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The Korean Society for Journalism & Communication Studies (KSJCS)
[ Article ]
Korean Journal of Journalism & Communication Studies - Vol. 68, No. 1, pp.5-37
ISSN: 2586-7369 (Online)
Print publication date 29 Feb 2024
Received 29 Nov 2023 Accepted 29 Jan 2024 Revised 31 Jan 2024
DOI: https://doi.org/10.20879/kjjcs.2024.68.1.001

‘친절한’ 일본 순사는 재현 가능한가? : OTT 드라마 리얼리티와 수용자 자원론에 관한 시론적 탐구

임종수**
**세종대 미디어커뮤니케이션학과 교수, 세종대 미디어어낼리틱스연구소 겸임 jslim123@sejong.ac.kr
Is It Possible to Reproduce a Friendly Japanese-Imperialist Constable? : An Exploratory Inquiry into the Reality of OTT Drama and Audience Resource
Jongsoo Lim**
**Professor, Dept. of Media and Communication, Sejong University jslim123@sejong.ac.kr

초록

2022년 애플TV플러스에서 출시한 드라마 <파친코>는 이듬해 방송계의 퓰리처상이라 불리는 피버디상을 수상했다. “진보적이고 글로벌하며 미래지향적인 비전 비전을 제시”했다는 이유에서다. <파친코>는 일제 강점기 피식민자들의 디아스포라 서사, 즉 피할 길 없는 이산의 피식민자와 그들 후손들이 겪는 정체성 혼종의 감정구조에 주목한다. 이는 기존 TV 드라마가 억압과 희생, 자각과 저항의 서사로 그려왔던 것과 비교된다. 또한 악독하고 폭력적이며 비열하기까지 했던 이전의 일본 순사의 이미지와 달리, <파친코>의 일본 순사는 피식민자 통치에 가차없을지언정 비열하게 그려지지는 않는다. 심지어 <파친코>의 일본 순사는 피식민자를 계몽하고 호의를 베풀며 그들의 문화에 호기심을 보이기도 한다. 이런 낯선 모습은 넷플릭스 오리지널 <엄브렐러아카데미>에 등장하는 욱일기가 가학의 표상이 아닌 그 시대를 암시하는 기능적 표상으로 쓰인 것과 의미론적으로 병행한다. 우리에게 낯설고 한편으로 불편하기까지 한 이같은 재현은 어떻게 해서 가능한가? 이 글은 글로벌 OTT 드라마의 서사적 차별성과 그것을 뒷받침하는 물적 조건의 관계를 탐구하는 시론적 연구이다. 민족국가 내 삶의 문제를 당사자와 그 후예들의 시각에서 서사화해왔던 지금까지의 TV 드라마와 달리, OTT 드라마는 글로벌 시청자의 구독료와 욕망을 고려해 창작한 콘텐츠이다. 이는 매스미디어 콘텐츠와 광고 시장의 작동 매커니즘으로 설명해 온 전래의 ‘수용자 상품론’(audience commodity)이 설명하지 못하는 현상이다. <파친코>의 차별적인 서사는 OTT 수용자가 플랫폼 클라우드라는 ‘땅’의 이용 대가로 제공하는 월 구독료와 시청활동 데이터라는 경제적 지대(rent) 개념으로 사고해야 한다. 이 글은 OTT의 콘텐츠를 ‘수용자 자원론’(audience resource)의 틀에서 바라볼 것을 제안한다. 이는 이 시대의 대중문화가 기존의 공통문화(common culture)가 아니라 보편문화(universal culture)로 전환되고 있음을 암시한다. 이로써 우리는 진보적이고 글로벌하며 미래지향적인 비전이라는 평가의 근원을 알 수 있다. 이 연구는 OTT 정치경제학과 글로벌 대중문화의 새로운 도전에 대한 관심을 촉구한다.

Abstract

AppleTV+ series Pachinko(2022) was honored with the Entertainment category at the 2023 Peabody Awards, often referred to as the Pulitzer Prize in broadcasting, for presenting "a progressive, global, and future-oriented vision." Pachinko focuses on the diasporic narrative spanning the Japanese colonial to post colonial era, specifically highlighting the nuanced structure of feeling associated with the hybrid identity of diasporan colonists and their descendants. In contrast to the conventional TV drama narrative portraying oppression, sacrifice, self-awareness, and resistance during that era, Pachinko diverges from that image. For instance, previous Japanese-imperialist constable was vicious, violent, and even cruel, while the one in Pachinko is not portrayed in the same manner, despite the relentless colonial rule. The Japanese-imperialist constable in Pachinko enlightens, grants favors to the colonized, even expresses interest in the colonized culture. This unconventional image is consistent with the use of the Rising Sun Flag in Netflix's original Umbrella Academy, which serves as a function representation evoking the era rather than signifying imperialistic brutality. The question arises: how is this representation, which may appear new and even unsettling to us, made possible? This article conducts an exploratory study investigating the relationship between the narrative differentiation of global OTT dramas and the underlying conditions supporting them. Traditional TV dramas have often depicted a nation's images and issues via the eyes of the concerned parties, including the advertiser and the TV viewer. OTT dramas, on the other hand, are made with subscription fees in mind, as well as the preferences of both local and worldwide audiences. The traditional concept of 'audience commodity,' which describes how mass media content and advertising markets work, cannot adequately explain this transformation. The distinctive narrative of Pachinko is intertwined with the elements of rent, involving both monthly subscription fees and viewing activity data that OTT users provide as compensation for using the ‘land’ of platform, commonly referred to as a cloud. This article posits this phenomenon within the new framework termed ‘audience resource.’ It implies a shift from traditional common culture to a more universal culture in contemporary popular culture. To this end, this study aims to 1) examine how global OTT narratives based on historical facts differ from the traditional TV dramas through case analysis of Pachinko, 2) consider the differences between legacy media and OTT's creative capital, 3) critically revisit the existing audience commodity theory. These works eventually lead to 4) the need to devise a hypothetical concept so-called audience resource, in which the reproduction of OTT content is ultimately made using the world wide audience finances, viewing data, and algorithms. We call for an attention to OTT political economy and the new challenges in global popular culture.

Keywords:

OTT Drama, Audience Resource, Audience Commodity, Political Economy of the Media, Pachinko

키워드:

OTT 드라마, 수용자 자원론, 수용자 상품론, 미디어 정치경제학, 파친코

Acknowledgments

This work was supported by the Ministry of Education of the Republic of Korea and the National Research Foundation of Korea(이 논문 또는 저서는 2022년 대한민국 교육부와 한국연구재단의 일반공동연구지원사업의 지원을 받아 수행된 연구임)[NRF-2022S1A5A2A03051182].

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