User:Axiong36/sandbox

From Wikipedia, the free encyclopedia

Since the mid-2000s, the term kkonminam (Korean: 꽃미남; Hanja: 꽃美男; listenⓘ kkot/n [꽃] = flower, minam [미남] = handsome man) has been commonly used in South Korea to refer to young men with a great sense of personal style and fashion, popularized by pop idols, who may seem effeminate, in part because they are often shown with make-up, such as eye-liner or lip gloss. Another cause may be that as most of them are in their late teens to early twenties they look rather boyish. Although they are sometimes regarded as Korean bishōnen, their gender is not commonly questioned, nor their sexual orientation.[1]

History[edit]

Damyeom-ripbon-wang-heedo (唐閻立本王會圖), China envoy to visit. left-to-right: Wa, Silla, Baekje Ambassador

The Hwarang, or "flower youths"/"flowering knights/gentlemen" were an elite group of male warriors in Silla, an ancient Korean kingdom. Chinese sources referred only to the physical beauty of the "Flower Boys", known for their use of make-up and cosmetic decorations and accessories.[2] The emergence of kkonminam is a socio-cultural phenomenon associated with the influence of Japanese bishōnen or yaoi manga that became available after the ban on the import of Japanese culture was lifted in Korea in 1998.[1][3] Professor Kim Hyun Mee at Yonsei University attributes this to the growing independence and confidence of Asian women: "[they] can afford to be more selective when choosing a mate".[4]

The National Security Act affected South Korea in the 1990s as there were regulations placed on international imports. Due to The National Security Act, Korea experienced a lack of television programming. This allowed television companies to turn to K-pop by establishing channels such as Mnet. Mnet is a South Korean pay television music channel which has a variety of programs through talk, game, and live music shows.[5]

In the late 1990s, Kkonminam images became notable in the Korean entertainment industry. There came the glorification of pretty boys, with smooth, fair skin, silky hair, and a feminine manner. This replaced the previous images of tough and aggressive Korean men in television commercials, dramas, and on billboards.[3]The kkonminam phenomenon is existent in many of Korean popular culture. It can be seen in fashion, music, photography, advertising, or television.[6]

Television[edit]

Lee Min Ho as the arrogant Gu Jun-pyo in Boys over Flowers.

In 2009, Boys over Flowers a Korean television series based on a Japanese shojo manga Hana yori dango which gained much popularity in South Korea and across Asia. The series and manga is about an average high school girl who gets involved in the lives of an arrogant rich boy and his friends. In Boys over Flowers, the male leads bear childlike and boyish features with contrast of muscular and strong bodies. Due to its broadcast the drama influenced South Korean Men to take their appearances more seriously. This led to an increase in South Korean males wearing cosmetics, preppy and cruise like outfits, and sporting traditionally more feminine looks, colors, and prints.[7]

Korean boy pop bands[edit]

Fan reception[edit]

Crystal S. Anderson, a Research Scholar of Cultural Studies at Longwood University, found the variety of ways of which global fans talked about masculinities of male K-pop groups. One respondent wrote, “I am also really curious about flower boys and the varying expressions of masculinity in Korean boy bands.” Another respondent noted, “The first thing that attracted me when I was small is that Korean artists are exceptionally handsome/beautiful and possessed unique style, both in their music and fashion,” linking appearance to a certain style.[8]

Hybrid bands[edit]

Korean boy bands that have appeared to adopt forms of this phenomenon are 2PM, B2ST, and MBLAQ.[6][9] These Korean boy bands draw on elements of "gangster" and hip-hop themes in their performances. The hybridized aspects are made to appeal to other audiences and their taste based on these elemental features. Scholars that have analyzed these boys bands note that the Korean boy bands display masculinity of both kawaii and kkonminam elements.[9]These boy bands emphasize stereotypical masculinity in their performances.

Due to their display and maximization of the tough masculine image 2PM has been nicknamed by local Korean media and netizens as Jimseungdol.[10] 2PM, in their on-stage performances showcase total wildness and manliness. In the various end performances of Heartbeat, the title song of their first full-length album, the hyper masculine beast- like performance is displayed. In the performances Taecyeon tears off his shirt off; Nichkhun rips out Taecyeon’s heart out, symbolically and in a brutal manner; while Chan-Sung breathes fiercely while lifting Nichkhun over his head.[6]

See also[edit]

References[edit]

  1. ^ a b "The King And The Clown's Love Story". newsen. 2012. Retrieved 25 October 2012.
  2. ^ Rutt, Richard, The Flower Boys of Silla (Hwarang). 1961.
  3. ^ a b Sun, Jung (2010). "CHOGUKJEOK PAN-EAST ASIAN SOFT MASCULINITY". In Daniel Black, Stephen Epstein and Alison Tokita (ed.). Complicated Currents: Media Flows, Soft Power and East Asia. Monash University ePress. Retrieved 15 December 2012.
  4. ^ "Mirror, Mirror..." Time. 24 October 2005. Archived from the original on 15 December 2005.
  5. ^ Taylor, Constance (2007). Kkonminam: An Exploration of Representations of Masculine Identities in the K-pop Industry (Thesis). University for the Creative Arts. Retrieved 23 October 2018.
  6. ^ a b c Leung, Sarah (2012). Catching the K-Pop Wave: Globality in the Production, Distribution, and Consumption of South Korean Popular Music (Thesis). Vassar College. Retrieved 23 October 2018.
  7. ^ Lee Hyo-won (12 February 2009). "Men, Be Beautiful for Spring, Summer". The Korea Times. Retrieved 24 October 2018.
  8. ^ Anderson, Crystal S. (2014). "That's My Man! Overlapping Masculinities in Korean Popular Music". In Kuwahara, Yasue (ed.). The Korean wave : Korean popular culture in global context. Palgrave Macmillan, New York. p. 118. ISBN 978-1-349-46832-4. Retrieved 23 October 2018.
  9. ^ a b Kim, Soyoung. "Men in K-Pop: From "Flower Boys" to "Beast-dols" | Arts | The Harvard Crimson". www.thecrimson.com. Retrieved 24 October 2018.
  10. ^ Jung, Sun (2011). Korean masculinities and transcultural consumption : Yonsama, Rain, Oldboy, K-Pop idols. Hong Kong University Press. ISBN 978-988-8053-63-6. Retrieved 18 October 2018.

Category:Effeminacy Category:Korean words and phrases Category:Masculinity Category:Male beauty Category:Men in South Korea Category:Sexual orientation and society Category:South Korean popular culture Category:Terms for males Category:Youth culture

Retrieved from "https://en.wikipedia.org/w/index.php?title=User:Axiong36/sandbox&oldid=870494116"