Written By Carly Kronish

Edited By Haley Clarke-Cousineau

LE SSERAFIM, a recently debuted K-pop girl group, has been praised for bringing a refreshing new sound to the current K-pop landscape, and one of the many things that resonates with specifically female fans is their confident, empowering message. The girls frequently sing about loving yourself despite what others think, and their music videos depict them as powerful figures; high-fashion models in one case and survivors of a meteor in another. The group’s marketing strategy consistently aims to reinforce their concept of defying societal norms and expectations by promoting messages of self-love, confidence, and resilience. At first glance, LE SSERAFIM’s “FEARLESS” and “ANTIFRAGILE” appear to promote female empowerment in both their lyrics and music videos. However, through an analysis of camera angles, shot types, and framing in both music videos, I argue that they are objectified by the camera, which reduces them to sexual objects rather than individuals with agency and personality. This is in stark contrast to the group’s song lyrics and image, which promote self-confidence and independence, creating dissonance between the message conveyed and the way in which the performers are depicted visually. As it has become increasingly popular for girl groups in the K-pop industry to take on this type of radical self-love concept, a consideration of how women are framed in K-pop’s cinematic language can highlight how these girl groups are unable to convincingly deliver a message of female empowerment in a visual medium.

There are several types of shots in LE SSERAFIM’s music videos that undermine the group’s core concepts and objectify the members. In the videos for both “FEARLESS” and “ANTIFRAGILE,” instead of making the subject of certain shots feel powerful to reflect their lyrics, the camera often pans down and uses a high angle shot, a technique that makes the subject appear more vulnerable and powerless (See Figures 1 and 2). As well, in the “FEARLESS” video, there is a shot where the girls are partially obstructed by the blinds of a window while dancing (Figure 3). This shot makes the audience feel like a voyeur, as if the viewer is peeking into the girls’ practice room. This framing choice objectifies the members by positioning them as objects of the audience’s gaze, rather than as autonomous subjects with agency. An additional layer of obstruction can be observed in that same shot, as former member Garam is hidden from the viewer’s direct gaze and can only be seen through her reflection in the mirror. This creates a power dynamic where the person in the reflection is both marginalized and further objectified; she is not given the same level of visibility as the others while performing and is only given proper screentime for static shots displaying her beauty, further emphasizing her sexuality over her skills or personality. These choices in cinematography and framing undermine the empowering messages of the group’s music by presenting the members not as fully autonomous subjects, but rather objects of the audience’s gaze.

The use of specific camera movements in both videos not only sexualizes the members but also creates a dissonance between the intended message and the way they are framed by the camera. In both videos, member Sakura is shown driving a motorcycle and a racing car. On the surface, having a woman driving stereotypically masculine vehicles could have been an opportunity to subvert expectations; however, in both scenes, the camera movement frames her in a sexual way. In the motorcycle scene, the camera moves behind her, creating a clear view of her from the neck down, with her butt in the center of the frame (Figure 4). She wears a black helmet that fades into the dark background, presenting her as a body with no head. This shot centres Sakura’s figure and puts her on display, as if she is solely a body to be observed. The use of slow motion and exaggerated movements in this shot accentuates this sexualization of her body and reinforces the idea that her physical appearance is the most important aspect of the performance. Furthermore, in both sequences, she is never shown to be in motion. The vehicles are either stationary or virtual, which is a striking contrast to the male extras who rumble through shots on motorcycles and go-karts in the “ANTIFRAGILE” video. This contrast makes Sakura feel stagnant within the videos and goes against the group concept of being able to break through boundaries and expectations. Overall, in both videos, member Sakura falls victim to camera movements that frame her in an overtly sexual way as opposed to subverting gender stereotypes. This reinforces the idea that her sexual appeal is the most important aspect of her performance and not her singing or dancing skills like the lyrics of the songs might lead viewers to believe. 

LE SSERAFIM’s music videos also often include fragmentation, a film technique that involves visually breaking down a character into multiple parts. The technique often includes fast cuts and closeups of different body parts, which can dehumanize the subject by reducing them to mere fragments of themselves and emphasizing their physical appearance rather than their individuality and humanity. One of the most memorable instances of this objectification occurs in the “FEARLESS” video when a close-up shot of Chaewon’s mouth lip-syncs the lyrics of the post-chorus (See Figure 5). The girls become a collection of fragmented body parts thanks to the use of close-up shots being cut in rapid succession, the shots including body parts such as legs, hips, and in this case, lips. This practice is often used in the K-pop industry to emphasize the beauty and sensuality of the idols, but it can have the negative effect of reducing them to mere objects of desire. Additionally, in the sequence of “FEARLESS” where member Yunjin starts the second verse, the camera frames her in a unique way. She is seen from the neck up on a phone screen which hides the other members who are dancing behind it, only certain parts of their bodies being visible (Figure 6). The idea of being seen through a screen, which idols almost always are, further contributes to the physical distance between them and their fans. This framing reinforces the notion that Yunjin and the other members of LE SSERAFIM are not fully formed individuals, but rather personas to be consumed through technology. It also works to perpetuate the idea that their physical appearances are more important than their artistic abilities, ultimately detracting from lines like “don’t underestimate the path I’ve walked” and “if my scars are a part of me, I got no fear.”

The use of fantasy lighting in both music videos further objectifies the members and detracts from the video’s message. Fantasy lighting refers to a lighting technique that creates a surreal atmosphere on screen by manipulating light sources, colors, and shadows. During video shoots, this lighting technique is often used in tandem with smoke and fog. Often, more smoothing effects are then added in post-processing to give subjects an airbrushed look. For instance, the “FEARLESS” music video draws a lot of inspiration from editorial commercials and photoshoots, which is most evident in the short sequence where all six girls are profiled in black and white (Figures 7 and 8). The lighting of these shots gives them a smoothed out and clean look, making the LE SSERAFIM members look more like paintings or CGI than real people. This technique leaves the girls with no depth or detail, creating characters that are there for aesthetic purposes instead of presenting a message to an audience. Moreover, there are countless shots in both music videos using this lighting technique where, during an individual member’s line, they will gaze into the camera with a model-like expression instead of lip-syncing their part (See Figure 9). These are often referred to as “beauty shots,” indicating that they are moments within the video where an idol’s visual beauty is the focus. This often can take a viewer out of the story of the video and only further isolates the idol from their humanity. The airbrushed effect of this lighting, while allowing for visual standouts, further establishes the girls as objects rather than subjects in the eyes of the audience. 

In conclusion, LE SSERAFIM’s music videos for “FEARLESS” and “ANTIFRAGILE” are examples of how songs about female empowerment can be undermined by film techniques that sexualize and objectify the members, such as camera movement, fragmentation, and lighting. However, despite the way the LE SSERAFIM members are framed, many fans of the group still do find their bold and brash lyrics empowering, and this is not an incorrect or invalid response. LE SSERAFIM is a group made up of young, confident women who make catchy music about being fearless and the opposite of fragile, dancing through apocalyptic wastelands dressed in trendy outfits, and dedicating oneself to pursuing one’s dreams. It only makes sense that other young women would be inspired by them. By understanding how female objectification is normalized in the K-pop industry, fans can better appreciate the messages that these groups are trying to convey while also being critical of how their favourite idols are depicted.

List of Figures

Figure 1: LE SSERAFIM member Kazuha shot using a high angle. (ANTIFRAGILE)

Figure 2: LE SSERAFIM member Kazuha shot using a high angle. (FEARLESS)

Figure 3: LE SSERAFIM dancing in their practice room, the shot partially obstructed by window shutters.

Figure 4: LE SSERAFIM member Sakura on a motorcycle, mid panning shot. 

Figure 5: Close-up of the bottom half of  LE SSERAFIM member Chaewon’s face.

Figure 6: LE SSERAFIM member Yunjin shown on a livestream, holding the phone in front of her members dancing.

Figures 7 & 8: LE SSERAFIM members Kazuha and Yunjin profiled in black and white, posing for the camera.

Figure 9: LE SSERAFIM member Chaewon gazing into the camera with a model-esque expression

Works Cited

Genius English translations – LE SSERAFIM – ANTIFRAGILE (English translation). Genius. (n.d.-a). https://genius.com/Genius-english-translations-le-sserafim-antifragile-english-translation-lyrics  

Genius English translations – LE SSERAFIM – FEARLESS (English translation). Genius. (n.d.-b). https://genius.com/Genius-english-translations-le-sserafim-fearless-english-translation-lyrics  

LE SSERAFIM. (2022, May 2). “LE SSERAFIM FEARLESS OFFICIAL M/V.” YouTube. Retrieved February 20, 2023, from https://www.youtube.com/watch?v=4vbDFu0PUew&ab_channel=HYBELABELS

LE SSERAFIM. (2022, October 16). “LE SSERAFIM ANTIFRAGILE OFFICIAL M/V.” YouTube. Retrieved February 20, 2023, from https://www.youtube.com/watch?v=pyf8cbqyfPs&ab_channel=HYBELABELS