韩流的平台化:一个批判的视角

IF 1.2 Q3 COMMUNICATION
Dal Yong Jin, Kyong Yoon, Benjamin Han
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引用次数: 0

摘要

摘要本文从批判政治经济学的角度,运用文化生产的平台化,分析了韩国文化产业向韩流平台化阶段的过渡。通过讨论在不断变化的全球媒体环境中高度跨国和平台化的韩流,研究Netflix如何通过投资原创内容创作、授权韩国内容、韩国制作分包等各种战略将韩国广播产业平台化和占有化。这些战略表明,韩国文化产业企业已经从属于并依赖于全球OTT平台。鉴于Netflix等全球平台日益增长的影响力,本文探讨了文化生产平台化对韩流跨国文化流动的影响。关键词:平台韩国文化产业netflix文化产业文化生产韩流(韩流)披露声明作者未报告潜在利益冲突。韩流是指在20世纪90年代末和21世纪初,以“韩国制造”和“韩国名人”为代表的本土文化产业的成长和跨国文化现象。在此期间,韩国的地面广播电视节目《冬季恋歌》(2002年)和《大长今》(2003年)在亚洲和世界其他地区获得了意想不到的高收视率。全球观众开始欣赏这些被广泛称为韩剧的电视剧和获奖的韩国电影,同时寻找他们最喜欢的韩国流行音乐。由于全球OTT平台的出现,浪潮进一步发展,参与了更复杂的生产和消费过程。OTT平台揭示了流行文化与技术之间的各种协同互动。正如新闻稿分销商Business Wire (Citation2021)所分析的那样,智能数字设备、高速互联网、虚拟现实(VR)、增强现实(AR)和5g蜂窝网络等几种不同形式的数字技术有助于OTT市场的增长。消费者越来越喜欢流媒体内容,而不是广播或有线电视,这导致了对OTT产品的高需求,这促进了OTT服务和技术的发展。这样一来,新数字技术的进步加速了当地文化产业的平台化,而OTT平台则影响了当地IT和媒体产业前沿技术的发展。本研究得到了韩国研究学院[AKS-2022-LAB-2230004]的支持。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Platformization of the Korean Wave: a critical perspective
ABSTRACTBy employing the platformization of cultural production from a critical political economy approach, this article analyzes the transition of the Korean cultural industries to the platform-driven phase of Hallyu. By discussing the highly transnationalized and platformized Korean Wave in the shifting global media environment, it examines how Netflix platformizes and appropriates the Korean broadcasting industry through various strategies, such as investing in original content creation, licensing Korean content, and subcontractualization of Korean production. These strategies reveal that Korean cultural industry firms have become subordinated to, and rely on, global OTT platforms. In light of the growing influences of Netflix and other global platforms, the article explores the implications of the platformization of cultural production for the transnational cultural flows of Hallyu.KEYWORDS: PlatformKorean cultural industriesNetflixcultural industriescultural productionThe Korean Wave (Hallyu) Disclosure statementNo potential conflict of interest was reported by the author(s).Notes1. The Korean Wave refers to the growth of local cultural industries and a transnational cultural phenomenon, which was originally represented by made-in-Korea content and celebrities in the late 1990s and early 2000s during which Korean terrestrial broadcasters’ TV shows, such as Winter Sonata (2002) and Dae Jang Geum (2003), gained unexpectedly high viewership in Asia and other parts of the planet. Global audiences began enjoying these dramas, widely known as K-dramas, and award-winning Korean films, while searching for their favourite K-pop. The Wave has evolved further, engaging with more complex processes in production and consumption due to the emergence of global OTT platforms.2. OTT platforms reveal various synergetic interactions between popular culture and technologies. As press release distributor Business Wire (Citation2021) analysed, several different forms of digital technologies, such as smart digital devices, high-speed Internet, virtual reality (VR), augmented reality (AR), and 5 G cellular network, contribute to the growth of the OTT markets. Growing consumer preference to streaming content over broadcasting or cable TV has entailed high demands for OTT products, which has facilitated the growth of OTT services and technologies. In this manner, the advancement of new digital technologies has expedited the platformization of the local cultural industry, while OTT platforms have influenced local IT and media industries’ development of cutting-edge technologies.Additional informationFundingThe work was supported by the Academy of Korean Studies [AKS-2022-LAB-2230004].
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来源期刊
CiteScore
2.40
自引率
8.30%
发文量
21
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