Video Analysis "Action" MV Nu'est

Gap in Relationship Results in Failure of Audiences to Become High Achievers with the Motivation of Idols

In “Action” music video by Nu’est, the attractiveness of K-pop idols is shown through their intention to encourage freedom and possess a unique and individualistic vibe. I argue that in “Action”, it is emphasizing “parasocial relationships” between idols and the audiences by conveying a message for viewers to not be bound by societal norms and become high achievers, which is deemed to be hard to attain (Elfving-Hwang 2018, 190).

Through the synchronized choreography, expensive-looking costumes and props shown in “Action”, viewers are finding that the idols are putting themselves at a place of superiority hard to achieve by many of their fans or audiences. This makes K-pop idols “an object of consumption” that proves “the very manufactured nature of the celebrity [to] both demystify the celebrity and provide examples of successful living in the world”, but making it impossible for audiences to connect to them in an equal manner (Elfving-Hwang 2018, 190).

Despite “Action” generates a sense of breaking out of the norms and trying hard to seek unique, personal identities, they seem almost impossible to attain. For example, the synchronized choreography is a prominent part of the music video, showing that the dancers are repetitively committing themselves to self-discipline while also symbolizing the robotic actions of common people, settling in with what they are used to and ceasing to seek for the better or more suitable opportunities. As well, the lyrics and confining scenes in the video frequently suggest that Nu’est members are stuck in a place and unable to escape and attain what they want, which is implying that fans are in a similar situation where they are devoting themselves to the idols fanatically but idols are not doing the same for their fans. All of these elements are demonstrating an “ambivalent imposition of conflicting standards”, showing that idols and fans are forced to have barriers, as well as social and economic differences (Shin 2015, 142). This stable relationship is also making the idols “a thing to be owned and controlled [by the audiences]”, making it difficult for neither idols nor audiences to change their ways of greeting each other or their roles in society (Shin 2015, 142).

Furthermore, “Action” shows Nu’est members walking through a structure resembling a prison to convey signs of distress and lack of freedom. The flames and Nu’est members tied to wires symbolize danger and hostility, opposing the idea of positivity and representing the vulnerability felt by large groups of audiences. This represents that consumers are “passive victims of commercial and ideological manipulations” that are unable to become higher achievers despite trying very hard (Ho 2012, 500). However, it is unreasonable to blame either the idols or their fans for this imbalance of status because “state […] demands the sacrifice and subordination of individual[s] […] for the wider society and nation”, so the majority of the population remain onlookers while a few lucky individuals represent the others (Ho 2012, 500).

From viewing the heavy eye make-up, the close up shots and the music beats that are quick and heavy in “Action”, signs of creepiness and abnormality are felt. While implicitly encouraging the public that “maintenance of social distance is crucial to retaining control over one’s image and persona”, idols are unable to realize that this gap in relationship results in failure of the public to achieve the same level of success as the idols (Auslander 2015, 323). An effective solution to this problem might be to “maintain the necessary social distance from [the] audiences while also promoting an effect of intimacy”, but this is limited by the relationship gap between idols and the audiences (Auslander 2015, 329).

Idols are the source of encouragement for audiences but it is difficult to follow the messages from the idols to become higher achievers. This is due to the imbalance of social and economic statuses between audiences and idols which is also shown in “Action”.

Works Cited:

Auslander, Philip. “Everybody’s in Show Biz: Performing Star Identity in Popular Music.” The

Sage Handbook of Popular Music, edited by Andy Bennett and Steve Waksman. 317-331. Los Angeles: Sage Reference, 2015.

Elfving-Hwang, Joanna. “K-pop Idols, Artificial Beauty and Affective Fan Relationships in

South Korea.” Routledge Handbook of Celebrity Studies, edited by Anthony Elliot. 190-201. New York: Routledge, 2018.

Ho, Swee-Lin. “Global Dreams Factory”: The Desires of Parents Whose Children Dream of

Becoming K-pop Stars.” Korea Observer 43, no. 3 (2012): 471-502.

Shin, Haerin. “The Dynamics of K-pop Spectatorship: The Tablo Witch-Hunt and its Double-

Edged Sword of Enjoyment.” In K-pop—The International Rise of the Korean ​

Music Industry, edited by Jungbong Choi and Roald Maliangkay. 132-145. New York:

Routledge, 2015.

1theK. “NU'EST(뉴이스트) _ Action MV.” YouTube video, 3:17. Posted July 10, 2012.

https://www.youtube.com/watch?v=JRG_ZA0oPcA