time – REEL K-POP

Sunmi’s “24 Hours” – Strength and Intimacy

on March 17, 2019April 5, 2019 By francesca_ohop

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.

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 “Fly High” – Unsettlingly Mesmerizing

on February 10, 2019April 5, 2019 By francesca_ohop

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

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.