of every member. The first shot is of her, surrounded by butterflies. The shot is very blue – the ocean behind is blue, the sky is blue, the dress is light blue, and the butterflies are blue. Later in the MV the butterflies catch on fire and disappear – this is important.

JiU walks with the other members outside in the daytime, in her schoolgirl outfit, before veering to catch something with a jar – when we get back inside, we see that it’s a spider. She spends a lot of time looking at it before one of her friends – who we don’t see at this stage – pulls her away.

We also see a girl playing piano in a room filled with black balls/balloons, on a piano covered with smaller balls like marbles. JiU walks by the room wearing a black dress, and peers in. Inside is another JiU, wearing the same dress as in the butterfly shot. JiU is shocked as the camera briefly zooms in. It moves quickly so you might miss it, but it’s there and definitely a provoking moment.

JiU is then seen running through the halls, looking over her shoulder. She seems afraid of something, but it’s not stated what it is that she’s running from. She opens the doors of the mansion and runs towards the gate. She seems urgent, but when she finally gets to the gate and closes it, she’s calm, as if there was no sense of urgency to begin with.

Siyeon and SuA

Their pairing is seen walking together through the woods in all their shots together, usually backwards. Sometimes they’re holding hands and looking at each other, other times they’re just standing, separate, Shining style. At one point, they’re holding hands and walking backwards into mist, but emerge from the same mist wearing cloaks. SuA holds the ritual book from “Good Night.” The two of them look at each other and smile.

JiU and Yoohyeon

The meat of the story is in one single interaction between these two. When JiU puts her captured spider on the table, it’s Yoohyeon who pulls her away. Behind her back she is holding a magnifying glass. So when JiU is out of the way, Yoohyeon kills the spider, letting smoke come off of the glass. This is supposedly what the burning butterflies allude to later in the video.

SuA, Siyeon, and Gahyeon

There’s only one shot of the three of them all together, but it’s of them standing perfectly still, peering down on the camera from a higher staircase. The shot is ominous from the unnatural angle, and there are deeper skulls all along the walls. There’s also a thread coming from Gahyeon’s position on the balcony. It’s unclear what the thread is supposed to be holding but it is there.

(It’s also worth mentioning, for sake of being thorough, that there is a shot with Dami, Yoohyeon, and what appears to be SuA running down the stairs, but I’m not sure if it’s of any particular significance.)

All members

There are a number of scenes with all of the Dreamcatcher members. The first one of note is obviously the girls running in schoolgirl uniforms along the grassy path, then playing in retro-style dresses in the yard. JiU, SuA, and Siyeon all look at a birdcage before running to the other members.

The members play a Marco Polo style game where JiU has her eyes covered. The girls also play a game where JiU is against a wall and they have to run and chase her, but when she turns around to look, they all freeze. It’s a red-light-green-light situation. They end up going back inside, which is where we see JiU and the spider. The yard also has a modern art sculpture and picnic tables. There’s another scene that appears to be part of this sequence later in the music video, where Handong flies a black paper airplane. It looks like all the girls are running to catch it, but costumes indicate that this is a different day.

There’s an eerie sequence in the second verse, broken up into two parts. The first part takes place in a dining room inside the house and the second part takes place in the kitchen. The first part, we see six of the members seated, with SuA approaching the head of the table. On the right, Gahyeon, Handong, and Yoohyeon are sitting, and, directly opposite them, respectively, are Siyeon, Dami, and JiU. All six of them are sitting perfectly straight with books in front of them, and all six of them have their eyes closed. SuA carries a bell over before taking her stance. The girls all write in notebooks, before snapping their glances to the camera.

The second part of this sequence starts here, where we see the girls in the kitchen at a similar table, passing knives down the line to each other. SuA rings a bell, and they all start cutting their food – except it’s not actually food, it’s a white flower. It’s too far away to see specifically what it the flower is. If I ever find out the flower name, I’ll edit this article accordingly.

The last few shots are carefully crafted. We see SuA, surrounded by the other girls, drive a knife into the picture from “Chase Me”, cutting the edges to take it off the frame. We then see an overhead shot of the girls dancing and spinning on the yard, before standing perfectly standing still and looking up at the camera in dance formation.

This video was confusing at best, but still so beautiful to watch. Every image feels like a painting. Scrubbing through the video frame by frame made me appreciate it that much more. The shots are much better than the previous music videos by Dreamcatcher, with better focus when appropriate and no artificial sharpening. There are a handful of artificial effects, but nothing out of place. Everything feels balanced.

There is a lot of use of slow motion, long shots and short ones, a variety of different camera techniques. There are a lot of wide shots this time around, showcasing the entire setting, be it a room or outdoors. A lot of the camera techniques we associate with horror are used in this MV, particularly the one point perspective used in Kubrick-style films. There’s also awkward angles, often looking upward to the focal point of a shot. This causes a feeling of smallness, of wonderment, but also tension.

There is also a great use of natural space, and nature in general, to make the horror feel real. One of the biggest problems that “Chase Me” and “Good Night” had was weird use of effects. Good use of them, but often times they were clearly not real. The use of nature in this mv makes everything feel real, so when an effect appears it doesn’t feel out of place. Most of the aesthetic is created through props, set pieces, etc.

  • Shot from “Chase Me” for comparison
  • Shot from “Good Night” for comparison
Shot from “Fly High” for comparison

There is also a use of retro costumes and set pieces – nothing that shouldn’t be there is there. Everything is of the time, whatever the time may be. But it also doesn’t feel excessively retro. You can still put yourself in the position of the character and relate to them on some level. I mean malevolent witch girls is not the most relatable thing in the world, but the playfulness and curiosity of the Dreamcatcher members is still relatable.

There are a lot of story elements that are out of order in this, but the main recurring theme seems to be nature. Not just physical nature, but natural versus unnatural behavior. That said the film isn’t about nature. But just because there is a recurring theme does not mean that the film has to be about that theme. A Marvel movie can be all about superheroes but have a recurring theme and still be separate from the themes.

Let’s focus on the themes of physical nature first. Gahyeon’s bed is surrounded by flowers, much of the music video takes place outside, JiU has a predisposition to like bugs, and even the visuals make use of the four elements in various ways – we have water dripping off Handong’s hands, we have fire coming off the candles, we have earth EVERYWHERE, and since wind is an invisible element, we have hair blowing and butterflies. One could argue that witchcraft is working in conjunction with nature, so even the use of ritual books could be a force of nature. But that point is open to interpretation and part of a bigger discussion on the nature of witchcraft and religion, and this is a K-Pop blog so we’ll keep the focus geared towards the video.

The theme of natural versus unnatural behavior is the part that has the most relevance to this video. We see the girls interacting playfully with each other, playing games, exploring the surroundings, doing typical things that girls do. On the opposite side we have these strange scenes where the girls are standing perfectly still, faces blank, doing things in complete unison. There is of course the veiled figure, probably Yoohyeon, behaving like a ghost, existing in the limbo between the natural and unnatural. Siyeon and SuA walk backwards, an act that is inherently uncomfortable or involves video editing or time manipulation. You could even say that the cutting of the white flower is something unnatural – the white flower being on the plate and presumably being eaten is definitely not supposed to be happening. And, of course, there’s the act of burning the spider – death is natural but murder isn’t.

If I’ve said “natural” enough times to make you hate trees forever, don’t worry – let’s just analyze the story for a minute. It seems that some figure, and is affecting JiU, Yoohyeon, Gahyeon, and the other members. I don’t necessarily believe that Dami is the one doing the summoning, but she has the ritual book – I’m more willing to believe that she has an interest in dark magic. What’s happening with Dami just feels like it’s more isolated, more to do with her own journey into the unknown than the other girls.

The other girls, however, definitely seem to be increasingly effected by the dark magic in their world. JiU seems to be trying to protect herself, and by extension, the other girls, from whatever the dark entity is. But, ultimately, she succumbs to the evil being – we can see from the calm expression on her face that the being wins to some extent.

Yoohyeon also is affected by this and is the possible cause of these problems in the video. She burns the spider, she is touched by the evil, she walks around almost like she’s possessed. It seems like something has taken hold of her, and it’s something that she can’t control. It’s also possible that she is some sort of dark being herself, but since transformation is a motif (butterflies are a typical indicator of this theme) and we see her transformation into the blue dress, I don’t think she’s necessarily supposed to represent that.

As for what all of the girls are doing, where they’re all at the tables or acting playful. Symmetry and stiff, unnatural behavior are typically associated with horror films. Their use is often to indicate ghosts, or otherworldliness. When there’s symmetry, there’s something wrong. But if the girls are doing ghostly things inside the house but also being playful, they must somehow exist within the spheres of evil and innocence.

Overall there’s a lot to unpack in the Dreamcatcher video “Fly High”. I think this video is a must-watch in modern K-Pop. It has all of the big things and the little things, great camerawork and a great location, enough story to keep you invested and enough vagueness to make you curious. My biggest complaint is the lack of balance between members in this video, but that’s something that’ll come with time – all K-Pop groups go through a period where one member seems to be pushed into the front, usually around the debut. So with that in mind, let’s see if we get any answers to the looming question in their next video “You and I”, and if later videos balance out all the girls.