International Journal of Computer in Humanities
5(1)(2025) 66-74
Journal homepage: https://ojs.unikom.ac.id/index.php/injuratech

Breaking Gender Stereotypes: Redefining Masculinity in
BTS’s Music Videos
Julia Defriyanti Futri*, Juanda
Universitas Komputer Indonesia, Bandung, Indonesia
*Corresponding Email: juliadefriyanti14@gmail.com

Abstract. The music industry has historically used hegemonic masculinity which
emphasizes physical power, aggressiveness, and dominance to represent masculinity.
In contrast, BTS subverts this conventional idea in the Boy with Luv music video by
showcasing a kind of soft masculinity that is expressive, kind, and unconstrained by
strict gender stereotypes, in contrast, Mic Drop’s dark colours, daring attire, and
forceful gesture represent a rougher, street-style masculinity. This study investigates
both MVs emblems overcome gender stereotypes in popular culture using a visual
semiotics approach and masculinity theory. In order to derive the meaning, the writer
also employed the qualitative descriptive, which is based on Roland Barthes ’ semiotic
theory as a sign system divided into denotation and connotation. As a public figure,
BTS plays an essential part in society, particularly for the younger generation, who are
more self-aware and in love with themselves. Nothing is wrong if the man possesses
both masculinity and femininity. The most evident way that BTS has revolutionized
masculinity is through their physical appearance. According to the report, BTS not only
broadens the definition of masculinity in K-pop but also has an impact on the
worldwide entertainment sector, which is becoming more accepting of more adaptable
and liberating gender expressions.

Keywords: BTS, Gender Stereotypes, Hegemonic, K-Pop, Masculity.

1. Introduction
Gender identity is a deeply personal aspect of one’s identity, but societal standards and
anticipations often limit an individual’s ability to express themselves freely. Gender theory
has offered a framework for comprehending how gender responsibilities and expectations are
socially produced, as well as how people can challenge and accept who they truly are. K-pop,
or Korean pop music, has become pop music, has become incredibly popular all over the world
in recent years. But the emergence of K-pop has also criticized for the rigid gender norms and
beauty standards of the business. With their own character and powerful songs, the sevenmember boy band BTS has dismantled traditional gender stereotypes. Tension is constantly
present in gender relations. The degree to which a particular form of hegemonic masculinity
resolves these conflicts and tends to either stabilize or recreate patriarchal power under novel

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5(1)(2025) 66-74
Journal homepage: https://ojs.unikom.ac.id/index.php/injuratech

circumstances makes it hegemonic. It is possible in fact, it is inevitable to confront a pattern of
conduct (i.e., a manifestation of masculinity) that offered such a solution under previous
circumstances but not under the current ones.
Masculinity is hegemonic when power is defined in terms of physical force and control. “
Force and competence are translations into the language of the body which define men as
holders of power, women as subordinate [and] this is one of the main ways that the superiority
of men becomes ‘naturalized’. The masculinization of power as physical strength, force, seed,
control, toughness, and dominance is thus achieved through the male body [1,2]. In fact, given
the history of American society’s propensity to emasculate Asian masculinities, the rise in
popularity of male K-pop idols in the US is an odd phenomenon [3,4].
Hegemonic masculinity, as defined by Raewyn Connell [5], is an analytical tool used to
pinpoint male attitudes and actions that support gender inequality, including some men’s
dominance over other (often minority groups of) men as well as men’s dominance over
women. The broad notion that hegemonic masculinity is “A Culturally Idealized Form” and
“Is both a personal and a collective project” [6] has been utilized, discussed, and improved
upon over time [5]. But the most significant influence has come from the expansion and export
of Korean pop culture (sometimes referred to as the “Korean Wave” or “Hallyu”), which
imitated comparable Japanese goods in the late 1990s. most significantly, East Asian
masculinity was altered [7-10].
This study examines at how Boy with Luv’s visual components help to redefine
masculinity, providing a different framework from both mainstream media depictions and
traditional Western hegemonic masculinity. This study attempts to close the gap between
gender studies and media aesthetics by applying gender discourse analysis and visual
semiotics. The following are the three research questions that this study formulated: 1) what
essential visual components are used in the music video for Boy with Luv? 2) what role do
these visual components play in the MV’s redefining of masculinity? 3) What kind of
masculinity does Boy with Luv’s aesthetics and visuals represent?
2. Literature Review
The concept of hegemonic masculinity, first introduced by [5] first used the word
“hegemonic masculinity” to characterize the dominant masculinity in a society that maintains
male dominance and subjugates other masculinities. This concept highlights how masculinity
is constructed by society and is often associated with power, control, emotional regulation,
and physical strength [5]. Ryalls (2013) asserts that popular music has long employed
hypermasculine tropes such as dominance, aggression, and emotional detachment in order to
upload hegemonic masculinity [11]. Meanwhile, recent shifts in media representations
question these traditions. By embracing intimacy, emotional openness, and creative selfexpression, BTS, for example, redefines masculinity and subvers traditional hegemonic norms.
Their song, live performances, and public personalities represent a more open and flexible
notion of masculinity that embraces a greater variety of masculine identities.
Several forms of masculinity are identified under Connell and Messerschmidt (1995)
framework, including: Socially idealized, dominant masculinity is known as hegemonic
masculinity [5]. Marginalized masculinities that are frequently connected to nonheteronormative identities are known as subordinate masculinities. Complicit masculinity is
the term used to describe men who enjoy male privilege despite not entirely adhering to

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International Journal of Computer in Humanities
5(1)(2025) 66-74
Journal homepage: https://ojs.unikom.ac.id/index.php/injuratech

hegemonic norms. Being excluded because off one’s race, class, or other social characteristics
is known as marginalized masculinity.
The concept of soft masculinity, according to Wolfman et al. (2021), soft masculinity is
essential in dismantling conventional gender binary classifications and providing males with
various forms of expression that are not limited by patriarchal norms [12]. People can negotiate
their identities in a genuine and empowering way by adopting a softer, more fluid portrayal
of masculinity, especially in settings where strict gender stereotypes are frequently enforced.
In the global K-pop industry, where male idols like BTS have been credited with changing
public ideas of masculinity, the concept of soft masculinity is particularly evident. Many of
their fans have questioned and reinterpreted their own conceptions of gender identity and
masculinity as a result of BTS’s representation of masculinity, which blends emotional
expressiveness, self-care, and style that defies conventional gender norms. This is a prime
illustration of how popular culture may affect gender role expectations and cultural sta ndards.
Boy With Luv and other songs from their repertoire demonstrate a move toward relational
and collaborative masculinity, where love and vulnerability are viewed as assets rather than
flaws. In addition to their dancing and song, BTS and other male K-pop performers have
drawn particular attention from the media and popular culture critics for their general
“androgynous” looks, makeup, and fashion. The “softer” masculinities that the K-pop boy
bands represent have elicited mixed responses. While some ridicule of male K-pop for being
feminine, others believe that their kind, “versatile masculinity”could challenge the image of
emasculated Asian men and other forms of racialized masculinity in the US [13].
To analyze how BTS constructs masculinity through the visual elements, the study employs
by Roland Barthes was one of the first to spread Saussure’s semiological program and a
prominent structuralist in the 1960s. an expression (signifier) in connection to content
(signified) is what Barthes referred to as a sign 13. One can incorporate such a main sign system
into a more extensive sign system. If the primary sign’s extension turns into the secondary
sign system’s phase. Denotative semiotics is the major sign in this instance, whereas
connotative semiotics is the secondary sign. The idea of meaning was introduced by Barthes
as denotative and connotative. The genuine meaning that people associate with a term, the
appearance of an item, and that cannot be questioned is known as denotative meaning,
according to Barthes. Cultural interpretation shapes connotative meaning, which only
participants of that culture may fully comprehend. This implies that people will understand
things differently depending on their culture [14].
Barthes developed the two components of Saussure’s signifier and signified paradigm into
two levels of signification. The primary system, also known as the denotative system, is the
initial level of meaning. He then develops the primary system into the secondary system, also
known as the connotative system. Only a society with the same culture at a given period can
comprehend elements in the second level of interpretation, or the connotative, which are
influenced by cultural interpretation. The E-R-C idea was created by Barthes. Expression,
Relation, and Content are represented by the initial E-R-C. expression is the sign’s form or
signifier. Relation is the relationship between the signifier and the signified. The signified or
the idea behind the sign’s interpretation is its essence content [14].
By examining two different BTS music videos Boy With Luv and Mic Drop, this study
expands the conversation in contrast to previous research, which frequently concentrates on
single music video or a particular manifestation of masculinity. Although prev ious research
emphasizes BTS’s challenge to conventional masculinity, this masculinity into three

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5(1)(2025) 66-74
Journal homepage: https://ojs.unikom.ac.id/index.php/injuratech

categories (metrosexual, seonbi, and bishonen) and looks at how they are changing how
people throughout the world view gender. Furthermore, this study focuses on the visual
semiotic components that support BTS’s gender depiction in contrast to earlier research that
mostly addresses lyrical content. As a result, this study offers a comprehensive viewpoint on
how popular culture changes in addition to examining masculinity in K-pop.
3. Method
This study examines how masculinity is portrayed visually In the Boy With Luv music
video by BTS using the semiotic theory and the hegemonic masculinity theory [5]. Through
visual semiotic analysis and a qualitative descriptive technique, the study investigates how
aesthetic components define and construct masculinity. The data includes the visual
components of the MV (primary data) and academic publications on gender and semiotics
(secondary data). Three parts contribute to the analysis: identifying important visual cues
including colour, fashion, and choreography; examining denotative and connotative meanings
using Barthes’ semiotic framework; and comparing BTS’s depiction of masculinity with
hegemonic and soft masculinity with hegemonic and soft masculinity. The MV’s expressive
dance, gender-fluid clothing, and pastel colour scheme are primarily indicative of a change
from traditional masculinity to a more accepting, emotionally open identity. The researcher
initially downloads and views the music video from the official HYBE Labels YouTube account
as part of the data collection process. Second, significant scenes that depict masculinity are
noted. Third, screen capture of pertinent moments are made for examination. Fourth, the
visual components are organized according to how masculinity is portrayed. The analysis
adheres to Barthes’ (1977) semiotic theory, which categorizes masculinity according to
movements, facial expressions, hairstyles, makeup, and fashion. Following categorization, the
researcher deciphers the connotative connotations incorporated into the MV’s visual
depiction of masculinity.
4. Results and Discussion
Using Barthes’ semiotic theory, an analysis of BTS’s Boy With Luv and Mic Drop music
video reveals a shift in how masculinity is portrayed in the group’s visual aesthetics. In order
to demonstrate the transition from hegemonic masculinity to soft masculinity, the findings
compare the two music videos and concentrate on three primary areas; colour symbolism,
fashion and styling, and choreography and body language.

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International Journal of Computer in Humanities
5(1)(2025) 66-74
Journal homepage: https://ojs.unikom.ac.id/index.php/injuratech

Table 1. The Effect of BTS’s MV From Dark to Pastel.

Figure. 1 The Photograph of Mic
Drop MV (0:22)

Figure. 2 The Photograph of Mic
Drop MV (1:31)

Figure. 3 The Photograph of Mic
Drop MV (3:15)

Figure. 1 The Photograph of Boy
With Luv MV (0:22)

Figure. 2 The Photograph of Boy With
Luv MV (1:46)

Figure. 3 The Photograph of Boy With
Luv MV (2:24)

Table 1 shows, the MV for Mic Drop mostly uses powerful, dark colour like black, gray, and
red, which denotatively convey a dark and intense atmosphere. Black is a colour associated
with power, revolt, and domination. Figure 1; BTS member are sitting in cold fluorescent-lit,
white torture chamber wearing monochromatic attire. Figure 2; Suga performs in a dark,
industrial environment in a scene that is dyed deep red. Red lighting reflects ideas of defiance
and self-assertion by escalating aggression, passion, and urgency. Figure 3; BTS members, clad
in dark and black streetwear, dance in front of a huge explosion. According to [5], those colours
have connotative that are consistent with hegemonic masculinity, which reinforces ideas of
violence, power, and dominance.
On the other hand, Boy with Luv uses gentle pastel colours like pink, light blue, and yellow,
which symbolically produce a lively and lively visual style. The colour pink represents
tenderness, warmth, and emotional transparency, blue counterbalances the brightness of pink
by standing for peace and serenity, and yellow reinforces concepts of happiness and love by
bringing fun and enthusiasm. Figure 1; BTS, wearing pink suits, stands in front of an oldfashioned orange and yellow movie theatre with the name “Persona.” Figure 2; BTS, dressed
in gentle colour, dances in front of a pastel blue background. Figure 3; Shows Jungkook and Jhope dancing in a dreamy, pink-painted scene with delicate brushstroke textures. The pastel
colour scheme connotatively represents a rejection of traditional masculinity in favor of a more
expressive, emotionally open personality, which is a crucial aspect of soft masculinity.

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Journal homepage: https://ojs.unikom.ac.id/index.php/injuratech

Table 2. Fashion and Style: Gender-Fluid Aesthetic vs. Streetwear.

Figure. 1 The Photograph of Mic
Drop MV (0:37)

Figure. 1 The Photograph of Boy
With Luv MV (0:22)

Figure. 2 The Photograph of Mic
Drop MV (1:12)

Figure. 3 The Photograph of Mic
Drop MV (3:56)

Figure. 2 The Photograph of Boy With
Luv MV (0:55)

Figure. 3 The Photograph of Boy With
Luv MV (0:28)

Table 2 shows, dark-toned accessories, oversized streetwear, and military-inspired
ensembles are some of the fashion choices in Mic drop that denotative highlight an
authoritative and defiant aesthetic. Figure 1; BTS members are dressed in black, oversized
streetwear, such as bandanas, chains, and harness accessories, featuring prominent logos.
Harnesses and all-black clothing convey strength, defiance, and power. Figure 2; against a
chilly industrial backdrop, J-Hope may be seen sporting a large camouflage jacket and bucket
hat. Hip-hop culture, which has long been connected to aggressive masculinity, is connected
to the bandanas, bucket hats, and striking graphic designs. Figure 3; V emerges in monotone
black clothes, putting a bandana over his forehead, standing with hand motions referencing
revolt. Connotative, these ensembles support a toughness that is classified as masculine and
go hand in hand with Western hip-hop aesthetics, which frequently highlight strength and
rebellion. Oversized silhouettes; A strong, distant persona is reinforced by loose, baggy clothes
that promotes mobility and conveys confidence. Mic Drop’s diss-track energy is in line with
V’s hand-over-mouth motion (figure 3), which represents defiance.
Boy with luv, on other hand, has delicate accessories, flowy fabrics, and pastel outfits that
make them appear softer and more sophisticated. Figure 1; BTS members stand in front of a
vintage movie backdrop while wearing brightly coloured suits (pink) with flowing textiles. By
embracing tenderness and emotional expressiveness, the pink suits challenge conventional
notions of masculinity. The textiles’ flow represents elegance and motion in contrast to Mic
Drop stiff shapes. Figure 2; V’s grinning and executing a laid-back choreography while
wearing a pastel pink ruffled shirt and flower ring. Pictures 3; V wears a sparkling pink silk
blazer, gentle makeup, earrings, and hair dyed a vibrant blue. The idea that masculinity must
be characterized by strict or combative styling is contested by these choices, which

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Journal homepage: https://ojs.unikom.ac.id/index.php/injuratech

connotatively embrace a gender-fluid aesthetic. V’s silk outer (Picture 3) challenge traditional
men’s fashion standards by showcasing gender-fluid aesthetics (Paoletti, 2012).
Table 3. Body Language and Choreography: Forceful vs Gentle Expression.

Figure. 1 The Photograph of Boy
With Luv MV (1:13)

Figure. 1 The Photograph of Boy
With Luv MV (0:22)

Figure. 2 The Photograph of Boy With
Luv MV (2:30)

Figure. 3 The Photograph of Boy With
Luv MV (1:28)

Figure. 2 The Photograph of Boy With
Luv MV (1:32)

Figure. 3 The Photograph of Boy With
Luv MV (0:38)

Table 3 shows, the choreography of Mic Drop is characterized by aggressive, quick
movements, powerful arm motions, fierce footwork, and daring positions. In terms of
denotative, these gestures exhibit strength and confidence, and in terms of connotative, they
are consistent with traditional masculinity, which emphasizes control and power. On the other
hand, Boy with Luv’s choreography is smooth, coordinated, and playful, combining openpalm motions, easy stances, and happy faces from the performers. In a denotative sense, this
produces a warm and inviting visual style. By encouraging an identity that is loving,
approachable, and emotionally expressive, it connotatively challenges the conventional notion
that masculinity must be violent.
Pop Culture’s Shifting Representation of masculinity and BTS The analysis of Boy With
Luv reveals that BTS actively redefines masculinity by challenging traditional hegemonic
norms and promoting emotional openness. This is consistent with the wider cultural trend,
especially in K-pop, where men can embrace sensitivity, emotions, and beauty without
sacrificing their masculinity thanks to soft masculinity. BTS emphasizes an androgynous,
emotionally expressive, and compassionate kind of masculinity in contrast to Western
masculinity, which frequently upholds a strict division between masculinity and femininity
(Bridges 7 Pascoe, 2014). Men can be both strong and sensitive, assertive and affectionate, as
their song, fashion, choreography, and public personas all support. This study confirms earlier
findings that K-pop performers like BTS help change gender norms around the world,
especially in terms of how younger generations view masculinity. The are role models for fans
who want to navigate a more fluid and emotionally honest masculinity, thus their influence
goes beyond just music.

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Why is BTS’s Effort Important? Audiences from all over the world have been making
gender stereotyped remarks about K-pop idols because of their looks, both male and female.
Because they display particular looks or appearances and reveal their emotions, male K-pop
idols frequently encounter toxic masculinity. As a result, many artists refrain from expressing
their feelings or identities in an open manner. Not only does this hurt these K-pop stars, but
as K-pop is gradually gaining popularity around the world, their followers and audiences may
also take the representation negatively. BTS has the ability to positively affect and impact the
world as one the most well-known artists in South Korea and the entire world. Through their
music, campaigns, vocal opinions, and appearances, BTS has been defying traditional gender
norms. BTS is progressively bringing attention to the value of diversity and the liberation from
gender label restrictions through its numerous, small-scale acts. With BTS as one of the starting
step, more artists and audiences from South Korea or even around the world can join their
path to break harmful gender stereotypes.
4. Conclusion
The hegemonic masculine ideals that dominate both Western and Eastern cultures are
challenged by BTS’s embrace of soft masculinity, which has allowed them to successfully
redefine traditional masculinity through their music, performers, and public appearances. In
order to break down inflexible gender norms and promote an inclusive society, their
androgynous fashion choices, emotional transparency, and emphasis on self-love enable a
more fluid concept of gender expression, particularly among their global; audience. By
utilizing signs, symbols, and visual aesthetics, BTS’s music videos Mic Drop and Boy with
Luv convey opposing depictions of masculinity from a semiotic standpoint. Dark colour
schemes, forceful choreography, and streetwear attire are used in Mic Drop to represent
strength, control, and revolt; these elements are consistent with conventional ideas of
hegemonic masculinity. In contrast Boy with luv opposes strict gender stereotypes by creating
a softer, more expressive masculinity through the use of pastel colours, lively motions, and
gender fluid clothes. Being one of the most well-known musical groups in the world, BTS’s
views on masculinity are highly significant in both culture and society. They encourage people
to embrace honesty and reject toxic masculinity by questioning conventional gender
conventions. Because they promote more inclusive and diverse representations of masculinity
in the entertainment sector, their influence goes beyond music. The study of soft masculinity
in global pop culture and pragmatics evaluations of the effects of language on gender identity
will remain crucial research fields in the future for understanding shifting gender dynamics.
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