Japan’s presence in Korea’s film, music, performance scene rises as cultural exchanges flourish

As “ Demon Slayer: Kimetsu no Yaiba Infinity Castle” continues its strong run and approaches 4 million admissions, moviegoers buy tickets at a theater in Seoul on Sept. 8. [NEWS1]

 
Cultural exchanges between Korea and Japan have regained momentum after the “No Japan” movement in 2019 and the Covid-19 pandemic, broadening the presence of Japanese content in film, music and live performance. 
 
The “No Japan” movement refers to a consumer boycott in Korea that began in 2019 after Japan tightened export controls on key materials used in Korean semiconductor production. Koreans responded by avoiding Japanese products, travel and brands in protest of the measures and ongoing historical disputes between the two countries. 
 
 
Experts say global streaming service platforms and “a softening of anti-Japan sentiment have opened the door to new cultural interaction.”
  
The rise of Japanese content is most visible in film, especially anime. 
 
“Demon Slayer: Kimetsu no Yaiba Infinity Castle,” released in Korea in August, drew 5.66 million viewers as of Nov. 30, making it the most-watched film in Korea this year. It marks the first time an anime film has topped the annual box office in Korea.
  
Other titles also performed well, including “Chainsaw Man — The Movie: Reze Arc” with 3.3 million viewers, “Attack on Titan the Movie: The Last Attack” with 950,000 and “Detective Conan: One-Eyed Flashback” with 750,000. 
 

The cast of the 2.5D musical sensation, ″Attack on Titan: The Musical″ performs at the fourth annual Japan Parade on May 10 in New York. [AP/YONHAP]

 
“A generation that grew up with Japanese comics after the Kim Dae-jung administration opened cultural exchange between Korea and Japan has now become adults,” cultural critic Kim Bong-seok said. “Anime, once seen as something only devoted fans followed, is now entering the mainstream.”
  
Over in music, J-pop fandom continues to grow. Wonderlivet, a three-day J-pop festival held at Kintex in Goyang, Gyeonggi from Nov. 14, drew 40,000 attendees, up roughly 60 percent from last year’s 25,000. The second edition of the festival featured 30 Japanese artists, including Bump of Chicken and Spyair. 
  
Major artists also continue to hold shows in Korea. Concerts by Kaze Fujii at Gocheok Sky Dome in western Seoul in December last year and Kenshi Yonezu at Inspire Arena in Incheon in March both sold out. Gen Hoshino, who performed in Korea for the first time in September, also sold out his upcoming concert in February.
  
Japanese works are gaining momentum on stage as well. The theatrical adaptation of Studio Ghibli’s “Spirited Away” (2001) sold all 30,000 tickets in its initial release before its Jan. 7 opening next year.
 
“Interval,” based on a play titled “The Conference of the Gasps” by leading Japanese playwright and director Tomohiro Maekawa, will open in February with actor Kim Seon-ho in the cast.
  
Experts say the rapid expansion of global content platforms plays a major role.
 
“Korean and Japanese content now sit side by side on services like Netflix,” said Jo Gyu-heon, a professor of Korean-Japanese cultural content at Sangmyung University. “It has become much easier to watch Japanese films and dramas, which has lowered the entry barrier. Among global content, Japanese works with cultural similarities to Korea tend to draw more attention.”
  
Algorithm-based viewing environments, which recommend shows and music based on individual preferences, also contribute to the rise of J-content. 
 
A viewer who watches “Chainsaw Man — The Movie: Reze Arc,” for instance, may be recommended a song from the film’s original soundtrack, “Iris Out,” which leads them to discover Yonezu. 
 
“Short-form platforms such as TikTok and YouTube Shorts expose audiences to J-pop and anime soundtracks, while global streaming services expand fandoms through personalized recommendations,” said a staff member at Takiel, a company that has promoted Japanese artists in Korea. 
  
Some analysts say anti-Japan sentiment has eased compared to the past. 
 

As “Demon Slayer: Kimetsu no Yaiba Infinity Castle” continues its strong run and approaches 4 million admissions, moviegoers buy tickets at a theater in Seoul on Sept. 8. [NEWS1]

 
“Since the No Japan movement, more young people have begun to reject the idea that politics and culture should be treated as the same,” Professor Jo said. 
  
Cultural exchange between the two countries is expected to grow further. 
 
“Cultural influence now flows in both directions,” critic Jung Duk-hyun said. “A team like [Korean girl group] QWER, which adopts the style of J-pop bands, is emerging in Korea.” 
  
But challenges remain. A performance industry official said cultural differences still create friction. 
 
“Japanese partners emphasize documentation and procedures, while Koreans prefer flexible responses depending on circumstances,” the official said. “Historical sensitivities also remain a significant obstacle.”

This article was originally written in Korean and translated by a bilingual reporter with the help of generative AI tools. It was then edited by a native English-speaking editor. All AI-assisted translations are reviewed and refined by our newsroom.
BY CHOI MIN-JI [[email protected]]