Stars Surrounded by Darkness - Gender Display and Objectification in K-pop Female Idols Over Time

Aug 27, 2026

K-pop’s rapid global rise has been driven by entertainment-industry globalization strategies and the development of a star system. Within this system, female idols are often theorized as sexualized, ornamental figures whose bodies are managed through beauty-centered production. This study examines how female idol presentation changes across generations by applying gender display and objectification frameworks and using content analysis of K-pop music videos. Findings show persistent inequality alongside feminist themes that can both empower and constrain idols.

LanguageEnglish

CategoryResearch & Report

FormatPDF

Pages20

Reading Time50 min

AccessFree to download

Introduction

K-pop’s global success and the visibility of idols

Research aim and theoretical framing

The Idol Industry

Training systems and recruitment

Beauty standards and labor on the body

Group image, roles, and market expectations

Contract control and labor ethics

Analysis Framework and Findings

Stars Surrounded by Darkness Qingyun Wu, Tufts University ’23 Abstract: K-pop has experienced a surge in global popularity, largely attributed to the globalization strategies implemented by the entertainment industry, including the establishment of a star system. Within this system, female idols have been theorized as sexualized pretty dolls by their companies. The aim of this study is to examine how the presentation of female idols has altered over time. Through the lenses of gender display and objectification frameworks, and employing content analysis as the research method, the study analyzes music videos from different generations in K-pop. From the coding results, the study concludes with the inherent inequality faced by female idols within the industry and explores the complexities of popular feminist themes in the current generation, which can simultaneously empower and constrain them. Introduction K-pop has demonstrated continuous success in the global music industry, with the soaring popularity of groups such as BTS and Blackpink. While K-pop girl idols are celebrated for their remarkable music and dance abilities, their appearance is equally significant. Typically conforming to Korean beauty standards that emphasize youthful and feminine looks, girl idols are often associated with reinforcing female stereotypes by performing their gender through their music videos and other products. This study aims to investigate whether the presentation ofKpop female idols has changed over time. This study opens with a literature review of the K-pop star system and entertainment companies’goal of globalization. According to Kim (2013, p. 8), K-pop is a “deliberately planned industry” that embodies capitalist marketing and neoliberal governmentality, where idols’bodies are regulated in a market-oriented way. The entertainment agencies have created a systematic way of production, particularly in the case of female idols, who not only undergo extensive training, but also must comply with the beauty standards set by the industry. I conceptualize the idol industry in relation to aesthetic labor, drawing on Goffman’s framework of gender display and Mulvey’s concept of gazes. I then elaborate on my operationalization, which involves analyzing the music videos of mainstream female idol groups across generations, to conclude that female idols are constructed as ideal girls based on observed nonverbal behaviors. I also argue that although some female idols resist traditional gender roles in their music videos, aligning with postfeminist sentiments and the commercialization of popular feminism, these idols still fail to escape the capitalist manipulation by their labels. Looking ahead to the future of gender in K-pop, I argue that while the genre may not be a driving force behind feminist movements, it is an avenue for its audience to explore and navigate their own gender and sexual identities. The Idol Industry What makes K-pop attractive to a wide range of audiences is its unique star-making process that highlights physique and voice-choreography (Oh, 2013) . Entertainment companies—notably SM Entertainment, YG Entertainment, and JYP Entertainment (or the “Big Three”entertainment houses)—adopt an in-house idol training system, or “academy system,” that incorporates “production” and “management”(Shin, 2009; Shin & Kim, 2013) . Entertainment agencies recruit their trainees through auditions, street castings, and TV programs. Global auditions are also held for candidates abroad (Lee, 2013) . Consider the example of the 2022 SM Kwangya Global. While there were no requirements for nationality, applicants must have been born between 2003 and 2011 (Cha, 2022). Those who passed the auditions then entered an apprenticeship which usually lasted two or more years (Lee, 2013) . Training programs included singing, rapping, dancing, acting, composition, foreign language skills, manners, and more. (Ahn, 2011; Lee, 2013; Shin & Kim, 2013) .

FAQs

What is the main research goal of the study?

To examine how the presentation of K-pop female idols has changed over time, focusing on industry-driven patterns in gender representation.

Which theoretical lenses does the study use?

It applies gender display and objectification frameworks to interpret how idols are constructed and viewed in K-pop.

How does the study analyze the K-pop idol presentation?

It uses content analysis of music videos from mainstream female idol groups across different generations.

What overall conclusion does the study reach about female idols?

Female idols face inherent inequality within the industry, and contemporary feminist themes may simultaneously empower and restrict them.

Aug 27, 2026

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