By: Yua Shimada

Jenner claimed in “Netflix and the Reinvention of Television” that, by creating Netflix Originals and releasing them worldwide on the same date, Netflix has become a transnational broadcaster. Also, by releasing all episodes at once, it changed how we watch TV and even redefined what television means. Media content separated from the screen: now we can watch television drama series on Netflix, and at the same time, watch Netflix original series on television. 

Some people believe that the television industry will be replaced by streaming services. This situation is also happening in the film industry. I have heard streaming services are hurting cinema in Korea. According to The Guardian, behind the Korean Wave, cinema is declining dramatically. The number of Film productions became half of what it once was in 2025. Talented creators are moving toward streaming platforms, which have stable investment and predictable production schedules. I was really surprised to learn about this situation, that the Korean film industry seems to be rising in popularity and performance. However, although streaming services can promote the export of content overseas, they also lead to the hollowing out and collapse of the domestic entertainment industry.

This situation can occur in other countries, no exception in Japan. However, for me, the Japanese audience is not given the dominant place for streaming services, there still seems to be an obsession with television and cinema as a platform for distribution. 

The example is “Cosmic Princess Kaguya!”(Cho Kaguyahime), a Netflix Original Japanese anime movie. This movie was released on 22nd January, and the video quality became a hot topic among anime fans. For this movie, the voice desire for cinema release was seen, such as this movie should be watched in cinemas, with a larger screen and better sound quality. 

Following positive word of mouth, a one-week limited cinema release was announced. There are numerous examples of Netflix films released in cinemas with the aim of competing in awards races, yet it is rare to receive a cinema release when this was not predetermined. 

One reason may be that Japan has fewer Netflix subscribers than the UK. I believe Japanese audiences have a strong sentiment that high-quality films should be experienced in specialised spaces, such as cinemas, rather than on familiar screens like smartphones or household televisions.  

From these perspectives, I do not believe that Netflix will replace the film and TV industries, no matter how significant the impact Netflix has on.

Animate times (2026), ‘『Cosmic Princess Kaguya!』Trends on SNS & Tops Netflix Japan’s ‘Today’s Top 10 Films’!’

https://www.animatetimes.com/news/details.php?id=1769482746

Mareike Jenner (2018), ‘Introduction: Netflix and the Renvention of Television’, Netflix and the Reinvention of Television, pp. 1-31

The Gardian, (2025) ‘Almost collapsed’: behind the Korean film crisis and why K-pop isn’t immune

https://www.theguardian.com/world/2025/dec/28/behind-crisis-korean-film-why-k-pop-isnt-immune