Jinaeng Choi, a Korean literary scholar and assistant professor at Georgetown University’s College of Arts & Sciences, discussed on Mar. 19 the growing influence of Korean cultural products worldwide, including film, television, music, beauty trends, and food.
The popularity of Korean media has increased significantly in recent years. Films like Parasite and animated features such as KPop Demon Hunters have achieved international acclaim, while television series like Squid Game have become global phenomena. K-pop bands such as Blackpink and BTS have also topped charts internationally.
Choi said that for many viewers unfamiliar with Asia, Korean series and films offer an accessible entry point due to their clear storytelling style. “For many viewers who have had little prior contact with Asia, Korean series and films can feel like an accessible entry point because it is super legible,” Choi said. “This is also because Korea has a highly export-literate cultural industry, and this moment is drawing in audiences who might not have sought out non-English media before.” She added that focusing only on blockbuster hits does not capture the full range of Korean culture: “We keep asking why Korea is ‘trending,’ and built into that question is the idea that one title — or even one spokesperson — can stand in for an entire culture… My hope is that the attention expands what gets seen — not just blockbusters, but also the smaller, stranger, less globally packaged work that’s always been there.”
Choi explained how South Korea’s history of authoritarian rule influenced its creative industries by encouraging subtle social critique through melodramatic genres. She noted that webtoons—episodic digital comics designed for mobile devices—have played a major role in making stories platform-ready for adaptation into dramas and films.
She also highlighted how streaming platforms make language less of a barrier for global audiences: “Streaming platforms make language feel like a setting, not a wall… Trying a show in another language is easy and low-commitment.” Choi pointed out the role of diaspora communities and fandom networks in amplifying Korean content worldwide.
Reflecting on the broader impact of this trend, Choi observed both pride in Korea’s achievements since the war era and concerns about industry pressures leading to formulaic productions. She concluded by emphasizing the importance of infrastructure—such as translation institutes—and recommended several works for those interested in exploring more diverse aspects of Korean culture.
