ScholarWorks@숙명여자대학교

초록

Today, K-pop has transcended its identity as a mere musical genre to become a multidimensional form of visual and artistic expression. In particular, its music videos increasingly eschew traditional, narrative-driven structures in favor of immersive sensory experiences and abstract visual language. This shift invites multi-layered and decentralized interpretations ad reflects broader trends in postmodern aesthetics. This study applies Gilles Deleuze and Félix Guattari’s theory of the Rhizome as a conceptual framework to analyze the visual language of Jennie’s music video ZEN. Characterized by a meditative ambiance and fluid sensory flow, ZEN constructs a non-linear, decentralized visual experience through the interplay of light, space, the body, and elements of nature. These components are interconnected without a central organizing principle, mirroring rhizomatic principles such as multiplicity, non-hierarchical organization, connectivity, and deterritorialization. Through this theoretical framework, the research interprets ZEN as a prime example of non-narrative visual aesthetics within K-pop media. The findings suggest that such content challenges conventional modes of storytelling and expands the interpretive and aesthetic possibilities of contemporary visual design. Ultimately, ZEN illustrates how K-pop, as a cultural phenomenon, operates as a rhizomatic system that contributes to the diversification and enrichment of global popular aesthetics.

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