Korea & Japan
Viki CEO Tammy H. Nam On Building An Army Of Fansubbers
Tammy H. Nam, CEO of global streaming service Viki, explains how the site’s avid community of subtitling fans is helping content to travel and break emerging talent.
Korea & Japan
Tammy H. Nam, CEO of global streaming service Viki, explains how the site’s avid community of subtitling fans is helping content to travel and break emerging talent.
Korea & Japan
Based on a popular Japanese property, the Korean-language series will stream exclusively on Amazon Prime Video from early 2017.
Korea & Japan
FilmDoo co-founder Weerada P. Sucharitkul explains how South Korea has been a world leader in demonstrating how theatrical and VOD distribution can exist side-by-side.
Korea & Japan
Amazon has unveiled 12 original productions for its SVOD service in Japan, including reboots of the iconic Kamen Rider and Ultraman franchises.
Korea & Japan
Lee gave a candid on-stage interview at TIFFCOM where he discussed early audience reaction to Netflix and the streamer's local content strategy.
Chinese-Speaking Markets
Western streaming giants are making their first forays into Asia, but will they be able to negotiate different cultural tastes, piracy and local competitors to win over audiences?
Chinese-Speaking Markets
Streamer plans to enter South Korea, Singapore, Hong Kong and Taiwan after launching in Australia and Japan earlier this year.
Korea & Japan
As Netflix and Amazon Prime Video launch their assault on Japan, they may find their biggest battle is not with each other, but with domestic competitors and the idiosyncrasies of the Japanese market.
Korea & Japan
Viki has reportedly acquired the K-content fan community site from Crunchyroll for just under $10m.
Chinese-Speaking Markets
UK director Simon West says he is using equity crowdfunding for $10m action comedy Salty, but speakers at last week’s Asian Film Market explained this form of film financing still faces regulatory hurdles around the world.
Korea & Japan
Snowpiercer’s US release proves that VOD can co-exist with theatrical, but should this strategy be used as a default setting for specialist films?