韓國流行音樂的視覺性、身體化與性別展演：以「少女時代」的MV產製和消費挪用為例

本研究首先要回答：韓國流行音樂（K-Pop）何以能在韓文並非強勢語言的限制下跨越國界？除了政策投入與資本整併，更仰賴新興網路影音分享平台的流通，與文本型構中高度的視覺性與身體化。有別於一般音樂錄影帶分析僅著眼於文本的視覺元素，本研究在方法上援用社會學家Scott Lash和Celia Lury所提出的追蹤物件（following the object）方法論，關注K-Pop作為消費對象物的跨文化流通歷程：從其生產到消費的全球在地化。透過對韓國音樂產業人士的訪談、相關文章的回顧、MV的文本分析、以及台灣本地迷群的參與觀察與深度訪談，本文亦將討論回答以下兩個子題：（一）在韓國流行音樂的發展脈絡中，視覺化、身體化與性別化的文本如何被設計產製，並在全球進行跨文化流通？（二）在地迷群如何挪用這些視聽素材，使之納入日常生活中的次文化實作與性別展演，進而形塑自身與群體的性別認同？

關鍵字

少女時代；身體化；性別認同；音樂錄影帶；視覺性；韓國流行音樂

並列摘要

This paper tries to resolve the puzzle firstly: how can Korean pop (KPop) become transbordering since Korean is not the main language in the world? It can be attributed to the policy input and capital integration, the textual circulation through emerging audio-video platform on-line, as well as the specific textual form with intensive visuality and embodiment. This paper applies not only traditionally visual-textual analysis but also the new methodology called ＂following the object＂ by the British sociologists Scott Lash and Celia Lury. The researcher regards K-Pop as an object of crosscultural consumption and tracks its circulation from local production to ＂glocal＂ consumption. Through the interview to the K-Pop professionals, review of the relevant articles, textual analysis of the music videos and the ethnographic fieldwork of local fans community, this paper tries to answer the two questions: (1) how does K-Pop produce itself by the strategies of visualization and embodiment, as well as gendered performance; (2) how do the fans appropriate the K-Pop texts to re-perform and re-shape their gender identities in their everyday life.