#idol culture

[lilimpark]

pien chan.

[andy-wm]

Who is Jimin?

A visual analysis of Jimin's SERENADE Concept Photos for MUSE

Post 1 in a series of 4 posts

[I started writing this before the album was released, and it's turned into a behemoth with linked posts and annotated photographs and way too much information - I get overly invested and excited about this stuff. What staarted as a light overview is now a series of posts that might be of no interest to anyone but me. So if you get part way through and wonder what possessed me - totally understandable - I don't know either hahaha.]

Introduction - a look back.

Jimin's album MUSE followed on directly after FACE, an album that represented an intensely introspective period in his life.

In making FACE Jimin harnessed, dissected, and laid out experiences and emotions from the COVID era that represented a dark and depressing time for him. He had many difficult moments to confront. I believe the creation of FACE was an empowering experience for Jimin. He made peace with his pain and loss and - maybe for the first time - honestly and boldly spoke his mind. He didn't shy away from the uncomfortable or difficult conversations he needed to have, and he was stronger for that.

Moving on from FACE, I believe Jimin had a newfound determination and confidence about revealing his true feelings. He even felt compelled, perhaps, to continue speaking his truth. In this frame of mind, he brought us MUSE.

While there's a lot to say in the arguement for and against the autobiographical nature of MUSE, I'm not going into that here.

This post is specifically about the SERENADE concept photos that accompanied the album.

Portraits of Jimin

While there's no doubt we have seen many, many photos of all the members of BTS, there's a clear distinction between a candid photo of somebody, and a concept photo that represents themes or aesthetics of an album, and a portrait of an individual AS THEMSELF.

I believe strongly that these five images go beyond being concept photos for the album and are in fact portraits of Jimin as a person. One of the reasons I believe this, is that there's a darkness and cynicism in these images that isn't in MUSE. Another reason is that the narrative of these five images matches the transformation we have seen in Jimin recently more than it matches the narrative of the album.

To me they represent his journey, starting as an idol and moving through his experience creating FACE and then MUSE. In these portraits we see him throw off the limitations and pressures he had placed upon himself and returned to his fans and the stage determined to be true to himself.

The photos in sequence

I think we all tend to shuffle through concept photos and pick our favourites - the images that are most charming or those that speak to our aesthetic or understanding of the person are the ones we focus on, and we may not pay as much attention to the collection as a whole.

While these concept photos do work perfectly well individually, when viewed as a sequence they are profoundly more meaningful.

Moving through the photos and reading them as portaits of Jimin - as his character and self-image develop - they take us on a journey of our own.

They take us on a journey with Jimin as he tranforms from the idol to the artist.

Below is a brief summary of the images. A more detailed analysis of the elements of these five portraits can be found in this post .... because, yes I got completely carried away.

Image 1 - Jimin The Perfect Man (the Idol)

Jimin is shown as the perfect, flawless idol. Every aspect of him is honed to create the image of an ideal man. He's even on a pedistal.

But what he gains in beauty and refinement, he loses in personality. In this image he lacks any of the individual charms that tell us who he is as a person. Even the elements that are included to give us clues to his character - the guitar and the flowers - are reduced to decorative elements in a very static composition. He really is an anonymous construct, from his action-figure stance to his universally appealing masculine suit.

Another thing to note is that the whole compostion is reminiscent of a music box figurine.

This reinforces the 'perfect Jimin' as a character/figure that represents an 'ideal type' and performer rather than representing himself.

Image 2: Jimin The Prince

While this second portrait has a lot in common with the first image - being highly structured composition, very formal, generic staged environment - and it plays into the concept of 'an ideal' again, it is a completely different representation of Jimin.

The change of both outfit and pose show that he is becoming more than an anonymous, but beautiful, man in a suit. He moves on from representing an ideal everyman to appearing in the uniform of a performer.

This stunning uniform, with its sophisticated lines and jewel-like embellishments, does seem like an outfit he might have chosen personally. In this way the image reveals a little more about Jimin himself.

The regal uniform also reveals his status AND his intentions:

Based on the quality and style of this superior/oppulent uniform and those boots - he is not only looks high class (read:expensive), but he's showing all his charms and presnting himself perfectly. He is still aiming to please his audience.

Compositionally, the image is not as static as [image 1]. In this photo he looks like he is about to stand up and move out of the frame. The more dynamic pose makes him look more lively, and shows off his body and athleticism. Look at his elegant posture and his long legs!

The flowers are very important here - they are the central element of the image, and the way he cradles them in his lap indicates they have meaning unlike in the first image where they were purely decorative.

In both these portraits, Jimin is looking past the camaera. [Image 1] shows him staring blankly into space, but in [image 2] he is clearly looking at/for something (or someone...note the flowers)

I believe that this image of Jimin shows us an idealised man and a consumate performer, biut the flowers are a heavy hint that he has his own driving needs. And one of those needs is LOVE.

Image 3: Jimin The Musician

Here we see Jimin engaged with his passion - making music. While he's aware of us watching him, he is paying no attention to the camera. He merely allows us to observe him.

The styling of this portrait is styling is much more true to life -it's a candid shot - and shows him as an individual doing what he loves.

The circular stage and drapery are an exact mirror of the little stage he was elevated on in [image 1]. You can see that he has moved from being a figure atop the music box, to being the musician inside the music box.

His outfit also changes from a dress unform to a working uniform (still a uniform, telling us this is what he does for a job) and the fact that his jacket is undone tells us this space is not intended for an audience - accordingly, he is not trying to look perfect.

Importantly, the open jacket reveals something more personal too - Jimin's undershirt.

This is a feminine style garment. The scoop neck and decorative buttons are not typical for a man's undershirt. In this portrait he begins to show us elements of himself that are deeply personal.

Besides the need for love, he also needs to be himself - and be free to express who he is. And he needs to make music. He has departed from the image of the 'perfect idol', but music is still a defining feature.

Image 4: Jimin The Thinker

In every other portrait, Jimin's face is visible to the viewer. We can observe his expression and connect with him.

Even in [image 3] where he looks down at the guitar, we can still catch a glimpse of his features.

Here Jimin has withdrawn from the viewer. We cannot see his features and it's impossible to read his expression.

For the first time he denies us ccess to the connection we presume to have.

With his hands behind his back and his face turned away, he is physically vulnerable. This is a deeply personal and introspective portrait.

It's important to note that in portraiture the subject is assumed to be aware of the artitst/photographer. The portrait is a collaboration between the person who allows the portrait to be made and the person who makes the portrait. In this case, that is not clearly the situation.

In an image like this, we can't even be sure he is aware of the camera, let alone the moment when his portrait is captured. Are we invading his personal space? Are we encroaching on a private moment? It's hard to know. My own reaction to ths image is discomfort, I sense that we have overstepped.

Image 5: Jimin The (Hu)man

This last portrait bears a visual resemblance to the first one, and that's no accident. The intention is to encourage the viewer too compare the two images.

In [image 5] Jimin is once again placed centrally in a structured scene, posed amongst objects that are placed for effect rather than meaning.

However, when you look closely the similarity goes no deeper.

Here for the first time, Jimin is looking directly into the camera.

When the subect gazes into the camera, it's an invitation to engage. Sometimes that invitation implies initmacy or confidance.

But Jimin isn't inviting you to a tête-à-tête here, he's staring back at the camera with an attitude of defiance. Instead of engaging with the viewer, Jimin is confronting the viewer. Yes, he's inviting you to a conversation, but it's going to be a difficult conversation.

His chin raised and his head cocked, and his expression is anything but demure. His clothing in dissaray and his hair mussed, and that's just how it is. There's no attempt to charm the viewer here, we are faced with a choice: take it or leave it.

It has to be noted that we have seen Jimin staring into the camera before. However those shots have usually been arranged to look appealing. His gaze there is intended to be alluring. That is not the case here.

The power of The Gaze is clear here. The balance power between the viewer and the subject tipped in our favour up t this point, but now it's debatable who is in control of this interaction.

Is he the subject of your gaze, or are you are the subect of his gaze.

Having his hands in pockets feels nonchalant. He's unconcerned and quite relaxed about his image and what we may think of him.

To me this portrait is a quiet revelation of a new version of Jimin. He no longer aspires to recieve our approval. Rather, I think, it's us who must meet his high standard.

This Jimin has reflected on his his experiences and come out confident in his authentic self.

He knows his worth.

The before and after...

I have really enjoyed exploring these portraits. They give me insight into the way Jimin views himself, and shows how he wants to be percieved. The narrative presented by the images is familiar to me, but at hte same time I'm confronted by his self awareness and I admire it enormously. I'm also given the opportunity to reflect on my own part in his journey. I have see and admired Jimin the Perfect Man. I have watched him fall in love. I have heard his musicality develop.

Looking at these portraits, I feel a sense of pride mixed with trepidation and a touch of melancholy.

I realise that he chooses us, and that he wants to stay, but that will depend on how WE respond. He loves us but he doesn't need us, and I love that for him.

He's beautifully brave. And he's fiercely determined.

I hope we, as a fandom, don't dissapoint him.

Links:

Portraiture Explained

The Gaze Explained

Annotated Concept Photos- the portraits with explanatory notes

[tokyo-fashion]

KILLREMOTE Fashion Show in Harajuku

Photos from Japanese underground fashion brand KILLREMOTE's fashion show in Harajuku. The brand - known for their work in underground idol culture, often creating costumes for idol live shows - has a popup shop at Laforet Harajuku until June 26, 2023.

[usakofashion]

Sailor Moon Episode 154 - Confrontation in Dreams! Minako and Makoto's Broken Friendship

[kdramachingoo]

His visuals and their chemistry 🎇🎇🌸🌸

[annoying--moth]

Do you think idols in the aoas universe have to keep resetting their age so that they look young as long as their popular

[aliendeity]

i take immense pride in being able to break away from the zeitgeist of celebrity worship culture. i do not give a shit about their personal lives, i don’t care who they are dating or what they’re wearing, i don’t want to meet any of them. i love how they don’t know who i am, just like i don’t know who they really are. celebrities don’t care about me and i don’t care about them, i only care about their work. and that’s a very healthy mindset to have.

[koistocrat]

I- ???

What the fuck is happening to morbid hololive "fans" rn 😶

[soloragoldsun]

Another thing I'm changing in my fics is that Rise does NOT go back to being an idol. Fuck that shit. Idol culture is incredibly toxic, and the game freaking SHOWS that, but because she gets guilt tripped by her manager bringing a letter from a little girl fan and telling her about all her potential, she goes back?!?!

Like, we see her getting objectified by people throughout the game! She quit being an idol and came to Inaba so that she could figure out what being a person was like outside of the Risette personality that was MADE for her by the agency! Hell, she didn't even want to become an idol! A family member sent her info to the agency for an audition without her consent! We learn about how her free time was not really hers for years. She doesn't have any memories of spending Christmas and other holidays with friends, for crying out loud! And her character arc ends with her going BACK to that life?!

The stuff that idols go through would fuck up any adult, and Rise is a freaking CHILD! She can inspire people and sing and act and do whatever the hell she wants WITHOUT belonging to an agency that would sexualize her and police her every move!!!!

[solrin]

hate that idol culture is so immersed in purity culture that things like this happen. god damn let your favorite have a life. go outside, touch grass, lick some salt, stop being like this. forever.

Also, she was talking about

[greyestflower]

Oshi No Ko and Perfect Blue

Oshi No Ko (2023) and Perfect Blue (1998) are two Japanese anime that critiques and exposes the dirty business of the entertainment industry, especially idol culture. Although Oshi No Ko takes on a supernatural element to it and Perfect Blue is a horrifying psychological thriller, both anime have captured the depravity of the crooked and shameless minds involved in the industry.

MILD SPOILERS AHEAD (Oshi No Ko anime series and Perfect Blue anime film)

Oshi No Ko is a (somewhat) recent anime series starring Japanese idol, Ai Hoshino who was killed in the very first episode. She was murdered by her fan as she gave birth to a child despite promising her audience that she loves them in her songs. This disturbing incident is unfortunately based on true events in the Japanese entertainment industry. Many idols are treated wrongly, which is often covered up by their agencies or the media to have a clean outside.

Japanese idols (or アイドル, pronounced aidoru) are young entertainers of Japanese pop culture, both male and female, who, as a group perform on-stage. Their entertainment mainly composes of producing their own music and singing and dancing to it. They are adored by their fans and very often, despite their young age, sexualized.

This is sometimes considered normal and the adults of this mindset of adoring and sexualizing young female idols are called lolicons (lolita+complex). Anime itself sexualises underage characters and dehumanises them by saying "it's just animation" (but we'll save this conversation for later). This complex is still prevalent in the idol industry. The extremity of the audience's lolicon mindset is visible in both Oshi No Ko and Perfect Blue (Perfect Blue more than Oshi No Ko). In Oshi No Ko, Ai Hoshino is stalked and murdered by her fan for giving birth to children despite promising her audience that she loves them in her songs.

Idols work under a contract for an agency. This agency is in charge of the idol group and could also be in charge of other entertainers. The more underground agencies scout for idols in the street by approaching every conventionally beautiful girl they encounter. This tactic is practiced in Japan till date. This was seen in Oshi no Ko when Ai Hoshino was approached by Ichigo Saitou from Ichigo Productions. And during the conversation between Ai and Ichigo, we get to know how the entertainment industry is made out of lies and that it is normalised.

These anime bring forth the many realities of the entertainment industry, not only idol culture. There are so many social issues that one can find in both Oshi no Ko and Perfect Blue. For example in Oshi No Ko, Kana Arima, the prodigious child actor, grows up to be forgotten by the public. She tries different jobs in the entertainment industry but nothing works well. She becomes desperate for acting gigs and other jobs that will get her the recognition she seeks. Mem-Cho (stage name) is a 27 year old YouTuber who hides her age so she'll still be accepted in the entertainment industry. Idol agencies usually do not hire girls above 20 (they like them young… a disgusting mindset, really), therefore many 20+ year old idols quit that field and move to a different entertainment field, usually acting, like seen in Perfect Blue with Mima, the protagonist. So, 27 year old Mem-Cho finds it difficult to pursue the dream of becoming an idol. In fact, it is difficult to be a 27 year old YouTuber (like I said, they like them young).

Perfect Blue is the right film to watch if one wants to experience the mental torment that any person used by the entertainment industry as an object to showcase. Mima, a former idol who gets into acting, receives threatening messages, letters from her stalkers and her fans who are obsessed with the idol ideal. She endures a feeling of dissociation as her reality warps and her memory crumbles. The director, Satoshi Kon, gives the viewer the same dystopian feeling that Mima goes through. My words will not do justice to the film. If you are fine with having an existential crisis as though you are in Mima's place throughout the duration of the film, do watch the film. I highly recommend it!

Both anime have a lot in common except Oshi No Ko leans more towards fantasy and Perfect Blue towards dystopia. None the less, both anime portray the Japanese entertainment industry accurately. I recommend both anime (not that I am some sort of expert). Thank you for reading!

[latentspaceofficial]

i think, therefore they die

i've started to find it bitter sweet when i find a new person who's work i really enjoy. and i don't mean like "they make cool stuff". i mean on a level of they feel so gifted in art or music or other creativity that they just feel like a gem that was cast at this dying rock. it's the stuff of idolization. their creativity is second nature to them and everyone realized this. it leaves me with a weird sense of responsibility and conflict. their following will grow and they will be beloved. yet, i have seen so many talented people have their mental health shredded or their lives lost because they burned so brightly and crumbled from it. i enjoy that they enjoy what they do and that they felt confident enough to share it with the rest of us. i just never want them to feel like they have a crushing weight on them to perform and to keep sharing things with us. but i feel culpable in this burnout if i tell others of this person or let myself ravenously consume their work, because "it's great" or "it's brilliant". i hyperfixate on shit. in recent years i've tried to throttle back and be more of a casual fan of creators, but i find it hard still. it's caused insane fomo when it's casual and when i know them too well i end up "meeting my idols" and usually learning something that makes me feel uncomfortable or hate them. but it's ultimately me, who is part of the problem.

[mythos05reviews]

The Hitman's Fave vol 1 and 2

5/5 stars

I'm 100% being biased here. This manga is about a hitman retiring in order to filly support their favorite idol. We see the MC navigate being new to idol culture while dealing with the effects of leaving the mafia. Its fun to see how such an intense character deals with learning idol fan culture. This first volume focusing more on establishing the character while giving is hi.ts of what future conflicts may arise due to the MCs past. Even though the tone is generally cheerful it makes for the violence potrayed to be even mire imopactful. I hope that future volumes dont forget the wholesomeness/lightheartedness while delving in darker aspects of the MCs life. So far, its been doing a good job of that.

[oshiicelife]

Ice is the cutest and the coolest!!!! She's so awesome in this outfit ;w;

[rumbleonthemill]

here is a thing about idols and idol culture. by that, I mean people you look up to.

they are people. humans.

they have fucking flaws, and their life is sometimes fucked up. sometimes they are blind as shit, and immature. sometimes YOU, who's reading this, see things more clearly than they, as elder people do.

just because a youtuber you follow has 47238598235 fans with 5M views on the videos, it doesn't mean they are wise and mature. or that they are free from sins.

same goes to anyone. literally anyone.

this comes from someone, who once had a ton of idols. I looked up to people. I was inspired by people. I used to agree with them wholeheartedly, trying to calibrate my mindset to be similar to theirs. I was their FAN and someone who respected them to death, tried to support them etc.

but as time passed, and maybe I got to know a few of them because we talked, I slowly began to see the truth. "never meet your heroes". I became disappointed. I became sad, because what you build up about an idol, is just good things, no flaws. it is a fake image.

I could go on all day, but I think you see the main message of the post.

you can agree with people, but never fucking ever blindly follow, or admire anyone. they will only hurt you, willingly or unwillingly. dead or alive, doesn't matter.

[crybabyzine-subtext]

PROTECT ME FROM HEAVY SOCIAL MEDIA USE