Korean film and television storytelling has expanded and adapted under the influence of COVID and streaming video. As a result, screenwriting today may be more in line with audiences’ needs, media executives in Busan have heard.
A panel discussion on Saturday, organized by the Busan Story Market, a new wing of the Asian Contents & Film Market (ACFM), attempted to define Korean storytelling and analyze why it is currently so successful.
One explanation from Hwang Hyejung, chief content officer at Korean streamer TVing, was that authors have broadened their perspective to include more topical and realistic topics. Romantic comedy and melodrama are no longer the defining genres.
“Korean content is rooted in family values and Confucianism. It’s comparable to Hollywood’s super fantasy stories,” Hwang said. “Nowadays, the MZ generation resonates with Korean realism [people born between 1981 and 2005]due to COVID and the crises we are experiencing.”
Seokyung Chung, author of the recent TV series Little Women and Park Chan Wook’s latest film Decision To Leave, said she deliberately changed her writing style from a top-down perspective to one that pays more attention to her audience .
“[When it comes to the creative process], a lot is recorded, discussed and analyzed. It’s important to be sensitive to the audience and always be ready to update,” Chung said. “People want to feel closer and discuss issues in our society together. That’s how I view the audience now as [my] best friends sharing secrets with them. That’s how I think the audience relates to it.”
The pandemic accelerated the growth of OTT platforms in Korea, with a new emphasis on viewing convenience, such as B. binge-watching, and on social media feedback.
“People are waiting to see other people’s reactions before looking at content. we can get that [feedback] almost immediately with social media, which means first reactions can make or break a show,” Hwang said.
If that means more risk, platforms and broadcasters have tried to counter that by placing more emphasis on multi-season franchises and shows. are now adopted to extend the lifespan of K-stories.
The dual impact of COVID and more streaming has increased demand for the production of new Korean shows. According to Hwang, Korean streamer Tving has reported 300% subscriber growth since it started making originals in 2020.
https://variety.com/2022/global/asia/changed-korean-storytelling-in-touch-with-audiences-1235398850/ Changed storytelling in contact with the audience