Genre in transnational television - A case of Netflix Originals Korean dramas

Aug 21, 2026

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Recently, South Korea has become a major content provider for Netflix, and this paper investigates how genre conventions and local determinants operate in transnational television. It analyzes the textual characteristics of five Netflix Originals K-dramas released from 2020 to 2022: Sweet Home, My Name, Squid Game, Hellbound, and All of Us Are Dead. The findings show genres evolve through homogenization and heterogenization, with universal values homogenizing, while traumatic collective memories and political-economic conditions heterogenize. The study also highlights the role of webtoons and advances genre studies and transnational television research.

LanguageEnglish

CategoryResearch & Report

FormatPDF

Pages32

Reading Time1 h 21 min

AccessFree to download

Introduction

Background and research gap

Genre evolution in SVODs

Research focus and method

Selected Netflix Originals K-dramas (2020–2022)

City Research Online City St George’s, University of London Citation: Yoon, H. & Lee, J. (2025) . Genre in transnational television: A case of Netflix Originals Korean dramas. Television & New Media, 26(2), pp. 243-258. doi: 10.1177/15274764241265040 This is the accepted version of the paper. This version of the publication may differ from the final published version. To cite this item please consult the publisher's version. Permanent repository link: [https://openaccess.city.ac.uk/id/eprint/33178/](https://openaccess.city.ac.uk/id/eprint/33178/)[ ](https://openaccess.city.ac.uk/id/eprint/33178/)Link to published version: [https://doi.org/10.1177/15274764241265040](https://doi.org/10.1177/15274764241265040) [Copyright and Reuse:](Copyright and Reuse: Copyright and Moral Rights remain with the author)[ Copyright and Moral Rights remain with the author](Copyright and Reuse: Copyright and Moral Rights remain with the author)([s](s)) and/or copyright holders. Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge, unless otherwise indicated, provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. For full details of reuse please refer to City Research Online policy. City Research Online: [http://openaccess.city.ac.uk/](http://openaccess.city.ac.uk/ publications@citystgeorges.ac.uk)[ ](http://openaccess.city.ac.uk/ publications@citystgeorges.ac.uk)[ publications@citystgeorges.ac.uk](http://openaccess.city.ac.uk/ publications@citystgeorges.ac.uk) Television and New Media Genre in transnational television: A case of Netflix Originals Korean dramas | Journal: | Television and New Media | | --- | --- | | Manuscript ID | TVNM-23-0118.R2 | | Manuscript Type: | Original Manuscript | | Keywords: | Netflix, Genre, Korean drama, Netflix Original, transnationalization, SVOD (subscription video on demand) | | | | [http://mc.manuscriptcentral.com/tvnm](http://mc.manuscriptcentral.com/tvnm) Page 1 of 30 Television and New Media 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 Genre in transnational television: A case of Netflix Originals Korean dramas Abstract Recently, South Korea has become one of the largest content providers for Netflix. We analyze the textual characteristics of five Netflix Originals K-dramas-Sweet Home (2020), My Name (2021), Squid Game (2021), Hellbound (2021), and All of Us Are Dead (2022)– to unfold the existing genre conventions and uniquely local factors in the context of transnational television. In the process of transnationalization, genres are continuously and simultaneously evolving in the directions of homogenization and heterogenization. Universal values such as humanism, altruism, and familyoriented solidarity, as expected in the existing genre conventions, were homogenizing factors. However, these homogenizing factors were accompanied by uniquely local, heterogenizing factors arising from traumatic collective memories, political and economic situations in South Korea. We also found that webtoons played a significant role in the transnationalization of the K-dramas genre. This study contributes to genre studies and transnational television research. Keywords: Netflix, genre, Korean drama, Netflix Original, transnationalization, SVOD (subscription video on demand) [http://mc.manuscriptcentral.com/tvnm](http://mc.manuscriptcentral.com/tvnm) Television and New Media Page 2 of 30 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34

FAQs

Which Netflix Originals K-dramas are analyzed in the study?

The paper analyzes Sweet Home (2020), My Name (2021), Squid Game (2021), Hellbound (2021), and All of Us Are Dead (2022).

How does the study explain genre evolution in transnational television?

It argues that genres evolve through continuous, simultaneous processes of homogenization and heterogenization driven by industry context, texts, and audiences.

What role do webtoons play in the transnationalization of the K-dramas genre?

The study finds that webtoons play a significant role in how the K-dramas genre transnationalizes for global audiences.

Aug 21, 2026

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