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일본 내 글로벌 SVOD 서비스를 통한 한국 드라마 수용
박소정(Sojeong Park),장인희(Inhee Jang),홍석경(Seok-Kyeong Hong) 한국언론학회 2021 한국언론학보 Vol.65 No.3
The current popularity of Korean dramas in Japan—including Crash Landing on You (tvN, 2020), which ranked first place in the 2020 rankings of Netflix Japan—is suggesting the emergence of a 4th Hallyu in Japan, implying a change in the reception of Korean dramas among the Japanese audience. This study seeks to understand the specific aspects of this change by focusing on the experiences of the Japanese audience who watch Korean dramas on Netflix. What is new about the current Hallyu phenomenon in Japan, where global SVOD platforms mediate Korean dramas? Furthermore, what significance can we interpret from this? To answer these questions, this study conducted in-depth interviews with 8 Japanese viewers of different ages and gender and observed Japanese news articles on the 4th Hallyu or Crash Landing on You. Our findings reveal that Netflix plays a significant role in attracting Japanese viewers to Korean dramas as it provides the latest Korean dramas in real-time and its recommendation system prompts the audience to explore more Korean dramas. Secondly, another remarkable reason that the Japanese audience chooses Korean dramas among other various global content is the growing quality of Korean dramas. With the qualitative turn in the 2010s, Korean dramas have been gradually growing in scale and in quality through changes in production systems and with the production of Korean Netflix Originals. These changes have shifted the preconceived notion that Japanese people have had of Korean dramas, that they mostly show old-fashioned melodramatic stories or light romantic comedies aimed primarily at the female audience. All of the interviewees had a high opinion of the current Korean dramas, saying that they are a good blend of sophisticated stories and spectacular scenes. Therefore, among Japanese viewers, Korean dramas are regarded as an outstanding form of global content rather than the content that Japanese people consume based on nostalgia or cultural proximity. Lastly, this study discusses the political implications of the reception of Korean dramas by the Japanese audience. While political relations between Korea and Japan have not met a positive moment for the last several years, the reception of Korean dramas seems to promote cultural exchanges and mutual awareness in terms of cultural politics. In particular, it is noteworthy that the narratives and characters of recent Korean dramas provide progressive milestones for feminism and gender discourse in Japanese society. In conclusion, Korean dramas are shifting to a more high-quality global content that represents the future of drama production in Japan, beyond the nostalgic or romcom-style content consumed based on cultural proximity.
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