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"Perilisan Lagu “Plastic Is Fantastic” (2021) karya Oli London, yang berbicara tentang fantasinya tentang operasi plastik, telah mendapat banyak kritik. Salah satu alasannya adalah karena video musiknya dirilis selama Pride Month, bulan ketika komunitas LGBTQ mengadvokasi hak-hak mereka untuk kesetaraan gender, diikuti oleh video dan tweet Oli London yang menyatakan transisi pasca operasinya ke "non-biner" dan "Korean". ”. Untuk menggali lebih dalam pernyataan ini, penelitian ini menggabungkan teori tiga dimensi Fairclough (2003) sebagai kerangka dan analisis semiotik Machin (2010) untuk menganalisis lirik lagu, visual, dan latar belakang sosial budayanya, sehingga berkontribusi pada studi Analisis Wacana Multimodal. Penelitian ini bermaksud untuk menyelidiki konstruksi gender dan identitas dalam lagu “Plastic Is Fantastic”, sistem kekuasaan yang mendasari, dan bagaimana sistem kekuasaan menumbangkan gender dan identitas Korea. Penelitian menunjukkan bahwa lirik dan visual berhubungan dengan identitas Korea karena penggunaan bahasa Korea dalam lirik dan penampilan serta perilaku androgini pemain di sepanjang video. Praktik-praktik ini menimbulkan masalah, terutama ketika aktivitas media sosial terkait operasi plastiknya dihebohkan oleh media massa karena ia secara konsisten menyamakan dan mengeksploitasi status transnya dengan kelompok minoritas lain, seperti orang Korea, LGBTQ, dan kelompok transrasial. Dengan demikian, subversi gender dan identitas hadir sejak produksi identitasnya dikomodifikasi.

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The release of Oli London's Plastic Is Fantastic (2021), which talks about his fantasy of plastic surgery, has been met with considerable criticism. One of the reasons is that his music video was released during Pride Month, a month when the LGBTQ community advocates for their rights for gender equality, followed by other videos and tweets declaring his post-surgery transition to "non-binary" and “Korean”. To dig deeper into this assertion, this study combines Fairclough's (2003) three-dimensional theory as the framework and Machin's (2010) semiotic analysis to examine the song lyrics, visuals, and its socio-cultural background, thereby contributing to the Multimodal Discourse Analysis studies. This study intends to investigate the construction of gender and identity in Plastic Is Fantastic, the underlying power systems present, and how the power systems subvert gender and Korean identity. Research shows that the lyrics and visuals are connected with Korean identity due to the usage of Korean in the lyrics and the performer's androgynous appearance and behavior throughout the video. These practices produced problems, especially when his plastic surgery-related social media activity was stirred up by mass media as he consistently equates and exploits his trans status with other minority groups, such as Koreans, LGBTQ, and transracial people. Thus, the subversion of gender and identity is present since the identity production is being commodified."

"This book examines technology, modern identity, and history-making in Peru by telling the story of the surprising success of Peruvian pilots and how their achievements generated great optimism that this new technology could lift the country out of its self-perceived backwardness. Though poor infrastructure, economic woes, a dearth of technical expertise, and a ghastly number of pilot deaths slowed the project after the first flights over Lima in 1911, the image of intrepid Peruvian pilots inspired a new sense of national possibility. Airplanes seemed to embody not just technological progress but enlightened rationality, capitalist enterprise, and nation-state aggrandizement. By 1928, three commercial lines were transporting passengers, mail, and merchandise from Lima to other parts of the country and South America. The expansion of Peruvian aviation illuminates how a Eurocentric modernizing vision has served as a powerful organizing force in regions with ambivalent relationships to the West. This technology simultaneously naturalized modernity and generated dissatisfaction with inferior or inauthentic results. More broadly, the fitful development of Perus aviation venture underscores the important role that technology plays in larger, complex historical processes. Even as politicians, businessmen, military officials, journalists, and ruling oligarchs felt a special kinship with Perus aviation project, diverse socioeconomic groups engaged aviation to challenge power asymmetries and historical silences rooted in Perus postcolonial past. Most observers at the time considered airplanes a universal technology that performed the same function in Europe, the United States, and Peru. In reality, how Peruvians mobilized and understood airplanes reflected culturally specific values and historical concerns."