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An Aspect of Changes in Drama in the OTT Era ―Focusing on TV-Drama & OTT-Drama

  • The Journal of Korean drama and theatre
  • 2023, (78), pp.137-167
  • DOI : 10.17938/tjkdat.2023..78.137
  • Publisher : The Learned Society Of Korean Drama And Theatre
  • Research Area : Arts and Kinesiology > Other Arts and Kinesiology
  • Received : March 11, 2023
  • Accepted : April 10, 2023
  • Published : April 30, 2023

Kyungseon Baek 1

1한양대학교

Accredited

ABSTRACT

Due to the change in the media environment, the aspect of Korean dramas, which have long been centered on broadcasting stations and TV media, is changing to OTT. The era of OTT has opened. This paper aims to explore changes in dramas by dividing dramas in the OTT era into TV-dramas and OTT-dramas. The results of dividing dramas in the OTT era into TV-dramas and OTT-dramas and dividing their changes and characteristics into viewing and production methods are as follows. First, due to various media and platforms, the way of watching dramas has been transformed into personalized and independent and active viewing. Replay and binge watching support independent and active viewing. In particular, viewers have transformed from drama viewers to drama consumers and editors through selective viewing such as skipping and double-speed playback when binge-viewing. Next, in the production method, as the seasonal system became popular, the number of times became flexible (mainly shortened), and the composition of episodes increased, and the boundary between dramas and movies was blurred and dramas such as movies were mass-produced. Instead of the conclusion, the identity of the drama was reconsidered in the rapidly changing media environment through the comparison of TV-dramas and OTT-dramas, and dramas and movies. TV-dramas and OTT-dramas coexist with each other by securing their respective areas. And even in the OTT era, when the boundaries between dramas and movies are blurred, the identity of dramas that are still distinguished from movies is in the narrative. Finally, I look forward to this paper becoming the basis for establishing the identity of dramas in the OTT era, and furthermore, it will contribute to the work of considering the new direction of drama research.

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