Korean television broadcasting officially began in the aftermath of the Korean War, as the nation sought to rebuild and modernize. The first television station, HLKZ-TV Channel 9, was established in 1956, marking a significant milestone in Korean media history. Broadcasting in black and white, HLKZ-TV primarily aired educational programs, cultural content and news, reflecting the developmental aspirations of the time.
In July of that same year, HLKZ-TV made history by airing “Heaven’s Gate,” Korea’s first scripted television drama. This 15-minute program told the story of two thieves who meet at the gates of Heaven and reflect upon their lives. Due to the technological limitations of the era, the drama was performed live and broadcast in real-time, captivating audiences with its storytelling and immediacy.
With the launch of government-run KBS-TV in 1961 and the emergence of private broadcasters like MBC and TBC, live programming dominated the airwaves, spanning news, educational content, dramas and variety shows. This era of live television fostered a sense of real-time connection and adaptability, as broadcasters navigated the challenges of creating content in a growing industry without the benefit of prerecorded production techniques.
Today, the world has embraced an on-demand model, transforming how people consume media. Streaming platforms and video apps let audiences access content anytime, anywhere, eliminating the need for traditional scheduled programming. Viewers can binge-watch shows, listen to playlists, or catch up on the news at their convenience, prioritizing flexibility and control over fixed broadcast times. In this on-demand era, scheduled programming has largely faded, replaced by the expectation that entertainment and information are always available.
Despite the shift in consumption, I believe live television remains relevant and compelling because it offers a unique sense of immediacy and communal experience that on-demand content cannot replicate. Events like live sports, breaking news and reality competitions thrive on the anticipation and unpredictability that only live broadcasts can provide. Audiences tune in not just for the content but to be part of a shared moment, engaging in real-time reactions that foster connection in an increasingly fragmented media landscape. These shared experiences serve as cultural touchstones, creating memories that become part of a collective narrative. For example, the excitement of an international sporting event or the urgency of a breaking political announcement highlights the unmatched drama of witnessing history as it happens.
Live television also provides creatives with opportunities to experiment with formats that leverage audience interaction and participation. Features like live polls and interactive segments allow viewers to influence outcomes, blurring the line between passive consumption and active engagement. Programs such as live musicals, talent competitions, and live-scripted episodes add an element of spontaneity and risk that heightens their entertainment value. For advertisers, live broadcasts ensure immediate visibility, as audiences are less likely to skip ads during real-time programming. In a media landscape dominated by on-demand options, live television offers a fresh and unfiltered alternative, serving as a complement to streaming platforms.
In today’s media landscape, a balanced mix of live and on-demand programming offers the best of both worlds, meeting the audience’s rapidly evolving preferences. By embracing both formats, the industry can cultivate a dynamic and inclusive ecosystem that merges the spontaneity and immediacy of live broadcasts with the convenience and depth of on-demand offerings. This harmony between live and on-demand programming ensures that media remains both relevant and engaging, embodying the evolution of the Korean broadcasting industry over the past 70 years; a seamless blend of the pioneering spirit of its live television origins with the innovation and adaptability that has propelled it to the forefront of global media
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Thomas Suh is the founder and managing director of Systeme D Entertainment, a filmed media and entertainment company that specializes in content acquisition, management and production for film and television. "Room Tone," the title of Suh's column series, refers to the ambient sound of a space in which filming takes place. Thomas Suh can be reached at tommysuh@me.com -- Ed.
koreadherald@heradcorp.com
