Marketing Strategies for K-Media: Localization vs. Globalization

**Originally written for the course Media Communication in Korea at Yonsei University

Introduction

The global success of Korean dramas (K-dramas) such as Squid Game and The Glory on Netflix has brought unprecedented attention to Korean media. These series have not only topped the streaming charts worldwide but also sparked controversies about the role of streaming platforms in shaping cultural exchanges.   Netflix, as a leading global streaming service, has played a pivotal role in this phenomenon by utilizing sophisticated marketing strategies that balance localization and globalization.  This paper examines how Netflix markets K-dramas to both local and global audiences, focusing on localization strategies, such as subtitling, dubbing, and algorithmic recommendations, as well as what cultural implications these carry.  The central research question is: How does Netflix balance localization and globalization in marketing K-dramas, and what are the cultural implications for Korean identity and the creative industries?  By analyzing Netflix’s campaigns for Squid Game and The Glory, this paper assesses whether these strategies foster genuine cultural connections or commodify Korean identity for Western consumption. 

Literature Review

Netflix’s Localization Strategy in South Korea

Netflix’s entry into the Korean market marked a strategic shift toward localization, blending its global reach with its regional specificity.  Early partnerships with Korean creatives and studios, such as the collaboration with Studio Dragon for Crash Landing on You (2019), enabled Netflix to leverage local expertise while maintaining creative control over the intellectual property rights of the projects (S-space, SNU, n.d.).  This approach aligns with Lobato’s (2019) concept of “platform imperialism,” where global streaming services dominate local markets by co-opting regional content ecosystems.  Netflix’s acquisition of distribution rights for locally produced K-dramas, such as Kingdom (2019), further solidified its influence, enabling the platform to market Korean stories as both local and global (IJOC, 2023).  The company’s investment in subtitling and dubbing, heavily exemplified by Squid Game (2021), which was translated into 37 languages, demonstrates a commitment to global accessibility while reinforcing Western linguistic norms (Young Urban Project, n.d.; Netflix Original Blog, 2024).  However, critics argue that this localization strategy risks homogenizing Korean narratives to fit global audiences, stripping cultural specificity in favor of marketability (Korea Centre, 2024). 

Globalization and Marketing Adaptations

Netflix’s globalization strategy hinges on diversifying content to cater to fragmented audiences.  The platform’s $2.5 billion investment in Korean media (2023-2027) reflects its recognition of K-dramas as a lucrative export, with non-English content rising to 55% of its catalog by 2024 (Yim, 2023; DotRepublic Media, 2025).  Marketing campaigns for shows like The Glory (2022) and Sweet Home (2020) emphasize viral social media tactics, such as hashtag challenges and influencer partnerships, to generate a global buzz (Young Urban Project, n.d.).  These efforts are bolstered by algorithmic curation, which recommends Korean content to users based on viewing history, creating a feedback loop that amplifies niche genres like zombie period dramas (Kingdom) or dystopian thrillers (Squid Game) (Chandrashekar et al., 2016; IJOC, 2023).  This globalization has trade-offs, though.  While Netflix expands the reach of K-dramas, it also prioritizes stories with universal appeal, sidelining narratives deeply rooted in Korean sociohistorical contexts (IJOC, 2023).  For instance, The Glory’s focus on school violence resonated globally but simplified Korea’s complex education system into a plot device (CBC, 2024). 

Cultural Commodification and Power Imbalances

The tensions between cultural authenticity and commodification are central to debates about Netflix’s role in the Korean Wave.  Scholars note that Netflix markets “Koreanness” as a brand, emphasizing exoticized elements like hanbok or kimchi to appeal to Western audiences (Korean Centre, 2024; The Lure of Cultural Authenticity, 2023).  This “speculative Koreanness” reduces cultural identity to consumable tropes, divorcing content from its local significance (SHS Conferences, 2024).  Meanwhile, power imbalances continue to persist as Netflix retains ownership of IP rights for its originals like Squid Game, limiting profit-sharing with Korean studios and stifling local creative autonomy (IJOC, 2023; EUR Thesis, 2023).  The Korean government’s response was to subsidize domestic OTT platforms like TVING and Wavve, and this highlights efforts to counterbalance Netflix’s dominance, though these platforms struggle to compete with Netflix’s immense resources (DotRepublic Media, 2024; S-space SNU, n.d.). 

Algorithmic Influence and Audience Reception

Netflix’s recommendation algorithms play a dual role in democratizing access to Korean content while shaping global perceptions of Korean culture.  By promoting shows like Squid Game to users who watch similar genres, like dystopian fiction or thrillers, the platform reinforces stereotypes of Korea as a space of hyper-violence or melodrama (CBC, 2024).  Audience reception studies reveal divergent interpretations.  While some viewers engage critically with Korean themes, others consume K-dramas as “Exotic escapism,” separating them from their cultural context (IJOC, 2023). 

Research Methods

To investigate how Netflix markets Korean media to both local and global audiences, this study employs a mixed-method approach that combines media text analysis with audience reception research.  The research is guided by insights from previous studies on Netflix’s business strategies, content localization, and the platform’s use of data-driven decision making (Ali, Asfand, et al., 2025; Gadiya, Khushi, and Dr. Alka Singh Bhatt 2024). 

Media Text Analysis

A primary method used is the systematic analysis of Netflix’s marketing materials, including official trailers, social media campaigns, press releases, and landing pages for selected K-dramas like Squid Game and The Glory.  These materials are collected from Netflix’s official channels, YouTube, and prominent news outlets.  The analysis focuses on identifying key marketing strategies, such as the use of subtitling, dubbing, influencer partnerships, and algorithmic recommendations.  This approach is informed by studies that highlight Netflix’s reliance on data-driven insights and A/B testing to optimize user engagement and trailer content presentation (Gadiya, Khushi, and Dr. Alka Singh Bhatt 2024).  The goal is to uncover how Netflix adapts its messaging for different cultural contexts and audiences. 

Comparative Analysis

This study compares Netflix’s marketing strategies in South Korea with those used in global markets.  This involved reviewing localized campaigns, like Korean-language social media posts, and partnerships with local celebrities, with global campaigns like English-language trailers, and international influencer and company collaborations.  By contrasting these approaches, the research aims to demonstrate how Netflix balances localization and globalization in its marketing of K-dramas (Vitrina AI, 2024; S-space SNU, n.d.). 

User Engagement and Audience Reception

Quantitative data, such as viewership metrics and social media analysis, are analyzed to assess the impact of Netflix’s marketing strategies on global audiences.  This includes examining trends in user engagement, such as the number of views, shares, and comments on promotional content, as well as changes in subscriber numbers following major K-drama releases (Ali, Asfand, et al., 2025).  Additionally, qualitative measures like analysis of online discussions, including comments on Reddit, Twitter, and news articles, provide insight into how audiences interpret and respond to Netflix’s portrayal of Korean culture. 

Theoretical Framework      

The study is grounded in theories of globalization and platform power, drawing on the work of Lobato and other media scholars to understand how global streaming services like Netflix shape cultural identities and industry dynamics.  The integration of data-driven marketing strategies, as highlighted in Netflix’s own research on analytics and consumer insights, further informs analysis (2024; Ali, Asfand, et al., 2025). 

Practical Considerations and Limitations

All data collection respects ethical guidelines, using only available information and anonymizing user-generated content when necessary.  The analysis is limited to content available in English and Korean, and to campaigns conducted between 2020 and 2024, aligning with the release periods of Squid Game and The Glory.   

Analysis: Netflix’s Marketing Strategies for K-Media

Localization Strategies: Bridging Cultural Gaps

Netflix’s localization efforts are central to its success in marketing Korean content.  The platform invests heavily in subtitling and dubbing, translating K-dramas into over 37 languages to ensure accessibility while retaining cultural nuances.  For example, Squid Game’s dialogue was adapted to resonate with Western audiences without diluting its Korean social critiques, a strategy that contributed to its viral appeal (Coman, 2024; Asiance, 2024).  Partnering with local entities like Naver in South Korea, Netflix integrates region-specific promotions, such as offering discounted subscriptions to Naver Plus members, which deepens engagement in its home.  These tactics align with Netflix’s broader strategy of empowering local teams to tailor content curation and marketing, ensuring cultural authenticity while meeting global standards.

However, localization extends beyond language.  Netflix’s algorithmic recommendation system personalizes content discovery by analyzing viewing patterns, often surfacing K-dramas to users who engage with similar genres (e.g., thriller fans receiving Squid Game as a suggestion).  This data-driven approach, powered by AI, amplifies niche genres like zombie historical dramas (Kingdom) or revenge thrillers (The Glory) while reinforcing Korea’s association with high-stakes narratives. 

Globalization Tactics: Viral Campaigns and Cross-Cultural Branding

Netflix’s global marketing campaigns prioritize viral scalability and cross-cultural resonance.  For Squid Game Season 2, the platform launched immersive activations in New York, Paris, and Seoul, including life-sized recreations of the show’s games in Times Square.  These campaigns blended local culture touchpoints (e.g., Paris’s art-oriented audience) with universal themes of survival, during a 24% surge in social media mentions globally (Asiance, 2024; Burma, Tripti, and Arora, Swarika, 2025).  Similarly, The Glory leveraged split-season releases to sustain momentum, with Part 1 releasing in December 2022 and building anticipation for Part 2’s release in March 2023, which topped Netflix’s non-English charts for two consecutive weeks (Theresia, Margareth, 2023). 

The platform also collaborates with global brands to extend reach.  Partnerships with Puma (Squid Game-themed merchandise) and Swiggy (India’s Squid Game-inspired grocery deliveries) transformed the shows into cultural phenomena beyond streaming, blending entertainment with consumerism (Burma, Tripti, and Arora, Swarika, 2025).  Such strategies contrast with Netflix’s approach in Korea, where campaigns focus on local celebrity endorsements and behind-the-scenes content to appeal to domestic audiences’ pride in K-media (Pulse, 2024; BB Media, 2025). 

Algorithmic Tailoring

Netflix’s AI analyzes user data to customize thumbnails and trailers.  For The Glory, users who watched true crime received thumbnails highlighting the protagonist’s vengeful gaze, while romance fans saw softer visual depictions of the show (Chandrashekar et al., 2016). 

Case Studies: Squid Game, Hometown Cha-Cha-Cha, and The Glory

Squid Game

Netflix’s marketing for Squid Game exemplifies glocalization.  While the show’s dystopian critique of capitalism resonated globally, its Korean-specific references (e.g., childhood games like Ddakji and Squid Game) were retained, creating a balance between novelty and relatability.  The platform’s $21.4 million campaign, including TikTok challenges and influencer partnerships, drove 2.2 billion hours viewed in its first 28 days, with 60% of viewers outside of Asia (Asiance, 2024; Burma, Tripti, and Arora, Swarika, 2025).

Hometown Cha-Cha-Cha (2021)

Unlike Squid Game, the romantic comedy Hometown Cha-Cha-Cha (2021) was marketed in Korean with a focus on scenic shots of Pohang, appealing to domestic nostalgia.  Globally, Netflix emphasized the show’s healing themes, aligning with the demand for comforting content post-pandemic.  This dual strategy increased global viewership by while maintaining local relevance (Macdonald, 2021). 

The Glory

This revenge drama targeted mature audiences through thematic precision.  Netflix emphasized the show’s exploration of school violence and class inequality in trailers, aligning with global conversations about systemic oppression.  Social media campaigns featured haunting visuals and quotes from the protagonist, Moon Dong-eun, which were widely shared in Latin America and Europe, regions with high engagement in social justice discourse (Theresia, Margareth, 2023; BB Media, 2025). 

Algorithmic Influence and Cultural Perceptions

Netflix’s recommendations algorithms play a dual role in democratizing access to K-dramas while also shaping perceptions about Korean culture.  By promoting shows like Squid Game to users who watch dystopian content, the platform reinforces stereotypes of Korea as a space of hyper-competitive strife (LitsLink, n.d.; IJOC, 2023.  Conversely, algorithms also expose audiences to diverse genres, such as the romantic comedy Crash Course in Romance, which ranked fifth globally despite its culturally specific nuances and humor (Theresia, Margareth, 2023).  This duality highlights Netflix’s power to both broaden and flatten cultural representations. 

Cultural and Industry Implications

Netflix’s strategies risk commodifying Korean identity, as seen in the exoticization of hanbok in Kingdom promotions and the reduction of kimchi to a marketable trope in cross-brand campaigns (Korea Centre, 2024).  However, the platform’s investments ($2.5 billion in Korean content from 2023-2027) have also empowered local creators, enabling projects like Extraordinary Attorney Woo, which blends autism representation with legal drama, but now a majority of Netflix’s Korean originals are genre-driven (thrillers, rom-coms, historical), sidelining arthouse films (Yim, 2023; BB Media, 2025). 

The Korean government’s response of subsidizing domestic OTT platforms like TVING reflects efforts to counterbalance Netflix’s dominance in the industry.  Yet, local studios increasingly rely on Netflix’s global distribution, creating a paradox where cultural visibility coexists with economic dependency. 

Audience Reception Analysis

Audience reception of Netflix’s K-media marketing is marked by both enthusiastic engagement and critical uncertainty, revealing the complex interconnection between global appeal and cultural authenticity.  Quantitative metric indicate that K-dramas like Squid Game and The Glory have achieved extensive international reach, with Squid Game alone amassing over 2.2 billion hours viewed in its first month and reaching number one in 93 countries, show the effectiveness of Netflix’s global campaigns and algorithmic recommendations drawing in diverse viewership (Coman 2024).  Social media analytics further reveal that viral challenges, memes, and influencer content have amplified the global buzz, especially among young audiences on platforms like TikTok and Twitter (Young Urban Project, n.d.).  However, the qualitative analysis of online discussions and user comments highlights a duality in reception.  While many viewers express fascination and curiosity about Korean culture and storytelling, others engage with K-dramas as exotic entertainment, focusing on surface-level elements like costumes, food, or melodramatic tropes rather than the deep cultural and social contexts present (Korea Centre, 2024).  This phenomenon is also highlighted in academic studies, which note that Netflix’s algorithmic curation can both democratize access to K-content and reinforce reductive stereotypes through its promotion of certain dramas (e.g. dystopian thrillers, revenge dramas) over more nuanced or locally resonant topics and narratives (IJOC, 2023).  As a result, while Netflix’s dynamic strategies have succeeded in making K-dramas a global phenomenon, they have also sparked heated debates about cultural commodification and the risks of flattening Korean identity for mass consumption.  These tensions are further complicated due to the fact that, according to recent surveys, a majority of global viewers now associate Korea primarily with high-stakes, highly sensationalized drama, and only a minority can identify Korean films or series outside of Netflix’s catalog (IJOC, 2023; BB Media, 2025).  It is for this reason that audience reception reflects both the opportunities and the limitations of Netflix’s approach to globalizing K-media, highlighting the need for ongoing critical engagement with issues of representation, authenticity, and cultural exchanges. 

Conclusion

Netflix’s marketing of K-media exemplifies a trend on a thin line between localization and globalization. While its strategies have propelled Korean stories to unprecedented global prominence, they also underscore the tensions between cultural authenticity and commodification.  The platform’s algorithmic and promotional prowess reshapes how global audiences perceive Korea, offering both opportunities for cultural exchange and challenges for local creative autonomy.  The Korean government’s support for domestic platforms and diverse storytelling is critical to preserving cultural autonomy.  Future research should explore long-term impacts on Korea’s creative industries and changing global perceptions of Korean culture. 

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