Block B’s “Very Good” MV doesn’t offer anything out of the ordinary for the style the group has been known for. However, the music video highlights various elements that have are common to the Kpop we know today. In this paper, I will conduct a critical analysis of Block B’s MV and discuss the integral role the MV and lyrics play to address masculinity, nationalism, and cosmopolitanism.
The MV features multiple scenes in a fast cutting fashion showcasing the interaction of group members with various background characters. The constant change of outfit for the group member also reflect this fast nature. One striking aspect is the portrayal of the group’s leader, Zico. During his rap verse, he can be seen shirtless and covered with tattoos. Alongside the song’s upbeat and catchy nature, it makes it easy for the viewers to notice the extent of English incorporation in the song’s lyrics and the appeal towards western audiences. The decision to physically making him look more like a western stereotypical rapper was not coincidental. This kind of culture “create unique combinations as they incorporate foreign and globalizing influences, such as those from the US.” (Jin and Ryoo 2014:115) The hybridization of these different cultures illustrates the group’s direction toward expanding their audience range beyond Korea and “props to demonstrate the power, status, and superiority of [Block B]” as well as authenticity. (Saeji 2016:274)
“Very Good” is intriguing to note as cosmopolitanism is addressed without the use of foreign bodies. The group achieves this dynamic through not only hybridization in linguistical means and outfits, but also through the plot and actions by the group members in the MV. The multiple outfit changes in the video certainly are eye-catching but including scenes that highlight physical contact in suggestive manners between the Korean group members certainly capture the viewer’s attention towards the bodies of these group members “in a manner akin to pornographic imagery, the haptic visuality of the torso and other exposed body parts elicit a desire to touch” (Epstein and Joo 2012:5). This desire is further supported with suggestive scenes such as a shirtless Zico being touched by two women and the female boxer sitting on top of U-Kwon as she fights him. By using such visuals, the group would be able to promote the male gaze that is often seen in other Kpop MVs. However, this MV also illustrates that aforementioned physical contact doesn’t have to be sexual nor suggestive and could be also be used to showcase the group’s fun dynamics as the video showcases a lot of scenes where the members jumping around together and hugging each other. The appearance of these scenes plays a critical role “in shaping consumer desires by foregrounding male sexuality.” (Epstein and Joo 2012:5)
Using the scene of U-Kwon being beaten up by a female boxer sitting on top of him as an example of sexualization again also addresses how masculinity is portrayed in the video. As this female character is introduced to the viewer, the camera zooms in on the women’s breasts and U-Kwon’s reacts in a very surprised manner. This kind of practice towards stereotypical sexualization of women “ in turn reinforce sexist attitudes against women as well as traditional gender roles.” (Lin and Rudolf 2017:28) Further demonstrating traditional gender role and Block B’s masculinity can lastly be seen in the overarching theme of the MV where their role as bank robbers allow them to show aggression and dominance to others such as the female bank tellers. The imagery of guns, explosive and suits further drive the point that Block B is to be viewed as men.
In conclusion, Block B’s Very Good MV use many visual and linguistical elements to address reoccurring themes such as masculinity, nationalism, and cosmopolitanism in a catchy manner. The elements evident in the video aren’t necessarily negative but aren’t out of the ordinary for products of the Kpop industry.
References:
Epstein, Stephen and Rachael M. Joo. “Multiple Exposures: Korean Bodies and the Transnational Imagination.” The Asia-Pacific Journal | Japan Focus 10, no. 1 (2012):1-24.
Lin, Xi, and Robert Rudolf. “Does K-pop Reinforce Gender Inequalities? Empirical Evidence from a New Data Set.” Asian Women33, no. 4 (2017): 27-54.
Jin, Dal-Yong, and Ryoo, Woongjae. “Critical Interpretation of Hybrid K-Pop: The GlobalLocal Paradigm of English Mixing in Lyrics.” Popular Music and Society 37, no 2. (2014): 113-131.
Saeji, Cedarbough T. “Juvenile Protection and Sexual Objectification: Analysis of the Performance Frame in Korean Music Television Broadcasts.” Acta Koreana16, no. 2 (2013): 329-65.
Block B 