KJCKorea
Journal Central

This study attempted a specific analysis of the Netflix regime through the case of <In the Name of God> distributed through Netflix. Netflix is once again creating a ‘true crime boom’, which originated from American television programs, and is attempting to expand the genre by attracting an intelligent audience through documentaries beyond seasonal dramas and movies. In addition, after the #MeToo movement, it seemed to be gradually joining the wave of backlash through patriarchal narratives and sexual objectification. <In the Name of God> follows the format of Netflix’s true crime documentary by interviewing victims, demonizing perpetrators, using reenactments and archive footage, and heightening social outrage through social media and news. In addition, through sensational and conventional representation of sexual violence, and causing secondary damage to victims, it has achieved the agenda-setting through sensationalism. Detailed descriptions of sexual violence, female nudity, and disclosure of the victim's personal information are justified on the grounds of realistic reproduction of what happened, and the victim's consent and the punishment of cult leaders are discussed as a more important cause than secondary damage to victims of sexual violence. In addition, in the context of the development of content with binge-watching in mind, the sexual objectification of women through provocative thumbnails, and the flow of global backlash. It shows that producers and consumers are formed within the tangled ‘Netflix regime’ through locality and globalization, technology and cultural backlash.

Netflix regime, true crime, documentary, binge-watching, In the Name of God, post-television