This paper discusses, on the one hand, the South Korean (hereafter Korea) OTT (over the top) video market and the struggles of foreign SVOD (subscription video on demand) services in Korea. On the other hand, it looks at the distribution of Korean media content in a global context through digital platforms. The primary example chosen is Netflix.
First, I will briefly review the selected literature, then list the rationale and thesis before explaining why a political economy approach is used, and what theoretical framework is applied in the analysis. In the main section, the objects of analysis are the highly competitive Korean OTT market, and the role of Netflix in the distribution of Korean content outside of Korea. Finally, in the conclusion, I will reiterate the rationale, and state how I have argued the thesis statement. Additionally, the main findings will be summarized, and the usefulness of the selected theoretical framework evaluated.
Table of Contents
1 Introduction
1.1 Literature Review
1.2 Rationale, Thesis and Approach
1.3 Theoretical Framework
2 The Korean OTT Market
2.1 Netflix in Korea
3 Korean Media Content in a Global Context
4 Conclusion
Research Objectives and Topics
This paper examines the dynamics of the South Korean over-the-top (OTT) video market, focusing on the challenges faced by foreign services like Netflix. It analyzes how digital platforms facilitate the global distribution of Korean media content while simultaneously functioning as channels for Western dominant media flows.
- Analysis of the competitive South Korean OTT video market landscape.
- Investigation of Netflix's market entry and performance in South Korea.
- Examination of media convergence and its impact on global media flows.
- Exploration of "Hallyu" (Korean Wave) as a form of media contraflow.
- Evaluation of the tension between Western dominant flows and non-Western cultural exports.
Excerpt from the Book
1.3 Theoretical Framework
The main theories applied in this analysis are media flows, namely dominant flow and contraflow. Most media products that are consumed globally are created in the West, especially the US, which means that these few countries have a significant cultural influence on the rest of the world. This is what Thussu (2019) calls dominant flows of information. However, Thussu also stresses that there is not just a one-way flow of information. Instead, there is a noticeable reverse flow of media products from non-Western countries to other parts of the world, which is called contraflow ( Audenhove, Iordache, & Loisen, 2018, p.4; Thussu, 2019, p.191).
Another aspect considered is media convergence. Many definitions of convergence are available, but in this paper it describes the merging of new and old technologies as well as media content. Therefore, convergence can either enable the usage of several services on one digital platform or device, or it can make services available on different platforms or devices. This technological occurrence entails continuous social, cultural, and economic shifts (Dwyer, 2010, pp.2-3, 8). For example, the convergence of traditional television and the Internet resulted in online video streaming. On the one hand, new digital innovations continue to reinforce US dominance. On the other hand, they also enable contraflows and help to challenge the traditional hegemony of Western media. Consequently, media convergence and contraflow can possibly change the power structures in the global media economy (Thussu, 2019, p.191).
Summary of Chapters
1 Introduction: Provides an overview of the research topic, including the South Korean OTT market context and the role of Netflix in global media distribution.
1.1 Literature Review: Discusses the existing academic discourse on the "Korean Wave" (Hallyu), digital technology, and the competitive nature of the Korean online video market.
1.2 Rationale, Thesis and Approach: Outlines the paper's central argument that media convergence facilitates both dominant Western media flows and Korean contraflows.
1.3 Theoretical Framework: Explains the core concepts of dominant flow, contraflow, and media convergence used to analyze global power structures in media.
2 The Korean OTT Market: Analyzes the historical emergence of OTT services in Korea and the impact of existing media value chains and business models.
2.1 Netflix in Korea: Examines Netflix's specific challenges and strategies within the South Korean market regarding pricing and consumer preferences.
3 Korean Media Content in a Global Context: Explores the rise of Korean media exports and the role of digital platforms in turning Hallyu into a transnational phenomenon.
4 Conclusion: Summarizes findings regarding how Netflix balances Western content dominance with the distribution of Korean popular culture.
Keywords
Netflix, South Korea, OTT, Hallyu, Media Convergence, Contraflow, Dominant Flow, Digital Platforms, SVOD, Korean Wave, Media Flows, Globalization, Cultural Export, Media Hegemony, Transnationalism
Frequently Asked Questions
What is the primary focus of this research?
The research focuses on the South Korean OTT video market and the role of Netflix in distributing Korean media content globally.
What are the central themes discussed in the paper?
The central themes include the dynamics of media convergence, the competition between foreign SVOD services and local providers, and the interplay between Western dominant flows and Korean contraflows.
What is the main thesis or research question?
The paper argues that media convergence allows Western streaming services to simultaneously distribute dominant Western content and non-Western contraflow, such as Korean media.
Which scientific methods are employed?
The paper utilizes a political economy approach to analyze media markets and synthesizes existing scholarly literature on digital media flows and industrial strategies.
What topics are covered in the main section?
The main section covers the competitive landscape of the Korean OTT market, the specific challenges Netflix faced during its entry, and the growth of Hallyu on digital platforms.
What are the key terms that define this work?
Key terms include OTT, Hallyu, Media Convergence, Contraflow, Dominant Flow, and SVOD.
Why does Netflix face challenges in the South Korean market?
Netflix struggles in Korea due to high price competition, the prevalence of bundled subscription services, and a historical lack of local Korean content compared to domestic rivals.
How has Netflix reacted to the popularity of Korean culture?
Netflix has increasingly licensed and co-produced Korean content, such as 'Okja' and 'Kingdom', to attract local subscribers and cater to a global demand for K-dramas.
- Arbeit zitieren
- Mara Kasten (Autor:in), 2019, Netflix's role in the South Korean over-the-top-video market, München, GRIN Verlag, https://www.grin.com/document/1014090
