Red velvet members are manufactured dolls in "dumb dumb" video teaser

Red Velvet’s Dumb Dumb MV (Music clip Analysis)

In Automatic, Ice Cream Cake, và Dumb Dumb all feature the girls in a car together. Irene drives, reflecting her position as leader, but ultimately they’re all in the same oto together. Where Irene leads them, they must follow. Their journey is a shared one. They are not only of the same mind, but of the same body.

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It seems a little contrary that a girl group that went through such lengths lớn communicate their unity would produce a clip apparently criticizing the uniformity within the idol industry. I will, of course, seek khổng lồ reconcile these two concepts.

Doll Factory, Idol Factory: In Dumb Dumb, we see our heroines cast as both the dolls & employees of a doll factory. They are both the product and the productive. Their purpose is lớn create yet they were created–a paradox that points khổng lồ their careers as idols. As idols, they were“manufactured,” or trained, by a company and presented to the public as artists, meant lớn create music. The kpop industry has long been criticized for this“manufacturing” of talent, as members of groups are often replaceable. The đoạn clip indeed criticizes this commercial side of kpop, but Red Velvet is exempt from this criticism. Here we see that when assigned the role of dolls, simple clones, they cannot function as group. If they were truly idol clones as they have been accused, the factory would have continued its productions smoothly. They are not compatible with one another. In fact, when placed within such a system, their mere presence creates a sort of revolution–and not just in relation khổng lồ the cloning criticism, but in kpop as a whole.

The inclusion of recording equipment doesn’t fit the doll factory theme. It’s included as a reference to music, as a tip off that this doll factory is actually a metaphor for an idolfactory.

They sit at the table, hands in. They wear matching red nail polish. In the center of the table is a chess mix with orange & blue pieces. Both the blue & orange sides have one knight and two pawns moved. The chess sets mirror one another. Và then the chess pieces begin khổng lồ float.

The chess pieces, as before mentioned, indicate strategy–something wholly linked with business. & in this kpop business, the pieces all copy one another. Under Red Velvet’s influence, the pieces begin lớn float. They’re disrupted. They cannot copy one another if they are not even touching the board. In this way, they are shown khổng lồ revolutionize how idols are conceived. I say that this happens under their influence because of their placement of their hands toward the chess board, as if their collectively power nguồn is going toward this goal of disrupting the chess pieces. Think of it like a ouija board. In order for it to move, all participants must place their hands on the piece.

In the windowless, doorless room, the girls look upward toward the camera above them. This indicates that they’re aware of the system they’re in, that they realize they are trapped, that perhaps the only way out is up. In order to break the preconceptions people have about them, they must succeed.

Inside the school bus, Red Velvet and their doubles sport pig tails, oversized bows, freckles, và oversized striped shirts. The oversized shirts hide their mature figures, making them look boyish, younger. Here they are made into children. Not only does this childlike concept appeal to the doll theme, but it speaks volumes of how idols are treated: every moment of their life scheduled, driven around by their managers lượt thích children in a school bus.

These scenes where the girls dance và pose are references khổng lồ the performance aspect of their careers.

This falling doll is the embodiment of the conception that they are just another mix of kpop clones, or dolls. It’s falling, and later we see it break as they shatter this conception.

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On a conveyor belt, we see a purse, a shoe, và tubes of lipgloss. This is a reference khổng lồ the fashion side of kpop, where they must maintain a flawless appearance. Yeri looks disillusioned with these items before her, tired of the expectation placed on her appearance.

In the first screenshot, the‘FM’ is most likely a reference to radio. Unlike the cassette tape, radio has remained relevant in the music industry. In the second, we see a more modern stereo system. The công nghệ being presented is progressing toward the enduring, the more advanced. This progression is, of course, spurred by Red Velvet. Even if the way they’re viewed is outdated, they’re still progressing, working khổng lồ change how they’re viewed.

Eggs, in the traditional Easter sense, represent rebirth, resurrection, and growth. Even as this egg is shattered by a hammer, there isn’t a baby chick as maybe expected, but bright pink liquid. With each rebirth, or comeback, they will continuously present the unexpected.

The old rotary dial phone, viewed for the second time in this video, is another reference lớn outdated technology.

And finally the doll hits the ground, shattering.

In case you didn’t know, people thought that bees were the tiniest birds for, like, 2000 years. This ‘bees are birds’ idea ties into Red Velvet’s representation as birds. Bees were considered by Greeks và Romans khổng lồ be the birds of the Muses, enabling poets to lớn write great poems và lyrics with their honey. This elevates the level of music Red Velvet is capable of putting out. Bees are also industrious, an entire hive unified with one goal. Their message of unity is also strengthened by the bee analogy.

However, they manage to overcome this difficulty. Và when they dance, the machinery dances with them. The factory that produced them now looks to them for guidance.

In the end, we see the factory in absolute chaos. There’s paper everywhere. Yeri is throwing cheesepuffs. An alarm clock, a fan, a typewriter, a record player are flying around. And despite this chaos, there’s obvious joy. The factory can no longer function and that is how it should be. They’ve broken không tính phí of the system it tried lớn impose on them. They’re unified, but it doesn’t mean they’re mass produced. This unity is not a weakness or a cause for criticism. They are not dolls, or clones, or mannequins. They each have a vital role, their own color. Their unity is not anything except a force khổng lồ be reckoned with.

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