Local Voices, Global Circulation: Women’s Agency, Sorority and Glocalisation in K-Pop Demon Hunters

This article examines how K-Pop Demon Hunters (2025) portrays women’s agency and sorority while curating Korean cultural specificity within the context of global streaming. Adopting a Gender Media Studies approach, the study conducts a scene-indexed close reading of nine key sequences, applying a coding scheme (co-presence, agency, solidarity, body framing, choreography–camera, colour) and a cultural-codes matrix that classifies elements as retained, hybridised, or globalised. Findings show a consistent pattern: when two or more women protagonists appear together, agency and sorority co-occur; this is visible in the narrative arcs and through full-body staging, ensemble composition, and a persistent we/together rhetoric. Korean local specificity is divided by purpose: English-led song hooks extend transnational reach; retained social anchors (space, ritual, foodways, and folklore) preserve locality; and hybridised cues (stylised folklore; idol/traditional blends) manage cultural density without erasure. Authorship and industry context align with this encoding, combining a women centred creative core and Korean cast with on-screen emphasis on women’s friendship, repair, and shared agency. Two tensions remain: traditional attire in spectacle numbers, and the narrow body diversity in the idol-slim body ideal, inviting comparative and interpretative scrutiny. Overall, the case demonstrates how an animated musical can emphasise women’s empowerment and cultural specificity without reducing either to mere marketing tools.