FANTASTIC BABY: K-Pop Music Videos & Discussion Panel (w/ Transcription)

REDEFINE magazine and Holocene host FANTASTIC BABY: The Opulent Kingdom of Contemporary K-Pop, a K-Pop music videos gallery and discussion panel on the following topics:
– Repeated motifs and common techniques in filming contemporary K-pop videos: a technical analysis
– The rise of colossally sized K-pop idol groups with 10+ members
– Eroding social conservatism and subverting gender norms in Korean culture through pop music and imagery.

Holocene and Redefine Magazine present….Fantastic Baby
A selection of music videos and discussion panel, as part of the ongoing SOUND & VISION series at Hollywood Theatre.Topics of discussion:
* Repeated motifs and common techniques in filming contemporary K-pop videos: a technical analysis
* Strength In Numbers: the rise of colossally sized K-pop idol groups with 10+ members
* Eroding social conservatism and subverting gender norms in Korean culture through pop music and imageryMonday June 3rd, 2013 @ 7:30pmRSVP ON FACEBOOK

Allen Huang (JK POP! – Seattle / SSG Music)
Ingmar Carlson (Shy Girls)
Reese Umbaugh (JK POP! – Seattle)
Jordan Becke (JK POP! – Seattle)
Gina Altamura (Holocene)
Vivian Hua (REDEFINE magazine)
+ DJ Initial P

In conjunction with JK POP! — a monthly Korean and Japanese pop dance night in Seattle, every first Thursday at Barboza!

Transcription of Fantastic Baby Discussion Panel: Intro & Technical Components

Gina Altamura: I’m Gina Altamura, and I’m the talent buyer at Holocene. I also sometimes throw a [K-Pop] dance party over there called Happy Life Solution, and I’ve been extremely interested in this current wave of K-Pop music videos for a while now; their sort of insane visual splendor, just total decadence, I think far surpasses what’s happening in a lot of American pop music in the States. And we put together this panel to kind of dive a little further into this splendid artform. Especially with the sort of burgeoning global phenomenon that K-Pop is becoming. We’ve seen the obviously insane YouTube mash of “GangNam Style” — but we don’t have to talk about that; we’ve seen Diplo producing tracks with K-Pop idols G-Dragon and TOP; we’ve seen Girls Generation on Letterman… so I think that K-Pop’s steady march to world domination is an interesting thing to watch right about now.

Vivian Hua: Hi, I’m Vivian Hua; I run a magazine called REDEFINE magazine. It’s dedicated to kind of exploring the social implications of art and music. I was really obsessed with K-Pop as a teenager growing up, and with the recent kind of global interest in it, it’s kind of spurred my re-interest in it. Tonight, we’re just going to kind of talk about the social implications of K-Pop across the world. We have the session broken down into three segments: first, we’re going to talk about the technical details of filming it and aesthetics; then we’re going to talk about just gigantic boy and girl bands; and lastly, kind of the gender and social roles of what it means for South Korean society. Now, we’re going to open it up to our panelists to introduce themselves.

Ingmar Carlson: My name’s Ingmar Carlson; I’m in a local band called Shy Girls; we’re kind of an R&B sort of experience, but we’re definitely very influenced by K-Pop… I’d say I’m kind of a K-Pop fanatic. You’ll see on our website, which is really a Tumblr, we’re constantly putting up all sorts of imagery, stills, shots from K-Pop, all this sort of thing. Um, yeah. I DJ some K-Pop every now and then, when I can, in town as well, so look out for the moniker DJ Shinhwa.

Allen Huang: My name’s Allen Huang. I help DJ the JK Pop Night in Seattle; we play Japanese and Korean pop music — the poppier stuff, have people dance, have a good time. On the side, I am an album review editor at SSG Music, and I have a column there where I talk about pop culture. If you’re talking about pop culture in the 2010’s, you’re probably going to talk about K-Pop, so I do that a lot.

Reese Umbaugh: My name’s Reese Umbaugh. I coordinate JK Pop in Seattle along with Allen and Jordan, and I also work at KEXP in Seattle, and I review J-Pop and K-Pop for our World Music show.

Jordan Becke: I’m Jordan. I don’t actually DJ music; I run all of the videos at JK Pop. My segment goes first, so I’ll briefly run through that. Because I’m an editor, my interest comes down to how the videos are made, so I decided to focus on two aspects of K-Pop videos. One thing I noticed when watching a lot of videos is that there’s a lot of focus on in-camera effects instead of post-production, so they’ll do the lighting and the things in the scene, as opposed to taking it into an editor and doing things that way. And some of that is a product of sort of industrialization and studio systems that they have for the videos in Korea, so they’ll re-use the same sets… it also forces a lot of creativity in trying to maximize the video while minimizing the cost. My video is going to have two segments; the first segment will be focused on the use of lighting, which is really interesting in K-Pop videos, and the second will be about the way that titles are used — the way that the artist name and the song is integrated into the video itself, as opposed to being something that’s on top of the video that you view afterwards. So the first segment will be a lighting segment; the second section I’ve added my own title information so that you then can know what to look for in the scene.

Jordan Becke: There’s one thing I forgot to mention. At the beginning of the first segment, there’s an obviously live segment with G-Dragon; that was sort of the studio approach to some of the live shows they have. And again, the crazy digital approach is all on set; they weren’t doing anything post-production. So yeah, that was my segment; Reese is next.

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Written by
Vee Hua 華婷婷

Vee Hua 華婷婷 (they/them) is a writer, filmmaker, and organizer with semi-nomadic tendencies. Much of their work unifies their metaphysical interests with their belief that art can positively transform the self and society. They are the Editor-in-Chief of REDEFINE, Interim Managing Editor of South Seattle Emerald, and Co-Chair of the Seattle Arts Commission. They also previously served as the Executive Director of the interdisciplinary community hub, Northwest Film Forum, where they played a key role in making the space more welcoming and accessible for diverse audiences.

Vee has two narrative short films. Searching Skies (2017) touches on Syrian refugee resettlement in the United States; with it, they helped co-organize The Seventh Art Stand, a national film and civil rights discussion series against Islamophobia. Reckless Spirits (2022) is a metaphysical, multi-lingual POC buddy comedy for a bleak new era, in anticipation of a feature-length project.

Vee is passionate about cultural space, the environment, and finding ways to covertly and overtly disrupt oppressive structures. They also regularly share observational human stories through their storytelling newsletter, RAMBLIN’ WITH VEE!, and are pursuing a Master’s in Tribal Resource and Environmental Stewardship under the Native American Studies Department at the University of Minnesota.

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Error validating access token: Session has expired on Friday, 04-Aug-23 12:19:20 PDT. The current time is Wednesday, 27-Sep-23 18:59:43 PDT.
Written by Vee Hua 華婷婷
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