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The Korean Society for Journalism & Communication (KSJCS)
[ Article ]
Korean Journal of Journalism & Communication Studies - Vol. 65, No. 3, pp.122-162
ISSN: 2586-7369 (Online)
Print publication date 30 Jun 2021
Received 11 Dec 2020 Accepted 15 May 2021 Revised 01 Jun 2021
DOI: https://doi.org/10.20879/kjjcs.2021.65.3.004

일본 내 글로벌 SVOD 서비스를 통한 한국 드라마 수용

박소정** ; 장인희*** ; 홍석경****
**서울대학교 언론정보학과 BK연구교수 psj25psj25@snu.ac.kr
***서울대학교 언론정보학과 석사 ini902@naver.com
****서울대학교 언론정보학과 교수 skhong63@snu.ac.kr
Watching Korean Dramas through Global SVOD Services in Japan
Sojeong Park** ; Inhee Jang*** ; Seok-Kyeong Hong****
**BK Research Professor, Department of Communication, Seoul National University, first author psj25psj25@snu.ac.kr
***Master, Department of Communication, Seoul National University ini902@naver.com
****Professor, Department of Communication, Seoul National University, corresponding author skhong63@snu.ac.kr

초록

2020년 일본 넷플릭스 종합 시청 순위 1위를 기록한 <사랑의 불시착>을 비롯하여 최근 한국 드라마들의 일본 내 인기 속에서 4차 한류가 제기되고 있다. 이것은 일본 내 한국 드라마 수용의 지형에 의미 있는 변화가 진행 중임을 추정케 한다. 본 연구는 이 변화가 무엇보다 매체 환경의 변화에 의해 추동된다는 관찰에서 시작해, 이 변화의 구체적 특성을 밝히기 위해 넷플릭스로 한국 드라마를 시청하는 일본 수용자들의 경험에 주목한다. 글로벌 시장을 대상으로 하는 SVOD 서비스라는 ‘새로운 미디어 환경’과 <사랑의 불시착>을 비롯한 ‘새로운 드라마’가 일으킨 변화라고 설명되는 일본의 4차 한류의 새로운 점은 무엇인가? 즉, 현재 글로벌 SVOD가 매개하는 드라마를 보는 일본 수용자들에게 한국 드라마 수용은 어떤 경험인가? 이 질문에 답하기 위해 본 연구는 넷플릭스로 한국 드라마를 이용하고 있는 10∼60대 일본인 남녀 수용자 8인을 대상으로 인터뷰를 수행했다. 글로벌 SVOD 서비스가 한국 드라마를 실시간에 가깝게 유통하는 환경 속에서 일본 수용자들은 다양한 글로벌 콘텐츠 중 신뢰할 만한 콘텐츠로서 한국 드라마를 선택하여 수용하고 있다. 이것은 20여 년에 가까운 기간 동안 누적 및 확장된 일본 내 한류의 영향 속에서 쌓아온 친숙도를 바탕으로 하는 신뢰이기도 하지만, 한국 드라마의 질적 우수성 또한 수용자들이 중요하게 인식하고 있는 요소로 부상하고 있다는 점이 주목할 만하다. 즉, 한국 드라마에 대한 퀄리티 담론이 형성되고 있는 것이다. 또한 한일 간의 정치적 관계가 수년간 긍정적 계기를 맞지 못하고 있는 가운데 이러한 한국 드라마 수용 경험은 아래로부터의 문화 교류 및 상호인식을 촉진함으로써 긍정적 가능성을 지닌다. 한국 드라마 텍스트가 페미니즘 및 젠더적 차원에서 진보적 이정표를 제공하고 있다는 점에서 그러한 가능성을 발견할 수 있다. 이로써 일본 수용자들에게 한국 드라마는 일본의 과거를 발견하는 콘텐츠나 문화적 근접성을 갖고 소비되는 트렌디 콘텐츠를 넘어, 텍스트의 질적 측면이나 메시지의 측면에서 일본의 미래를 투사해보는 콘텐츠로 그 위상을 바꾸어 가고 있다.

Abstract

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.

Keywords:

Korean drama, Hallyu, Netflix, Japanese audience

키워드:

한국 드라마, 한류, 넷플릭스, 일본 수용자

Acknowledgments

This study was financially supported in part by the Institute of Communication Research, Seoul National University. (이 연구는 2021년 서울대학교 언론정보연구소 연구기금의 지원을 받았습니다.)

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