Evolution of K-Content Production and Business Models in the Korean Broadcasting Industry - Issue 9 - December 2025

Aug 24, 2026

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The study analyzes the evolution of K-content production and business models in Korea’s broadcasting industry through platform capitalism theory and the C-P-N-D (Creation-Production-Network-Distribution) model. It traces how global OTT entry reshaped production practices and accelerated the Korean Wave (Hallyu) since 2016. The paper compares Korean and American drama systems, explains defining traits of K-content, and details OTT-driven shifts in investment, distribution, scheduling, episode structures, and global engagement with Hollywood.

LanguageEnglish

CategoryResearch & Report

FormatPDF

Pages16

Reading Time40 min

AccessFree to download

Introduction

Evolution driven by global OTT platforms

Origins and regional expansion of the Korean Wave

Industry scope and market indicators

Export performance and broadcasting-focused results

Evolution of K-Content Production and Business Models in the Korean Broadcasting Industry

| KOREA EUROPE REV IEW | ISSUE—9 | DECEMBER 2025 | | --- | --- | --- | Article history Submitted: 10 Dec 2024 Accepted: 31 Aug 2025 Published: 23 Dec 2025 Corresponding author KonshikYu Korean Broadcasting System, South Korea Evolution ofK-Content Production and Business Models in the Korean Broadcasting Industry Konshik Yu Abstract The study is framed within the context of platform capitalism theory and the C-P-N-D (Creation-Production-Network-Distribution) model. Korean broadcasting content has grown from regional popularity in Asia to a global cultural phenomenon, marked notably by the film Parasite winning the 2020 Academy Award for Best Picture, the monumental success of the series Squid Game in 2021, and the popularity of KPop Demon Hunters in 2025. This study examines the distinctive features of K-content production methods and their role in fueling the Korean Wave (Hallyu) . It compares Korean and American drama production systems, highlighting differences in episode formats, script approval processes, and distribution strategies: Korean dramas commonly utilize a mini-series format that enables swift production and near-simultaneous online release, whereas American dramas typically follow a season-based model with syndication. Key characteristics defining K-content include a wholesome and feel-good appeal, deep emphasis on empathy, compelling storytelling, curiosity, the strength of Korean creative talent, glocalized storytelling, the influence of Netflix, and intense domestic competition. Following the advent of global OTT platforms, production practices have evolved significantly, reshaping distribution models, expanding narrative diversity, increasing blockbuster-level investments, enabling multi-season productions, decoupling content scheduling from traditional advertising seasons, shortening episode counts with flexible lengths, broadening global reach, and fostering greater engagement with Hollywood. Keywords: K-Drama, Korean Wave (Hallyu), OTT platforms, Platform Capitalism, Content Production | KOREA EUROPE REV IEW | ISSUE—9 | DECEMBER 2025 | | --- | --- | --- | 1. Introduction This study aims to examine how the entry of global OTT(Over-the-Top) platforms has increasingly transformed the production methods and business models of K-content in Korea, and how these changes contributed to the global rise of the Korean Wave (Hallyu) since 2016. While the rise of OTT platforms has introduced investment opportunities and market expansion, the paper also recognizes challenges such as monopolistic tendencies, rising production costs, and risks of creative homogenization. In particular, production environments for K-content underwent major profound transformations in the Korean media landscape for a decade after Netflix launched its Korean service in 2016. The Korean Wave is considered to have started with the MBC drama What’s Love? which aired on China’s CCTV from June 15, 1997, recording an average viewership rating of 4.35% . What’s Love? was so popular that it ranked second in China’s all-time foreign film viewership ratings. There are many theories about the origin of the term “Korean Wave,” but it was first used in Taiwan’s China Times on December 12, 1997 (Jeong 2019) . Different genres led the Korean Wave during various periods: dramas in the mid-1990s, music in the late 1990s, dramas and movies in the mid-2000s, K-Pop and games in the late 2000s, and dramas and K-Pop after the 2010s. Regionally, it was popular in China and Southeast Asia in the 1990s, Southeast Asia in the early 2000s, Japan in the mid-2000s, Central Asia, West Asia, Southeast Asia, and Japan in the late 2000s, and grew significantly in China in the mid-2010s (Yu 2017) . Especially notable milestones include the film Parasite’s 2019 Academy Awards sweep (Best Picture and three additional Oscars), the 2022 Emmy wins for the series Squid Game (Best Director and Best Actor), and the domestic original musical Maybe H

FAQs

What theoretical framework guides the study of K-content production?

The study uses platform capitalism theory and the C-P-N-D (Creation-Production-Network-Distribution) model to analyze how production and distribution systems evolve under OTT platforms.

How do Korean and American drama production systems differ?

Korean dramas often use a mini-series format enabling swift production and near-simultaneous online release, while American dramas typically follow a season-based model with syndication.

What major changes followed the rise of global OTT platforms?

OTT growth reshaped distribution models, expanded narrative diversity, increased blockbuster-level investment, enabled multi-season production, decoupled content scheduling from traditional advertising seasons, shortened episode counts with flexible lengths, and broadened global reach.

Aug 24, 2026

Upload by Levi