인터넷 환경에서의 대중음악규제 양상: 청소년 유해음반 지정과 해제를 중심으로

Abstract

In the history of Korean popular music, government regulations and cancellations can be summarized as: the cancelling of banned songs (1987), abolition of the pre-deliberation system (1996), and cancellation of the designation of music as harmful to the youth (2012). A major change after the abolition of the pre-deliberation system (1996) is that the goal of popular music regulation changed to ‘protection of youth’, resulting in the emergence of strong resistance from popular musicians and music listeners.
 In 2012, Psy’s <Gangnam Style> topped the Billboard charts and gained millions of views on YouTube, but <Right Now> (announced in 2010) was designated as a harmful song to the youth due to its alcohol drinking-related expressions, making it difficult for teenagers and foreigners to access. The Ministry of Gender Equality and Family, which is in charge of designation, prepared the detailed standards for deliberation in 2011 to supplement these problems. Furthermore, in 2012, the ministry decided to cancel the designation of 297 songs among those judged as harmful. The cancellation of the designation of music harmful to youth in 2012 was a major event comparable to the lifting of the banned music in 1987 and the abolition of the preliminary review system in 1996.
 The designation of popular music as songs harmful to the youth aroused opposition from many singers and production companies. When <Hands Up> sung by 2PM was designated as a harmful song, strong complaints were raised from fans, and the Ministry of Gender Equality and Family enacted the ‘Enforcement Rules’ for deliberations to be objective. However, despite the ministry’s efforts, Family, opposition to the designation of media as harmful continued. In particular, a series of incidents related to Psy’s <Right Now> occurred in the process of publicizing fans through the internet. In the simple 인터넷 환경에서의 대중음악규제 양상 권정구 59 structure of ‘stars and fandoms’, ‘stars and fandoms and netizens at home and abroad’ were added to expand the scope. Teenagers who prefer internet videos could go beyond PC communication generation and become a strong force of resistance to popular music regulations. As the media environment changes, music producers are proceeding with legal actions against popular music regulations, while music audiences are also expressing their dissatisfaction by attacking the homepage, making complaint calls, and these actions are gradually extending to the younger age group. ‘Youth protection’ is gradually changing from regulation of popular music content to an area that protects participants (singers, performers, etc.).