“Cultural messages on the rewards of thinness and the punishments of obesity are everywhere. … Most women accept society’s standards of beauty as “the way things are,” even though these standards may undermine self-image, self-esteem, or physical well-being” (Hesse-Bieber, 616).
[oo:10:45]
Jung-min: There are 3 types of women for men. Look. Pretty ones. They’re a treasure. The average ones. We’re a present. You? A reject! Get it now?
[01:02:12]
Jung-min: Remember 3 types of women I told you about?
Hanna: I’m a pretty one now.
Jung-min: No. It doesn’t apply. You know why? Those with plastic surgery aren’t women. But monsters.
Jung-min: All men are the same. They say plastic surgery is okay, but not with their girls. That’s men. And Sang-jun is a typical [South Korean] man. Or he’s gay.
Hanna’s best friend, Jung-min, illustrates the mindset and awareness of the “most women” (context: In the Hesse-Bieber reading, she talks about and defines the average, media savvy––and media-conscious––woman that describes the women of the society) in society that “accept society’s standards of beauty as ‘the way things are[,]’ and clearly defines the hierarchy in these “standards[.]” Not only is Jung-min trying to ‘educate’ Hannah about the social systems––the “standards[,]” but she also embodies all aspects of “most women” in South Korean society. (616)
“A woman’s sense of worth in our culture is still greatly determined by her ability to attract a man. Social status is largely a function of income and occupation. … Even a woman with a successful and lucrative career may fear that her success comes at the expense of her femininity.” (616)
[00:24:04]
Sang-jun: Hanna is the one to be crying. She’s talented but ugly and fat. You’re untalented but gorgeous and sexy. You got it all going.
Sang-jun outlines the way the industry––and “our culture”––works; Hanna is considered worthless regardless of her voice and talent since her ability to attract a man is insufficient; Ammy, on the other hand, thrives from her attractiveness and her femininity at the expense of her individuality (and the possibility of actually improving her singing).
Hanna, after her transformation, gains a new privilege––her attractiveness––that almost make her feel infinitely powerful. [00:36:35]; [00:39:00]; [00:40:57]; [00:41:10]; [00:42:28].
However, Hanna struggles to keep up with the “ideal” image of attractive women; she is discouraged when she cannot attract the man of her dreams, Sang-jun.
[00:59:18]
Dr. Lee: Do you know what it is? It’s lack of confidence. Didn’t I tell you? Unless you act confidently, you can’t win his heart. Beauty is attitude.
The plastic surgeon later uses fashion magazines to ensue in Hanna the “attitude” and “self-esteem,” which she mimics in hopes of attracting Sang-jun. What the plot of the film refreshingly takes on to present us with the male character who, in the end, does not go by the standards of the media and society. (He still gets a “perfectly-thin” girlfriend.) However, how can anyone expect to gain self-confidence and “attitude” from the images in the magazine that uphold unnatural sexuality and put down the “real” self-identity of the reader?
Hanna soon realizes that her sense of worth is not justified by the superficial attention she receives, and that the standard of “attractiveness” may never be satisfied.
[00:51:25]
Pres. Choi: By the way… Let’s get your face fixed up. Slit your eyes bigger, and get your nose raised.
Hanna: Wait. Are you telling me that I’m not pretty enough?
[01:33:47]
Hanna: It’s scary. So I’m only a product. Hanna is worthless, but Jenny is a fortune. Is that it? Because of you, [I’ve been thinking] that I’ve been deceiving you. It’s been so hard. Now I see I was a big fool.
gender&media 