Initiatives
Partners:
Center for Hallyu Studies –Seoul National University
School of Communication –Simon Fraser University
This collaborative project examines the impact of Netflix, the leading online streaming platform, on the production, distribution, and consumption of South Korean cultural industries in the expanding global media market. We will pose two overarching questions. Firstly, this study examines the impact of the SVOD service, particularly Netflix, on the South Korean film and TV industries since its inception in 2016. Historically, the majority of South Korean dramas that gained international recognition were primarily in the genres of romantic comedy and costume dramas. Netflix has made significant investments in a wide range of genres, such as teen crime, zombie, monster, Sci-fi melodrama, reality, and stand-up comedy. South Korean creators have been actively developing these ‘new’ genres for global audiences, while also struggling with the challenges of representing gender, ethnic minorities, and youth cultures. Netflix’s significant influence as a worldwide digital platform has prompted South Korean cultural creators to adapt their production practices in order to align with the new environment shaped by Netflix. The rapid growth of Netflix has also dismantled the long-standing division system between TV and film production in South Korea. The dynamic media landscape gives rise to conflicts between global and local SVOD platforms, as they worry about the diminishing influence of the local culture sector and the erosion of cultural heritage. We will thoroughly analyze all the concerns brought up in the initial overarching questioning.
Secondly, in relation to the first question, we ask how Hallyu, the Korean Wave, is shifting the global content industries through Netflix. The widespread global appeal of various Korean TV dramas and films on Netflix has radically transformed the role of mediators in today’s media landscape. Digital platforms, especially SVOD platforms, generate many ways of circulating media. Contrary to earlier stages, the transnationalization of local cultural content is now not only global but also simultaneous. In the initial phases of global cultural dissemination, individuals were required to either purchase cultural content or attend theaters and concert halls in order to partake in it. Nevertheless, digital networks, encompassing both SVOD and social media platforms, have transformed global cultural marketplaces into a cohesive and interconnected market, enabling worldwide audiences to appreciate local culture with no time difference. Again, Squid Game was popular in over 90 countries almost simultaneously, and it was a genuinely global sensation. By engaging with the Korean Wave’s digital mediascape, global audiences who otherwise would not have been exposed or attracted to such non-Western media are integrated into transnational cultural flows. With this academic endeavour, we hope to shed light on current debates and place them in contexts relevant to future work in transnational cultural studies.
