K-Wave reshapes global entertainment

In recent years, the world has witnessed an unprecedented surge in the popularity of Korean culture in entertainment. The phenomenon, known as the “Korean Wave” or “Hallyu,” has transcended geographical and linguistic barriers, captivating audiences from South Africa to South America.

As the entertainment industry continues to evolve in an increasingly globalised world, the lessons from Korean cinema – its storytelling techniques, production processes, and the dedication of its artists – offer valuable insights for filmmakers and content creators everywhere.

At the forefront of this cultural revolution in recent years, Season 1 of the streaming series Squid Game became the most viewed production yet on Netflix by hours watched in the first 28 days of airing. Season 2, which will begin streaming next month, is the most anticipated television release of the year.

Lee Jung-jae, the first Asian man to win the Primetime Emmy Award for Outstanding Lead Actor in a Drama Series for his role as the protagonist of the series, will reprise his role in the second season. Speaking to Business Times in an exclusive interview, he attributed the global impact of Korean culture to the inherent characteristics of the Korean people and their approach to creativity.

“Korea is very scarce of resources, so I think that’s why Korean people really put a lot of efforts into creating something good out of nothing much. So we try our hardest. We’re very diligent people trying to create something without too much resources, and I think that continues into the present day.”

This resourcefulness and dedication have led to the creation of content that resonates with audiences worldwide, says Lee.

“That’s why nowadays, K-pop and K-content and the entire Korean culture industry is beloved by the global people. Korean people are very diligent, and we think trust is of utmost importance.”

The success of Korean content is also about the universal themes explored in these productions. Lee Byung-hun, who portrayed the enigmatic Front Man in Squid Game, told Business Times: “If you look at all of the content and all of the works that have gone beyond culture or language and has gotten a lot of love globally, the one thing that all of those projects share is that they deals with the human condition.”

“When you look at the subject matter of Squid Game, you’ll see that it’s a very particular drama series that has a lot of uniquely Korean characteristics to it. For example, traditional Korean children’s games being played. However, I believe that it all boils down to what it means to be human. And because that’s what was dealt in the series, that is a universal theme, no matter what language or culture you’re from. It’s just something that resonates with a lot of people.”

Korean cinema has distinguished itself on the global stage not just through its content, but also through its unique production processes and storytelling techniques. Lee Byung-hun says the topic fascinated him.

“In terms of the story, when I was only working in Korea and films and series, I was also curious as to what was so special about Korean content and why people loved it so much. And then later on, when I got to ask around, especially my friends who worked in Hollywood, they told me that it’s hard to predict what’s going to happen next. The fact that they can’t predict what scene is going to come next was the most entertaining factor.”

This unpredictability in storytelling keeps audiences engaged and sets Korean content apart from more formulaic approaches often seen in Western productions.

On the production side, Lee Byung-hun also sees significant differences in the filmmaking process.

“In Korea, compared to global productions, we have a very short pre-production process, and so a lot is done ad hoc on set. The strength because of that is when the director decides to change their mind, their crew are very agile. They’re very quick to adapt to the changes and make it work.”

This agility and adaptability in the Korean film industry allow for more creative flexibility during production.

“I saw that in the US, if the director decides to make a change on set, even if people feel that it is a better idea, there are certain processes that need to go through. It has to go higher up, and the studio has to (say) Okay. So it takes a lot longer, and I found that it’s hard to make changes in that sense.”

While both approaches have their merits, the Korean method allows for more spontaneity and quick decision-making on set, potentially leading to more dynamic and innovative storytelling.

“I always ask many questions to directors, especially about the character’s background. Director Hwang (Dong-hyuk) actually told me that he believes that the character was almost formed based off the questions that I had asked him about his backstory. In (shooting) season two, I had my own thoughts and interpretations and imagination as to what kind of past the Front Man had actually harbuored.”

Lee Jung-jae says he expects Korean culture to continue to make waves globally, and its influence is likely to grow and evolve, as audiences worldwide are hungry for fresh, innovative content that challenges their expectations

“I hope that we can create even more content that we could share with the global audience. And I hope that people will notice the trust and diligence and brilliance that Korean people have. And I hope Korean culture becomes even more familiar to a lot of people across the globe.”

• This story first appeared in The Sunday Times.

* Arthur Goldstuck is CEO of World Wide Worx and editor-in-chief of Gadget.co.za. Follow him on Bluesky on @art2gee.bsky.social.