Not just Netflix: Interventions of Korea's domestic streamers

Abstract

Korean video culture has changed from a broadcast-focused culture into a diversified experience that includes a variety of videos from both domestic and global streaming services. Contrary to the mainstream view that Netflix is at the centre of all changes, this study positions the domestic streamers’ original content as not necessarily a direct response to Netflix but indicative of the many changes that were already occurring in the local media landscape. Their content has adapted to fit viewers’ changing lifestyles and desire for stories not seen on television. Efficient everyday storytelling fits into viewers’ busy commuter lifestyles and features mundane topics that they can easily identify with. Also, the domestic streamers cater to small, underserved audiences with regard to specific topics avoided by traditional media. Thus, the original content of domestic streamers indicates that they offer different value propositions than formulaic romance stories by broadcasters and the high-end, large-scale original dramas of subscription video on demand (SVOD).

Beyond Netflix: Ownership and content strategies among non-US-based video streaming services

“…In much of the world streaming has taken hold because of underlying consumer dissatisfaction with such services, but uptake has been slower in Korea in a way that suggests viewers were satisfied with the considerable choice and value IPTV offered. But the country's competitive dynamics made it difficult to develop different kinds of content beyond the romances known to do well and export strongly (see Kang, 2024 in this issue). The streaming services have helped to expand the storytelling range and illustrate viewer interest in genre dramas (Kang, 2023).…”