Korean dramas and films have secured prominentpositions as the leading genres driving thehallyu wave. This owes in part to the increasein Over-The-Top (OTT) platform users duringCOVID-19, when audiences worldwide watchedKorean dramas and films on streaming platformsin large numbers, and multinational OTTplatform companies such as Netflix, Disney+,and Apple have since made substantial investmentsin Japanese content.

As competition intensifies among OTT platforms in the market, competing firms are pursuingdifferentiated strategies by producing and securing their own content, flooding themarket with more Korean dramas and movies.Two major platforms in the OTT market,Netflix and Disney+, in particular are investingin Japanese content. Moreover, these platformsprovide Korean works with subtitlesand dubbing in local languages, facilitatingthe accessibility of Korean content in foreignmarkets.

Investments in the production of originalcontent by global OTT platforms are exerting asignificant influence on the domestic contentindustry as well. Domestic firms can access productionfunding, produce high-quality content,have their content widely distributed, and haveopportunities for international expansion.

However, concerns have arisen regardingIP ownership issues. Given the overrelianceon substantial investments by Netflix, thereare calls within the industry to prepare for aninterruption of this investment. In addition,as Netflix tends to invest in larger productioncompanies, smaller-scale production houses areseeing fewer opportunities. Establishing criteriafor securing IP rights and a stable investmentsystem within the domestic content industry iscrucial to ensuring the continued creation andglobal expansion of Korean content to diverse
国際市場.