2 days ago
- Entertainment
- Korea Herald
What comes next for Hallyu? New book investigates its future
Cultural strategist and technology expert Ko Sam-seog explores whether Korean content can sustain its global momentum and evolve
From BTS and "Squid Game" to the Oscar-winning "Parasite" and the recent Tony-winning musical "Maybe Happy Ending," Korean cultural content continues to capture global attention. Now, experts are asking: What comes next?
A new book by Ko Sam-seog, a leading expert in Korean content and IT policy, explores this very question: Can the Korean Wave, or Hallyu, sustain its momentum in an era defined by transformative technologies such as generative AI? And beyond sustainability, what role can Korean content and Hallyu play both domestically and globally?
"Hallyu is, without a doubt, one of Korea's greatest cultural assets, a pillar of national competitiveness and a key engine for future growth," the author writes.
But Ko points out that the Korean Wave now faces new challenges: anti-Hallyu sentiment stemming from cultural differences, a lack of content diversity and growing fan fatigue. In addition, the domestic content industry's heavy reliance on global platforms like Netflix and YouTube has undermined its self-sufficiency and sustainability, raising concerns about Hallyu's long-term viability. The rise of generative artificial intelligence and other advanced technology is also driving changes within the content industry, fundamentally transforming how content is created, produced and consumed.
'What motivated me to write this book was a question I've been asked repeatedly in recent years: 'Is Hallyu sustainable?' It's a question I couldn't shake.'
To find the answer, the author traveled to Hallyu hotspots in China, Southeast Asia, the US and beyond to document what he saw, heard and felt in vivid detail.
A veteran policymaker, Ko brings a perspective shaped by decades of public service. He is also a chair professor at Dongguk University's College of Advanced Convergence Engineering and executive director of the National Assembly Entertainment Technology Forum. He has served as a senior aide in the National Assembly and as an expert at the Korea Communications Commission, working under three administrations: Kim Dae-jung, Roh Moo-hyun and Moon Jae-in. Most recently, he served as chair of the K-Culture Strategy Committee under Lee Jae-myung's — then presidential candidate of the Democratic Party of Korea — Global Responsible Power Nation Committee.
The book is divided into two parts. The first traces the past and present of Hallyu, reflecting on the movement's evolution over the past 30 years in establishing Korea as a cultural powerhouse. It offers a candid assessment of its achievements while also identifying areas where government policy and corporate strategy require recalibration.
The second half looks ahead, exploring Hallyu through the lens of "EnterTech" — the convergence of entertainment and technology. Drawing from firsthand visits to global tech and content showcases such as CES and SXSW, the author outlines strategies to ensure Hallyu's long-term sustainability and cultural resonance.
'The development of digital technology and the growth of the content industry are two sides of the same coin,' Ko writes. 'Technological advances have fundamentally reshaped media, from how content is produced and consumed to how users interact with it, ultimately altering the entire industry landscape.'
A central theme of the book is "entertech (entertainment technology)," which the author describes not as a fleeting trend but as a driving force in the content industry's paradigm shift. EnterTech is transforming how stories are created, distributed and experienced. Its emergence, the author argues, is not just about high-value production or global market expansion — it's about reimagining the very nature of cultural connection.
'The next Korean Wave,' he writes, 'should go beyond one-way cultural exports. It must evolve into an art of relationship — an era of shared creation and mutual enjoyment with local audiences. The future of Hallyu lies in collaborative engagement.'
Ultimately, the author envisions a model in which Hallyu transcends the traditional producer-consumer dynamic, forging lasting cultural partnerships around the world. In this model, Korean content is not only a product but also a platform for building global solidarity and cultural co-creation.
'If we can build a virtuous cycle where the growth of the K-content industry boosts economic development and national competitiveness,' the author concludes in the endnote, 'then Hallyu won't just survive the age of AI, it will thrive in it.'
