넷플릭스 오리지널 시리즈의 ‘매우 긴 영화’ 전략 연구

초록

This study investigates how Netflix original series construct cinematic experiences within a digital platform environment. Centering on the concepts of “Netflix Poetics” and the “Very Long Movie,” the research examines narrative continuity, immersive viewing structures, and visual aesthetics as defining characteristics of Netflix’s serial storytelling. Analyzing Stranger Things, The OA, and Ripley, the study demonstrates that these series are designed not as episodic television but as cohesive, film-like narrative entities. Through simultaneous release strategies, automated playback, and high-density mise-en-scène, Netflix erodes the traditional boundary between film and television, inviting continuous, immersive viewing. The findings position Netflix as more than a content distributor—it emerges as a curatorial agent actively shaping narrative structures and viewer engagement within a post-network media ecology. Drawing on Amanda Lotz’s concept of the “post-network era,” the study highlights how Netflix’s design principles resonate with nonlinear, user-driven consumption patterns. Platform-specific affordances— such as recommendation algorithms and personalization technologies—restructure both the temporal logic and narrative form of serialized content, aligning the cinematic with the algorithmic. By defining the “Very Long Movie” not merely as extended runtime but as a cinematic mode of narrative coherence and aesthetic integration, this study rearticulates Netflix’s role in transforming screen storytelling. The case of Ripley, in particular, illustrates the platform’s capacity to support high-art aesthetics and formal experimentation that might be unfeasible in traditional theatrical contexts. Netflix thus operates as a site of cinematic reinvention, enabling creators to hybridize the logics of film and television under a new grammar of streaming. This research contributes to ongoing debates on platform aesthetics by proposing the “Very Long Movie” as a conceptual framework through which to understand how cinematic ontology, narrative temporality, and audience agency are being restructured in the streaming era. Future studies may further extend this model across other global platforms to map the divergent trajectories of post-cinematic storytelling.

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