The Washington Post (WP) reported on the growing dissatisfaction among Asian filmmakers, especially in Korea, towards Netflix.
According to WP’s article titled “Asian Filmmakers Watch Hollywood’s Strikes with Hope and Frustration,” the Korean content industry has high hopes for Netflix.
The report highlighted how Netflix’s entrance into Korea in 2016 brought a refreshing surprise to domestic film producers, as the company provided substantial upfront payments exceeding production costs without interfering in the creative process, which contrasted with the exploitation of labor prevalent in the industry.
The article also mentioned the success of director Hwang Dong Hyuk’s series “Squid Game,” which generated approximately $900 million in revenue for Netflix, emphasizing that K-content has become a big moneymaker for major streaming platforms in the United States.
In the past, Korean broadcasting companies hired external production companies to produce dramas at low costs, often resulting in overworking laborers without providing adequate compensation.
However, when Netflix arrived in Korea, it proposed contracts that involved providing large sums of money to production companies upfront, with Netflix assuming all financial risks and guaranteeing profits for the production companies.
However, in return, Netflix took complete ownership of the content, which meant that the creators could not demand additional compensation based on the success of their works.
Kim Byung In, the representative of the Korea Scenario Writers Association, pointed out that while Netflix has provided better opportunities for the Korean film industry, they have not given royalties to directors, writers, and actors when their works are re-screened.
Earlier, the Los Angeles Times also criticized the success of K-content on Netflix, pointing out the underlying issue of labor exploitation in Korea.
While Hollywood writers and actors’ unions are currently staging a joint strike to demand fair compensation from streaming platforms, WP noted that Korea faces challenges in responding actively to such issues. The absence of a single organization representing labor makes it difficult to conduct smooth negotiations even in the face of conflicts.
Moreover, Netflix mainly outsources production to local production companies in Korea, avoiding direct contractual relationships with laborers. This means that Netflix is not legally obligated to negotiate directly with workers at the negotiation table.
As a result, streaming platforms like Netflix have faced criticism for avoiding collective bargaining in countries other than the United States.
The Korea Broadcasting Actors Union stated that they had sent an email requesting negotiations with Netflix in March of this year, and while Netflix responded that they would check with the relevant department, they have not received any further response since then.
Similarly, India is also attempting collective bargaining, but Netflix reportedly did not respond to their requests. Indian screenplay writer Anjum Rajabali commented that the feudal shadow still looms, and they will stand up against the double standards of streaming platforms.
Kim, the representative of the Korean Scenario Writers Association, expressed the hope that Netflix would not view this issue as a zero-sum game. Kim emphasized that if they receive a fair share, Netflix would also benefit from this approach.
Source: Daum.
