From Survival to Solidarity: Sisterhood in the Cinematic Narrative of Pop Star Academy: KATSEYE
), Aquarini Priyatna(2), Mega Subekti(3), (1) Universitas Padjadjaran 
(2) Universitas Padjadjaran 
(3) Universitas Padjadjaran 
Corresponding Author
Copyright (c) 2025 Lingua Didaktika: Jurnal Bahasa dan Pembelajaran Bahasa
DOI : https://doi.org/10.24036/ld.v19i1.134613
Full Text:
Language : en
Abstract
In popular media, women are often portrayed in antagonistic rivalries, reinforcing the narrative that female relationships are inherently competitive. This research explores how Pop Star Academy: KATSEYE, a docu-series documenting the journey of female contestants vying for a spot in a global K-pop girl group, challenges and complicates that narrative by presenting a more nuanced interplay of rivalry and solidarity. While existing scholarship on the Korean Wave (Hallyu) and K-pop has addressed gendered representations and the structural dynamics of the entertainment industry, limited attention has been given to how documentary storytelling mediates these gendered tensions. To address this gap, this study investigates how documentary film can shape, reflect, and potentially disrupt dominant gender ideologies. Employing feminist film analysis, documentary narratology, and close analysis of cinematic techniques, the study demonstrates how Pop Star Academy: KATSEYE constructs a cinematic language of sisterhood that both navigates and subverts the masculine logic of survival shows. Importantly, the study also engages with the cultural and linguistic dimensions of K-pop’s transnational reach, emphasizing how language, performance, and cross-cultural communication inform representations of identity and gender. This intersection of media, language, and culture offers critical insights into the global resonance of female solidarity in contemporary popular culture.
Keywords
References
Ahn, J.-H. (2022). Televised Korean Dream: The Birth of a Great Star and Racial/Ethnic Diversity in Survival Audition Program in South Korea. In D. Oh (Ed.), Mediating the South Korean other: representations and discourses of difference in the post/neocolonial nation-state (pp. 246). University of Michigan Press.
An, J.-y. (2023). Gender and the Paradox of Body Politics in Korean Makeover Television. Introducing Korean Popular Culture, 126-136.
Anderson, C. S. (2018). Global South Korea and the K-Pop Phenomenon. In J. Lee (Ed.), The Oxford Encyclopedia of Asian American Literature and Culture. Oxford University Press. https://doi.org/https://doi.org/10.1093/acrefore/9780190201098.013.770
Banet-Weiser, S., & Portwood-Stacer, L. (2006). ‘I just want to be me again!’ Beauty pageants, reality television and post-feminism. Feminist Theory, 7(2), 255-272.
Bartky, S. L. (1988). Foucault, Femininity, and the Modernization of Patriarchal Power. In Feminism and Foucault: Reflections on Resistance (pp. 25-45).
Bordwell, D., & Thompson, K. (2010). Film art: An introduction (Vol. 7). McGraw-Hill New York.
Bowen, C. (2023). Grammar of the Shot. Routledge.
Brooks, P. (1984). Reading for the Plot: Design and Intention in Narrative. Oxford: Clarendon.
Caramanica, J. (2011). Korean Pop Machine, Running on Innocence and Hair Gel. The New York Times. https://www.nytimes.com/2011/10/25/arts/music/shinee-and-south-korean-k-pop-groups-at-madison-square-garden-review.html
Cavarero, A. (2000). Relating Narratives: Storytelling and Selfhood. Routledge. https://doi.org/https://doi.org/10.4324/9781315824574
Dill, B. T. (1987). Race, class and gender: Prospects for an all-inclusive sisterhood. In Women and symbolic interaction (pp. 159-176). Routledge.
Foss, S. K. (1996). Rhetorical criticism: Exploration and practice. Waveland Press.
French, L. (2021). The Female Gaze in Documentary Film: an international perspective. In. Palgrave Macmillan. https://doi.org/https://doi.org/10.1080/25741136.2024.2371533
Grierson, J. (1933). The Documentary Producer. In Cinema Quarterly (pp. 7-9).
Han, A.-J. (2016). The aesthetics of cuteness in Korean pop music University of Sussex].
Hollinger, K. (1997). "Respeaking" Sisterhood. Studies in Popular Culture, 20(1), 53-64.
Hong, E. (2014). The Birth of Korean Cool: How One Nation is Conquering the World Through Pop Culture. Picador. https://books.google.co.id/books?id=ivBjvgEACAAJ
hooks, b. (1986). Sisterhood: Political Solidarity between Women. Feminist Review. https://doi.org/https://doi.org/10.2307/1394725
Irigaray, L. (1985). This Sex Which is Not One (C. B. Catherine Porter, Trans.). Cornell University Press.
Jin, D. Y., Lee, H.-J., & Jin, K. Y. Y. (2021). K-Pop Idols: Popular Culture and the Emergence of the Korean Music Industry. Popular Communication, 19(1), 57-59. https://doi.org/https://doi.org/10.1080/15405702.2020.1868045
Johnston, C. (2004). Women’s cinema as counter-cinema. Film theory: Critical concepts in media and cultural studies, 183-192.
Jung, E.-Y. (2013). K-pop female idols in the West: Racial imaginations and erotic fantasies. In The Korean Wave (pp. 106-119). Routledge.
Kim, G. (2017a). K-pop female idols: Culture industry, neoliberal social policy, and governmentality in Korea. In (pp. 18). Routledge.
Kim, G. (2017b). K-pop Female Idols: Culture industry, neoliberal social policy, and governmentality in Korea. In The Routledge Handbook of Global Cultural Policy. Routledge.
Kim, G. (2018). K-pop Female Idols as Cultural Genre of Patriarchal Neoliberalism: A Gendered Nature of Developmentalism and the Structure of Feeling/Experience in Contemporary Korea. Telos, 185-207. https://doi.org/10.3817/0918184185
Lanser, S. S. (1986). Towards a Feminist Narratology. Narrative Poetics, 20(3), 341-363.
Lanser, S. S. (1992). Fictions of Authority: Women Writers and Narrative Voice. Cornell University Press. http://www.jstor.org/stable/10.7591/j.ctt207g6vm
Lauretis, T. d. (2007). Figures of Resistance: Essays in Feminist Theory. University of Illinois Press.
Lee, J., & Yi, H. (2020). Ssen-unni in K-Pop: The makings of “strong sisters” in South Korea. Korea Journal, 60(1), 17-39.
Lefkovitz, L. H. (2010). In Scripture: The first stories of Jewish sexual identities. Rowman & Littlefield.
LeGardye, Q. (2024). Meet the Trainees of Netflix's 'Pop Star Academy: KATSEYE'. marie claire. https://www.marieclaire.com/culture/tv-shows/pop-star-academy-katseye-cast-netflix/
Li, X. (2022). “Yea I’m a f* Tomboy”: “girl crush,” postfeminism, and the reimagining of K-pop femininity “Yea I’m a f* Tomboy”: “girl crush,” postfeminism, and the reimagining of K-pop femininity. Social Semiotics, 34(4), 576-592. https://doi.org/https://doi.org/10.1080/10350330.2022.2150542
Lugones, M. (1992). On borderlands/La frontera: An interpretive essay. Hypatia, 7(4), 31-37.
Modiri, J. M. (2012). Popular culture, law and our" sexed and gendered lives": feminist reflections on" refusal" and" sisterhood". Stellenbosch Law Review, 23(1), 118-136.
Monaco, J. (2009). How to read a film: Movies, media, and beyond. Oxford University Press.
Mulvey, L. (1989). Visual and Other Pleasures. Palgrave Macmillan London. https://doi.org/https://doi.org/10.1007/978-1-349-19798-9
Mulvey, L. (2006). Visual pleasure and narrative cinema. Media and cultural studies: Keyworks, 342-352.
Otway, F. (2015). The unreliable narrator in documentary. Journal of Film and Video, 67(3-4), 3-23.
Page, R. (2003). Feminist Narratology? Literary and Linguistics Perspectives on Gender and Narrativity. Language and Literature, 12, 43-56.
Ryoo, W. (2008). The political economy of the global mediascape: The case of the South Korean film industry. Media, Culture, and Society, 30, 837-889.
Thompson, R., & Bowen, C. J. (2009). Grammar of the Edit (Vol. 13). Taylor & Francis.
Van Marle, K. (2007). Laughter, refusal, friendship: thoughts on a" jurisprudence of generosity". Stellenbosch Law Review, 18(1), 194-206.
Verstraten, P. (2009). Film narratology. University of Toronto Press.
Winch, A. (2013). Girlfriends and postfeminist sisterhood. Springer.
Article Metrics
Abstract Views : 361 times
PDF Downloaded : 14 times
Refbacks
- There are currently no refbacks.
Copyright (c) 2025 Lingua Didaktika: Jurnal Bahasa dan Pembelajaran Bahasa

This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License.









