포스트 시네마의 가상 극장과 비선형성의 서사— <킹덤>과 <파친코>를 통해서 본 K드라마의 시네마적 경험의 영향에 관한 연구

Abstract

This article aims to examine the characteristics and trends of the cinematic experience, which is being fundamentally reshaped by the rise of smart devices and OTT (Over The Top), and to identify the implications of the changes in a representative Korean OTT drama series due to the full-scale introduction of the cinematic experience. As we know, AppleTV+ is a latecomer to the OTT market, having entered later than Netflix. While Netflix invested in Korean production companies to produce K-dramas, AppleTV+ chose to produce its own “mega” series based on novels written by Korean-American authors and staffed by Korean-Americans. Netflix’s “Kingdom” is actually a movie divided into episodes, and “Squid Game” is a survival game in which you clear stages/levels (both dramas) in a straight line. The production of content and formats that allow the experience of cinematic place, which is no longer limited to theaters, to be formed anytime, anywhere through virtual theaters, further strengthens the immersion and focus of Netflix’s original series K-dramas. AppleTV+’s Pachinko, on the other hand, is an amalgamation of different cinematic styles and content, forming nodules and branches of a myriad of networks that both Koreans and immigrants/borderers can immerse themselves in. If Netflix’s hits are both straightforward and centripetal, Pachinko is centrifugal, with a non-linear narrative of continuations and detours. As competition in the OTT platform market intensifies, Netflix, Disney+, and AppleTV+ are greedily bricolaging various video formats inside and outside the cinema to capture the audience’s attention. In the process, movies are becoming drama series, and drama series are actively referencing movies. “Kingdom” and “Pachinko” present us with two different ways in which a drama series can reference film and adopt cinematic experiences. In particular, Apple TV+ aims to present the story of historical memory and identity of Korean Americans in Japan through “Pachinko” as an intersection of networks that can be accessed by various people and groups. Therefore, it is not an exaggeration to say that <Pachinko> is a series that formalizes the desire of AppleTV+, a media giant/capital, to become the center of a platform capitalist network. It is self-evident that the desire of media platform companies/capital is involved here.