韓國流行音樂的視覺文化──以「少女時代」MV的看�用經驗為例

The Visual Culture of Korean Pop Music: A case Study on the Seeing/ Using of the Music Videos of Girls' Generation

李雅筑(Ya-Chu Li)

指導教授 ： 李明璁

國立臺灣大學/社會科學院/新聞研究所/碩士(2013年)

https://doi.org/10.6342/NTU.2013.00357

摘要

1990年代中後期，韓國流行音樂（K-Pop）隨著韓流（Korean Wave）的擴散開始受到國際上的注意，而2008年開始大量出現的韓國偶像團體，則將K-Pop風潮從亞洲地區快速蔓延到歐美國家等地。本研究將了解韓國流行音樂跨越文化的關鍵性因素為何，K-Pop又如何從中標示自己的定位。傳統的跨文化傳播是以「文化接近性」作為主要的研究路徑，本研究企圖以視覺文化的視角來分析韓國流行音樂，當社會已經成為視覺媒體充斥的景觀，「視覺性」（visuality）將作為社會學研究中的視覺轉向，並且透過視覺文本在社會中的流通與消費者的互動，促使視覺研究納進社會學的討論，亦即視覺研究中的社會學轉向。

為了解韓國流行音樂的視覺文本構成，以及視覺文本如何在跨文化傳播中運作，在研究方法上援引Scott Lash和Celia Lury所提出的追蹤物件（following the object）方法論，關注的是對象的生命歷程，紀錄對象在生產、分配和消費中的過程。將回答三個問題：（一）在韓國流行音樂的歷史發展脈絡中，視覺化的音樂如何被產製，並在全球流行文化中流通？經紀公司的策略如何推進跨文化傳播？（二）分析MV中的視覺元素構成，以了解韓國流行音樂如何透過視覺文本來展演其獨特性。（三）迷群對於MV的視覺經驗為何？從而建構出何種視覺化的想像？又如何運用這些視覺素材進行日常生活中的文化實作？

研究發現，2005年之後，透過視覺影像平台的整合，以及音樂產業對於音樂商品的垂直合併和水平流通之下，因而改變了韓國流行音樂產製與內容。韓國經紀公司開始打造出視覺化的音樂，明星的視覺形象隨著主打市場和目標對象的不同而轉換，在MV中的造型不僅是為配合歌曲和主題，K-Pop透過MV中的視覺元素開始創立自己的風格，顯示出韓國流行音樂企圖將自己視為流行文化的代名詞，引領全球性的模仿風潮，K-Pop即是創造時尚流行的音樂類別。
另一方面，韓國流行音樂以身體舞動作為歌曲的主要展演形式，舞蹈與音樂的結合將創造出K-Pop的視覺面記憶點與特徵。舞蹈所建構的視覺畫面運用One Source�Multi-Use（OSMU）的策略，不僅呈現多人團體的整體性，也清楚劃分團員間的差異性，在團體與個人畫面不斷轉換下展現出多元的視覺變化。舞蹈的編排與走位則反映出的K-Pop明星的練習生時期，型塑出其努力與專業的形象。在形象風格與身體舞動的相互構連下，將創造音樂消費在視覺上的全新體驗，因而MV畫面將不只是音樂所附帶的視覺影像，而躍昇為消費者主要的接收面向。

當韓國流行音樂的視覺文本不斷被轉載和傳遞，更進一步完成K-Pop一系列的視覺化策略。迷群不僅是觀看，而是在當中挪用對於自我有意義的元素，並以此作為日常生活的素材，顯示出視覺元素已經從表徵的意義脫離，而成為一種媒介和訊息，在不同的場域和行為當中，迷群將此作為生活風格，並建構出對於K-Pop的一系列想像，亦即從視覺文本中連結到韓國文化甚至是自身的價值觀，因而K-Pop的視覺文本與迷群間的互動過程已自成連結系統，將不斷展現和擴散視覺化K-Pop的影響力。

關鍵字

視覺性 ； 媒介的物化 ； 物的媒介化 ； 追蹤物件 ； 韓國流行音樂 ； 音樂錄影帶 ； 迷群

並列摘要

In the mid-to-late 1990s, Korean Pop music, also known as K-Pop, has become widespread and garnered great attention internationally with the development and expansion of “Korean Wave”. After 2008, a number of Korean idol groups introduced K-Pop from Asia to North America and Europe. This thesis aims at answering the key point of the trans-cultural communication of K-Pop, and how it marked itself. Traditional trans-cultural communications utilizes “Cultural Proximity” as the main research route. However, this research attempts to analyze K-Pop in the perspective of Visual Culture. When the society is flooded with the landscape of visual media, “visuality” has found its place in the research of sociology with the term “visual turn”. Moreover, with the circulation of visual text in the society and with the interactions between consumers, which has made visual studies involved in the discussion of sociology, also known as sociology turn of visual research.

To learn the context of visual text of K-Pop, and how it works in trans-cultural communication, this paper chose “following the object” as the research method. The method was created by Scott Lash and Celia Lury, with focus on the life journey of object and recoding the process of production, distribution and consumption. This paper has three research questions: 1. In the history context of K-Pop, how was visual music produced and circulated in the global pop culture? What do Korean entertainment companies do to promote K-Pop? 2. Analyzing the visual elements in music videos to understand how K-Pop relies on it to express its uniqueness. 3. What are the visual experiences of fans to music videos? What kind of imaginations are created through K-Pop? How do they appropriate the visual elements to their daily lives as cultural practices?

This research has concluded that after 2005, with the combination of visual images of platforms, and the combination and circulation of pop music product in the music industry, the production and content of K-Pop has changed. The Korean entertainment companies started to create visual music, and the images of the idol started to cater to the market. The styles of the music videos are created not only for the music and the topic, but also aim at creating their own style with the visual elements. Therefore, K-Pop regards itself as a trend-setting pop culture, leading the imitation trend, and a music genre that creates fashion.

Body movements, or dance, are often used by K-Pop singers as movements as the presentation of the music. With the combination of dance and music, it creates visual memory points and characteristics. The visual pictures constructed by the dances utilize the tactic of One Source/ Multi-Use (OSMU). It not only shows the whole group, but also presents the differences of each member, which then shows multiple visual effects. Furthermore, the complex dance formation and ranks reveal their trainee period and make the idol look more professional. With the articulation of images and dance, it created brand-new experiences in visual aspect of music consumption. Therefore, music videos were not merely visual images, but have become the cusumer’s main consumption aspect.

When the visual text are reproduced and spread, it strengthens the visual tactic of K-Pop. The fans observe, and appropriate meaningful elements as source materials in their daily lives. The phenomenon shows that the visual elements have departed from appearance meanings, and have become means of mediation and message. In different fields and behaviors, fans regard it as a life-style, and construct imagination of K-Pop, and even connect with the Korean culture and their own values. Therefore, the interactions of visual text and fans have produced a system, which will represent and spread the effects of visual K-Pop.

並列關鍵字

Visuality ； The Thingification of Media ； The mediation of Things ； Following the Object ； Korean Pop Music ； Music Video ； Fans

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