Media Gender Bias Analysis
The broadcasting industry is bustling with’the heyday of female entertainers’
Performer’s gender ratio, patriarchal gender role, and appearance evaluation
When I applied three standards of entertainment’gender sensitivity’
There’s only one out of 12 entertainments that cross the threshold
“Major production crew and performers’male bias’ still announced”
(Olive) Jang Do-yeon (from left), Park Na-rae, Kim Sook, and Song Eun-i. Program website capture” alt=”The performers of <밥블레스유2>Performers of (Olive) Doyeon Jang (from left), Narae Park, Sook Kim, and Eunyi Song. Program website capture
“The heyday of female entertainers has arrived.” This is an evaluation that comes from both inside and outside the broadcasting industry for celebrities who have performed remarkable activities for the past several years. In 2018, comedian Lee Young-ja won two awards at the same time. In 2019, Park Na-rae won the entertainment awards at the cultural broadcaster, and last year, Kim Sook received the entertainment awards at the Korean broadcaster. Song Eun-i, who expanded her field of activity as a’planner’ with the podcast as an opportunity, stood at the center of the heyday of female entertainment. ‘The leap of female entertainers’ is a key keyword that reads the trend of the entertainment industry over the past five years. However, does the Korean entertainment industry really have a gender sensibility suitable for this kind of activity? Still, the mainstream in the Korean entertainment industry is the ’70s-born male host. In the’family observation type entertainment’, which has become a trend in the entertainment industry, patriarchal situational plays such as marital quarrels and high-wives conflict are repeated. Appearance evaluations or requests for aegyo for female performers become rumored when they are forgotten.
‘Beckdel Test’ testing the movie’Gender Concept’… I did it in entertainment
American female cartoonist Ellison Bechdel devised three simple criteria to ensure that a film in 1985 had a minimal concept of gender. First, there should be more than one woman with a name in the movie. Second, they should talk to each other at least once. Third, the content of the conversation should not be related to men. It’s a standard set with the minimum in mind, but most movies don’t go beyond these low hurdles. According to the ‘2018 Korean Film Industry Settlement’ published by the Korea Film Promotion Commission, only 10 (25.6%) of the 39 live-action Korean films with a net production cost of more than 3 billion won in 2017 that passed the Bechdel Test were only 10. If so, how about applying the’Bekdel Test’ to entertainment? The hurdles designed for movies cannot be applied to entertainment as they are, so the gender team changed the standards to suit the entertainment.
First, the gender ratio of women among the major performers should be 30% or more. Second, do not give female performers a patriarchal gender role, such as wife, daughter-in-law, and daughter. Third, do not evaluate the appearance of female performers.
Cast members composed only of men, patriarchal gender roles assigned to female cast members, and appearance evaluation of female cast members are chronic diseases of Korean entertainment. How many entertainment would be without these three? Of course, these standards are very low hurdles created to confirm the minimum gender sensitivity. The entertainment program to be tested is a viewer buzz (video inquiry) in the Internet reaction DB in the Broadcasting Contents Value Information Analysis System (www.racoi.or.kr) of the Korea Communications Commission. Criteria) selected from the ranking. The top 12 programs aired in the third week of January (January 18-24) were analyzed. However, contest programs that are at the boundary between entertainment and music programs were excluded.
. Save the program” alt=”Yu Catnip and Choi Choi Ki, who appeared in <우리 이혼했어요>Yoo Catnip and Choi Choi Gi. Save the program
Five drops from the threshold of’sex ratio’… Half of the entertainment shows female performers as’daughter-in-law, wife, mother’
The first criterion, the performer’s’sex ratio’, was a challenge. Only 7 out of 12 programs crossed the low threshold of ‘30% women’. Among the programs that did not cross the threshold, there were four entertainment shows that had no women among the major performers or host. Most of the entertainments where the sex ratio of the performers exceeded 30% were mostly observational entertainments featuring family members such as’I can’t be number 1’and’The taste of my wife’. When the couple appeared, the sex ratio had to be balanced to some extent. However, these family observing arts usually did not cross the second threshold. Only 6 out of 12 programs did not give female performers a patriarchal gender role. In the other half of the entertainment, female performers appeared as someone’s wife, mother, and daughter-in-law. In particular, there were many scenes that revealed an obsession with the so-called’normal family’ in such’family observation entertainment’. In’We Got Divorced’ in’We Got Divorced’, the host repeatedly showed that the divorced female performer (Yoo Catnip) expressed regret not to choose reunion unlike the wish of her ex-husband (Choi Choi).
Shin Dong-yeop: As Saerom said, sesame leaves were the largest mountain. Kim Won-hee: We look at the screen and believe that (the change of the father-in-law), but since Sesame is a person, I think there is a great concern about whether the statement is temporary or will it really be. Shin Dong-yeop: (Choi Choi) I couldn’t properly convey what I said with my father. Kim Won-hee: If my father is happy with you, I will fall. I won’t show up. I thought this was the most powerful way to relax, but I didn’t think I could convey my sincerity. (Subtitle: “The key to reunion, I won’t appear in front of you”)
Shin Dong-yeop: When the two of us had that conversation, we wouldn’t have seen the broadcast of’We Got Divorced’, so maybe you can feel your father’s heart and sincerity when you look at the screen.
Popular culture critic Chung Deok-hyun said, “In the recent entertainment trend, observational entertainment, even if the gender ratios of men and women appear equally, the gaze drawn to the performers is often very conservative or patriarchal. In particular, discriminatory comments arising from the patriarchal perspective are added in the process of the studio host evaluating the behavior of the performers in the observation camera.” Even in entertainment programs where the sex ratio of the cast members is similar between men and women, women appeared as members of the’normal family ideology’ composed of husband, child, and mother-in-law rather than independent subjects. Hosts observing this in the studio played a role in reproducing stereotypes about gender roles by assessing whether they are acting as members of the’normal family’.
Radio Star 704 is being aired. Save the program.
Korean entertainment disease’appearance evaluation’… “I think I headed a thousand times with my forehead” “I gained weight”
There were very few entertainment shows that did not appear to evaluate the appearance of women, who could be called chronic diseases of Korean entertainment. In 9 of the 12 entertainment shows, the host evaluated the appearance of the female cast, or the appearance was used as a joke material. In particular, in’The Taste of Wife’, the appearance evaluation of the performer appeared from time to time. One female performer heard words from another male performer, such as, “I think I headed a thousand times with my forehead” and “You put something in it”. One male performer replied to the female performer’s statement, “Beauties are good at eating seasonal food,” he said, “Have you not been able to eat seasonal food?” ‘S radio star (704 episodes) also suddenly appeared in appearance evaluation. This is the episode in which famous YouTuber’Ziyang’ appeared as a guest.
Ziyang: “I am active as a food producer on YouTube, and I shoot 1 million for 6 months, and I currently have 3 million subscribers. Gura Kim: “I saw the job of God, where I worked and earned money while eating…” Kim Gura: “I saw it at Maritel, where I worked with Ziyang, and saw it in a year. (Subtitle: “You seem to be slightly plump?”)
Ziyang: “The chin keeps sticking a little here.” Gura Kim: “I feel a little bit like Mr. Roh Sa-yeon when I was a little younger…” “Oh there, there is.” (Ji Sang-yeol) (Subtitle: “I feel like I was young when I was young”)
Ahn Young-mi: “You can see Mr. No Sa-yeon?” Esther: “Youngmi, what should I do with these guys? Mr. Ziyang is still trembling and it’s difficult because it’s the first broadcast, but what’s wrong with Mr. No Sa-yeon.” (Subtitle: “Sudden atmosphere 2:1 couple fight”)
Ahn Young-mi: “It’s upset, it’s upset. Where would anyone not know Roh Sa-yeon live?”
In this episode, the appearance evaluation of the performer Ziyang and the singer Noh Sa-yeon, who has not even appeared, is simultaneously held. The female performer is uncomfortable with the male presenter’s appearance evaluation, but the male presenter and performer say, “It’s nice, but why is that” and rather blame the female actor. As Ziyang laughed, saying, “I often listen to No Sa-yeon’s songs,” the unexpected appearance evaluation ends awkwardly.
Only 1 out of 12 entertainment Bechdel tests passed… Only 30% of the major production staff are women
As a result, only one of the 12 programs that passed the’entertainment type Bechdel Test’ was’Yoon Stay’. Popular culture critics point to two major reasons why entertainment programs cannot escape the existing male-centered inertia, despite the impressive performance of talented female entertainers. The program’s decision makers are still filled with men, and the program’s main host (MC) is stagnant as a ’70s-born male’. In fact, when looking at the sex ratio of the major production staff (planning, CP, main PD) of the 12 programs listed in the Bechdel Test, only 6 (30%) were female out of a total of 20. According to the ‘2020 Mass Media Gender Equality Monitoring Report’ of the Korea Institute for Gender Equality Education and Seoul YWCA, out of the 12 programs targeted for analysis in the report, 7 out of 8 main hosts (87.5%) were men in their 30s and 50s. Of the 119 fixed performers, 40 (33.6%) were’males in their 30s to 50s’, while only 14 (11.8%) were women in their 30s to 50s. Popular culture critic Hwang Jin-mi said, “Among the writers and guest performers, there are many women, but most of the major production crews and hosts such as CP who can influence the production site are still male. He pointed out that the positions of male MCs who treat female performers with inertia with the production crew who are blunt to the viewers’ demand for female entertainers have been solidified for too long.”
, featuring female sports stars such as fencing, figure skating, swimming, and volleyball, centering on Se-ri Park (golf, fourth left). An entertainment featuring female sports stars such as fencing, figure skating, swimming, and volleyball, centering on Se-ri Park (golf, fourth left) <노는 언니>.
‘Playing Sister’ and’Civilization Express’ crack in male entertainment… “Change begins now”
As the results of the Bechdel Test show,’the era of female entertainment is a long way to go’, but the world of Korean entertainment, which has been male-centered, has recently cracked. ‘Playing Sister’, which filled the main cast with female sports stars, started airing in August of last year, and has been receiving considerable repercussions. ‘Civilization Limited’, the YouTube entertainment show of’Civilization’, has more than 1 million subscribers thanks to the performance of Jaejae, a PD and host. According to the rules of the interview he established in a broadcast program, Jaejae said, “The first is not to ask about dating, marriage, or love. Second, don’t force things you don’t like. Third, it does not make aegyo.” Commentator Hwang said, “10 years ago, the main MC was a male, and it was natural that the man evaluated the appearance of a female performer and ordered aegyo from the performer. However, in the past 5 years, the entertainment industry has also had an’earthquake of awareness’, and viewers no longer laugh at that behavior. Viewers had doubts about the entertainment that men appeared in’Block’, and when female entertainers gave them a seat that fits their abilities, they learned how funny and fun it was.” As women’s entertainment has become an irreversible trend, the test results may change within a few years. By Lim Jae-woo and Kim Hye-in, education trainee [email protected]