Netflix

In this article two series are analyzed: Black Earth Rising (a BBC/Netflix production) and Queen Sono (the first African Netflix original series), shows that are about African realities from an African perspective (Rwanda in Black Earth Rising and South Africa in Queen Sono). The findings in this article show that both series address social and political issues such as neocolonialism, neoextractivism, internal colonialism, racism, inequality, justice, self-determination, corruption, violence, peace, memory, necropolitics, mental health, and decoloniality. I also argue that the shows could be used as pedagogical tools to raise critical consciousness in a wide public regarding the social and political issues addressed. The research in this article has been conducted with a qualitative methodology, using both shows as case studies and using content analysis and bibliographical research. The analysis of the series is based in the discussion of critical theory and decoloniality approache...

This article aims to problematise two main tendencies that can be discerned in recent scholarship concerning seriality and how the new era of bountiful production and consumption of serialised narratives relates to seriality as we have known it in previous eras. At stake here are matters of continuity and/or disruption in the changing landscape of media storytelling. I define the two tendencies, respectively, as denied continuity-since it argues for a radical break between contemporary and earlier serial televisual forms-and disregarded disruption-with reference to the apparent blindness of academia with respect to the disruption of seriality brought about by new technology and culturally enabled viewing practices.

The fascination with seriality
Every decade or so, the academy is gripped by a fascination with an imperative to understand a particular theory, epistemology, or change in the world. Following the initial flurry of activity and debate, the legacy of the research that results generally outlasts the early excitement, spawning further waves of elaboration and critique before a new fascination emerges. (Livingstone, 2008: vii).
In a similar fashion to that which Sonia Livingston describes, I contend that the field of television studies has become engrossed over the last decade or so with questions....

Results of an online survey suggest that heavy binge-watching might be in part socially motivated. Among a sample of US college students, heavy binge-watchers were more likely to be opinion leaders and to experience Fear of Missing Out (FOMO) than regular binge-watchers or non-binge-watchers. They also reported higher levels of parasocial engagement with the shows' characters than other viewers. Contrary to common beliefs, heavy binge-watching did not come at the cost of decreased social engagement. Quite the opposite: heavy binge-watchers reported spending significantly more time in interactions with friends and family on a daily basis than non-binge-watchers. Heavy binge-watching was also modestly associated with a few negative outcomes (loss of sleep and decrease in productivity).

Using the media industry studies approach, this article provides a history of the industrial discourses surrounding Netflix's audience data. From Netflix's entry into the streaming market in 2007 until late-2018, the company did not publicize information about viewership. During this time, executives' public discussions of proprietary data are understood in relation to multiple organizational goals: differentiating the streaming platform from the traditional television industry, denigrating traditional television industry practices, and deflecting criticism. In late-2018, the company began selectively publishing viewership numbers for a small number of original titles to highlight the popularity of the platform's original content. Although the company maintains its anti-transparency policies, the shift toward selective data releases has significant implications regarding Netflix's relationship with the traditional television industry. This analysis concludes with a discussion of streaming audience data that situates in the emerging realities of 'popular' television in the context the medium's broader transformations and continuities.

Yapay zekâ teknolojilerinin tüketici davranışlarını etkilemeye ve yeni tüketim alışkanlıkları oluşturmaya başlaması iletişim alanında ortaya yeni kavramların çıkmasına neden olmaktadır. Hiper kişiselleştirme de bu yeni kavramlardan bir tanesidir. Hiper kişiselleştirme, tüketici alışkanlıklarını ve eğilimini “bire bir” temas noktalarından etkilemeye yönelik olarak yapay zekâ tabanlı gelişen bir kavramdır. Bu çalışmanın amacı, yeni bir olgu olarak karşımıza çıkan hiper kişiselleştirmenin, çevrim içi video akış siteleri üzerinden araştırılmasıdır. Bu bağlamda hiper kişiselleştirilmiş içeriklerin çevrim içi izleme pratiklerini etkilemeye ve yönlendirmeye dönük girişimleri Netflix örneği üzerinden betimsel analiz yöntemiyle incelenmiştir. Çalışmada literatür taraması yapılmış ve çeşitli teorik tartışmalara yer verilmiştir. Bu araştırmada hiper kişiselleştirilmiş içeriklerin tüketici davranışlarını ve izleme alışkanlıklarını yönlendirmede başat bir araç olarak kullanıldığını ortaya koymuş, sinema sanatında seyir kültürünün bireyselleşmeye doğru yöneliş gösterdiğini tespit etmiştir.

Los nuevos operadores audiovisuales muestran una creciente y mayoritaria influencia que los constituyen en una seria competencia a los canales televisivos tradicionales. Junto a ello, las redes sociales y la interactividad que los contenidos audiovisuales proporcionan con las audiencias representan un cambio de paradigma en la actividad de los públicos televisivos. En este contexto, el presente artículo analiza, mediante un estudio de caso, la situación de opinión pública y crisis comunicativa que se produjo a partir de la cancelación de contenidos (la serie Sense8, 2017, producida por Netflix) y la repercusión en redes sociales (Twitter). Entre sus conclusiones se apunta a una novedosa estrategia por parte de esta nueva compañía audiovisual para responder e integrar en su discurso y prácticas productivas las demandas de sus audiencias.

Branding has been described as the defining industrial practice of television's recent past. This article examines publicly available industry documents, trade press coverage, and executive interviews to understand the place of traditional television network branding in streaming video on-demand (SVOD) portals as represented by Amazon and Netflix. Focusing on materials relating to licensed rather than original content and the role of such content within the U.S. domestic SVOD market, two distinct approaches emerge. For Amazon, the brand identities of some television networks act as valuable lures that draw customers into its Prime membership program. For Netflix, linear television networks are competitors and their brand identities are seen as impediments that reduce Netflix's own brand equity. Nonetheless, for advertiser-supported cable networks, the benefits of network branded content on SVODs remains unclear. Ultimately, Amazon's efforts to build a streaming service alongside network brand identities and Netflix's efforts to build its own brand at the expense of such identities demonstrates the need to think about contemporary television branding as an ongoing negotiation between established and emerging practices.

This paper examines the contextual challenges that characterise the Video On Demand market in Africa. It provides critical analysis of the creative strategies employed by Nigeria-based streaming services to navigate the peculiar business environment on the continent. This research is on the background of the poor internet infrastructure and economic divides in many African countries including Nigeria. Streaming services operating in these markets must understand a context where internet access is complicated on the levels of availability and/or affordability, including significant lack of confidence in e-payment facilities. All these, together with epileptic power supply and poor standard of living, indicate that streaming services must innovate to capture subscribers within the continent. Despite the harsh operational environment, streaming services in Nigeria have continued to increase in number within the past five years. This is attributed to the transnational reach of the streaming services as they are patronised by Africans in diaspora across the globe, while they also enjoy popularity within African countries. This paper specifically focuses on the innovative strategies employed by Nigerian streaming services to operate within their African markets in the context of their peculiar challenges. In so doing, it extends extant scholarship about internet-distributed video using the African context. This paper is situated within the Media Industry Studies framework and draws from semi structured interviews with 7 streaming executives in Nigeria and 10 creative professionals in the Nigerian Video Film Industry (Nollywood). It also relies on desk research of press reports, industry publications, as well as the interfaces of streaming portals. This paper underscores the necessity of contextualised research with the digital turn in video distribution. Through contextualised analysis of VOD market realities in a less studied terrain like Africa, it aligns with scholarly call to expand theories of internet-distributed video to marginal contexts.

With the digitization of the entertainment industry, our everyday media encounters become increasingly data-saturated. In the framework of the digital attention economy, lifestyle technologies stimulate and modulate intensive participation on a regular basis. By conceptualizing the American streaming brand and content provider Netflix as a networked experiential environment, this article explores the practice of binge-watching in light of its multilayered possibilities for user engagement. With the focus on the affective entanglements of recommendation, attention, and attachment, the first part of the article foregrounds binge-watching as the main driving force behind Netflix’s promotional stance on personalization and quality. The second part provides a situated analysis on how binge-viewing technologies and bodies connect and disconnect by zooming in on users’ adaptations of the viral catchphrase “Netflix and chill” on Tumblr. Highlighting the embodied dynamics of engagement with today’s tech brands, I argue for thinking about the value of these dynamics as embedded in the digital logic of contact/capture.

Introduction Sexual health is a major issue for young people, and there is a need to promote it. Sexual health promotion messages may be included in Netflix series that are widely watched by young people, with important emotional dimensions in scenarios. Objective The aim of this study is to investigate the explicit sexual health promotion messages integrated in Netflix series popular among young people, and to describe them and how they are delivered. Methods We selected two types of Netflix series, aimed at young people: (1) series whose synopsis is mainly about sexual health and (2) all-subject series. We extracted data from 65 episodes of 6 of the most-watched Netflix series. We used a data extraction grid on EpiData. We analysed sexual health themes and sexual health promotion messages. We described the series and listed all the sexual health and other health themes discussed. For each promotion message, we described scene contents and extracted dialogues. Results We found 62 promotion messages in the 6 analysed series. The two series that highlight sexual health in their synopsis account for 81% (n=50/62) of these identified promotion messages. Messages mainly focus on sexual harassment and violence (19%), on sexually transmitted infections protection (18%) and on contraception (15%). Messages are mainly delivered as verbal information, and mostly feature 16-18 years old characters in school. Analysis highlighted four main points concerning scenarios in these series: (1) there are different ways to deliver sexual health promotion messages; (2) there is depiction of negative value judgements and gender norms; (3) some information may be incomplete or misleading and (4) risky behaviours are represented. Conclusion Netflix series incorporate diverse sexual health promotion messages for young people. Further research could assess how these messages are perceived and whether they increase the knowledge, skills and positive health behaviours of young people.

Thanks to a growing television drama industry with notable success beyond its borders, domestic television series have, since the 2000s, become the dominant programme category on broadcast and cable television in Turkey. This article considers the presence of Anglo-Saxon TV series in an audio-visual landscape characterized by a widespread taste for local content. Briefly describing the differences between Turkish and foreign series in terms of format and appeal to audiences, it argues that English-language series may play a more decisive role than local content in the success of video on demand (VOD) platforms, which have been launched relatively late in the country.

This article focuses on the emergence of a nascent streaming industry.
The media industry studies conceptualization of “industry lore”
can be read during times of transition for media industries. Streaming
lore is a re-articulation of existing industry lore accompanying the
advent of streaming technology and distribution. Contemporary
streaming acts as a site of rupture, wherein industry discourses
related to digital media are rendered visible. The article proposes
three categories of emergent streaming lore and analyzes their relation
to a growing streaming media industry. These categories include
(a) Netflix as “quality” streams, (b) the algorithmic audience, and (c)
cord-cutters and cord-nevers.

Aggregation is central for how streaming is economically, technically, and socially organized. Developping its argument at the intersection of critical media industry studies and economic anthropology, this article argues that online aggregators have contributed to a process of devaluation that their services were designed to fight.​

Zusammenfassung Zeitgenössische Fernsehserien, allen voran die des Teen TV, führen häufig tragische Vereinsamungsprozesse vor, die regelmäßig in einem katastrophalen Finale totaler sozialer Isolation eskalieren. So erzählt etwa die kontrovers diskutierte Serie 13 Reasons Why (Tote Mädchen lügen nicht, USA 2017-, Netflix) um den Selbstmord einer Highschool-Schülerin im Wesentlichen von qualvoller sozialer Entfremdung, an denen ihre Figuren leiden-und letztlich zum Teil auch scheitern. Dabei spielen sich diese telemedialen Einsamkeiten nicht nur auf einer rein erzähltechnischen Ebene ab: Erst aus dem ästhetischen Zusammenspiel von Figurenzeichnung, Requisiten und den angeschlossenen Diskursen mit den spezifischen Inszenierungsformen, Handlungsräumen und Klangwelten des Fernsehens entstehen starke Ausdrucksweisen für die sonst häufig unsichtbaren, schwer benennbaren und abstrakten Prozesse spätmoderner Vereinsamung, denen vor allem junge Menschen in den west-lichen postindustriellen Gesellschaften der Gegenwart ausgesetzt sind. Dabei bezieht sich das Fernsehen auf eine bereits in der Kunst-und Filmgeschichte fest etablierte Ikonografie der modernen Einsamkeiten und steigert sie durch die ihm inhärenten ästhetischen Schichten zu einem komplexen Gefüge telemedialer Ausdrucksformen. Vor dem Hintergrund einer kurzen sozial-philosophischen Geschichte der Moderne als Epoche zunehmender Einsam

This paper explores the impact of first language (L1) and second language (L2) subtitles in films. From a new perspective, the paper looks at the role of repetition as a separate entity that influences vocabulary learning despite subtitle types. To maximise vocabulary acquisition, the paper recommends that learners should be exposed to repeated input. The repetition should be comprehensible and to reach a comprehensible input, subtitles could be then considered. Overall, L1 subtitles are preferred for low proficiency learners whilst L2 subtitles could be geared towards high proficiency learners since the aim behind watching movies in the target language is to have a comprehensible input. Nonetheless, different subtitles should be used to facilitate the meaning and not as a final tool of acquiring new vocabulary as this acquisition will take place with repetition. Thus, the current paper could form a starting point in an approach that lays emphasis on repetition in movies watching rather than using a particular type of subtitle. Keywords: comprehensible input, netflix, subtitles to learn the second language, visual materials, word repetition Cite as: Alharthi, A.A. (2018). How to Use L2 Movies Effectively to Learn New Vocabulary: A New Theoretical Perspective. Arab World English Journal (AWEJ) Special Issue on CALL (4) Introduction Many researchers consider that learning vocabulary provides a strong base for a successful L2 acquisition (Schmitt, 2010). Using visual material such as movies, cartoons, flash stories, etc. to learn new vocabulary seems to be an effective learning tool: such stimuli provide a full context of the vocabulary (Nasab & Motlagh, 2017). Thus, linguistic materials accompanied by visual representation are more effective for language learning. This is consistent with Mayer's (2009) multimedia learning theory stating that learners acquire more from pictures and words than from words alone. This new way of learning L2 vocabulary is preferred by the majority of learners studying English as a foreign language: it gives them the chance to see how native speakers use the language in context (Aloqaili, 2014; Safranj, 2015).

The feminist movements Me Too and Time’s Up have showcased the power of the audiovisual industry and social networks denouncing sexual harassment and promoting gender equality. Nevertheless, women in the media –and, specifically, on TV– continue to be underrepresented and stereotyped. Then, according to Time’s Up, it is urgent to increase the number of women in front of and behind the cameras, as well as to embed social movements’ influences on media productions in order to broaden the archetypal models used for characters' design/analysis. Despite the benefits of archetypes in storytelling, they are based on patriarchal and ethnocentric myths that undervalue female diversity. In response, this paper explores the transference of these feminist movements in terms of female presence and representation on TV series broadcast in the Peak TV era. From an intersectional approach, 25 feminist series were identified, and good practices in the portrayal of female characters are presented as useful role models for co-education which can contribute to egalitarian attitudes in youth. These female characters amplify typical archetypes (i.e., Knower, Carer, Striver, Conflictor, Everywomen) by defying stereotypes. This study concludes that there is a feminist trend in streaming platforms’ content, especially in series with a high female presence on-screen/off-screen (many of them linked to feminist movements), that sheds light on a more egalitarian and inclusive television landscape.

Open TV shows how we have left “the network era” far behind and entered the networked era, with the web opening up new possibilities for independent producers, entrepreneurs, and media audiences. Based on interviews with writers, producers, show-runners, and network executives, visits to festivals and award shows, and the experience of producing his own series, Aymar Jean Christian argues that the web brought innovation to television by opening up series development to new producers, fans, and sponsors that had previously been excluded. Online access to distribution provides creative freedom for indie producers, allows for more diverse storytelling from marginalized communities, and introduces new ways of releasing and awarding shows.

The Netflix popular reality series Too Hot to Handle (THTH), released during the coronavirus outbreak in 2019, requires all contestants to refrain from sexual activities of any kind in order to win a cash prize in the end. Mirroring the physical distancing mandate during the COVID-19 crisis, the show offers an opportunity to discern a set of interrelated human and nonhuman entanglements in contemporary technoculture that the outbreak has brought into sharper relief. This essay probes into the conditions of possibility for the popularity of THTH by placing an analytical focus on the role of Lana, a nonhuman sensor centrally featured in the show with a female voice typical of digital assistants. Lana, a cone-shaped device from ‘Factory, China’, is a surveillance robot embodying the operation of Netflix as part of the expanding regime of data colonialism, which extracts personal data for profit. Her nonhuman identity is evocative of China as at once a manufacturing locale for the material gadgets that make up the global digital economy and an authoritarian state that has deepened its censorship and surveillance practices during the COVID-19 outbreak. Instructing the contestants to care for their entrepreneurial selves while encroaching upon their autonomy, Lana invites us to rethink the common framing of China – a coveted market for Netflix – as the nonhuman Other of the liberal-democratic West. During a time when the nonhuman virus keeps humans apart while intensifying their reliance on nonhuman machines for communication, Lana promotes a kind of intimacy without proximity characteristic of the global infrastructures of connection. A symptomatic reading of THTH, which also conjures a vision of collectivity as a basis for surviving the pandemic, thus allows us to recognize the entanglement of the human and the nonhuman and to imagine new paths toward global social justice.

Este é um artigo publicado em acesso aberto (Open Access) sob a licença Creative Commons Attribution, que permite uso, distribuição e reprodução em qualquer meio, sem restrições desde que o trabalho original seja corretamente citado. Galáxia (São Paulo, online), ISSN 1982-2553, n. 45, set-dez, 2020, p. 194-206. http://dx. Resumo: O artigo aborda as práticas relacionadas ao consumo de conteúdo audiovisual em plataformas digitais a partir do estudo da relação dos usuários com a Netflix, sob o viés da teoria da prática. A reflexão parte do resultado da tese de doutoramento da autora, que envolveu a coleta de dados quantitativos e qualitativos. Neste artigo, são discutidos os resultados das entrevistas e a observação dos espaços de consumo dos usuários. Em termos gerais, nota-se o estabelecimento e a reprodução de fluxos de consumo interconectados, nos quais usuários e empresa relacionam-se recursivamente: de um lado, há a disponibilização contínua de conteúdo, e do outro, o acesso rotinizado, fragmentado e marcado pela insaciabilidade e autonomia do tempo dedicado à prática, o que favorece a manutenção da estrutura estabelecida pela plataforma. Palavras-chave: consumo audiovisual; plataformas digitais; Netflix. Abstract: Audiovisual consumption on digital platforms: configuring practices and flows in the routine of Netflix users-The paper addresses the practices related to the audiovisual consumption on digital platforms based on the study of users' relationship with Netflix, under the practice theory approach. This reflection starts from the result of the author's doctoral thesis, which involved the collection of quantitative and qualitative data. In this article, the results of the interviews and the observation of users' consumption spaces are discussed. In general terms, there is the establishment and reproduction of interconnected consumption streams, in which users and companies recursively relate: on the one hand, there is continuous availability of content, and on the other, routinized access, fragmented and marked by insatiability and autonomy of the time devoted to the practice, which favors the maintenance of the structure established by the platform.

Günümüzde sosyal medya hayatımızın merkezinde yer almaya başlamış, her yaştan ve her kesimden bireyi kapsamına almıştır. Etkileşimli web adı verilen Web 2.0 teknolojisi sanal ortamda daha katılımcı yapının oluşmasını sağlamıştır. Bu katılımcı yapı farklı sosyal paylaşım ağlarında farklı içeriklerin oluşturulmasını ortaya koymuştur. Özellikle dünyada YouTube, bu noktada gittikçe popüler hale gelen video paylaşım sitesi haline gelmiştir. Hatta popüler bir hâle gelen YouTube’da kuşakların video izleme alışkanlıkları giderek değişmeye başlamış böylece içeriklerde bir dönüşüm yaşanmıştır. Çünkü YouTube içeriklerinin kullanım düzeyi kuşaktan kuşağa farklılık gösterir hâle gelmiştir. Bu çalışmada Y ve Z kuşaklarının YouTube’da video izleme alışkanları tespit edilmeye çalışılmış ve bu alışkanların değişiklik gösterip göstermediğinin saptanması hedeflenmiştir. Araştırmaya katılan 308 bireyin konu hakkındaki düşünceleri nicel araştırma yöntemlerinden anket tekniği ile saptanmaya çalışılmıştır. Özellikle “play” tuşunun bireylerde hissettirdiği anlam kuşaklara göre farklılık göstermekle birlikte, sosyal medya platformlarında yapılan yorumlardan etkilenme düzeylerinde anlamlı farklılık saptanmamıştır. Bu kapsamda, Y ve Z kuşağının takip ettiği kanallarda önemli farklılık söz konusudur. Y kuşağı dizi, film ve program kanallarını tercih ederken, Z kuşağı Influencer kanallarına daha yoğun ilgi göstermektedir. Kuşakların YouTube kullanım alışkanlıkları göz önünde bulundurulduğunda içeriklerin bu alışkanlara göre oluşturulması özellikle firmalara ışık tutarak, firmaların verecekleri kararların uygulamalarında hedef kitleye daha hızlı ve etkili bir şekilde ulaşılması öngörülmektedir.

El propósito de este trabajo es saber, a través de un análisis de contenido cuantitativo, cómo fue el cubrimiento de las dos primeras temporadas de la serie Narcos en la prensa española y estadounidense. Serie web de drama criminal, cuyo protagonista es el extinto capo del Cartel de Medellín: Pablo Escobar Gaviria. Aplicado a un total de 85 unidades de análisis, se extraen los principales actantes, temáticas y géneros periodísticos utilizados durante las dinámicas de producción de los medios; además de un estudio de la imagen de Pablo Escobar, Medellín y Colombia mediante la identificación de conceptos constantes durante el cubrimiento de la prensa. Los resultados señalan que, aunque se mantuvo un equilibrio periodístico durante el cubrimiento, hay diferencia en el abordaje de las temáticas de la serie por geolocalización. Mientras los periódicos españoles recurren a las noticias y las entrevistas a los actores que participan en la serie; los periódicos estadounidenses se apoyan en la investigación documental y presencial.

This film review of Black Mirror: Bandersnatch, released by Netflix in 2018, discusses the nature of the interactive genre, focusing on its current and future effects on data mining, product placement, and programmatic
advertising, highlighting the new, evolving role played by the viewer.

Today, VOD (video on demand) sites and portals specializing in long-form, high-quality documentary and factual content proliferate online. This article explores the multiplatform strategies of public service broadcasters in the UK in this context. It examines how the BBC and Channel 4 address the masses of user generated content that flood the documentary market and partake in the battle for audiences for documentary films and factual content in a multiplatform context. Both channels seek to reinvent themselves as public service media providers and curators of documentary content online, in order to fulfil public service remits and secure their positions as leading providers of documentary and factual content across platforms in a global multiplatform mediascape. However, by contrasting Channel 4’s online ‘verticals’ with the BBC’s themed and branded documentary portals, the article argues that although Channel 4 and BBC pursue similar strategies online they do so for different reasons and to different effect.

El negocio de contenidos mediáticos en internet está liderado por nuevos agentes que vinculan su actividad con la distribución
de contenidos. Estos actores trabajan adaptados a las demandas del contexto convergente mediático, y proponen
modelos de negocio orientados hacia la satisfacción del usuario. Entre ellos, destaca notablemente el caso de Netflix, por
el liderazgo que ejerce en su mercado doméstico, Estados Unidos, así como por su expansión internacional. Se presenta
en profundidad el modelo de negocio de Netflix con un caso de estudio que se articula en tres aspectos fundamentales:
la fórmula de monetización y configuración de catálogo, la política de relaciones con sus principales públicos (usuarios y
proveedores de contenido y de red) y su estrategia de internacionalización. A partir de los resultados, se abre una discusión
sobre la proyección de este modelo en el mercado mediático español.

Although ‘streaming’ media has become increasingly common across multiple media industries, significant differences underpin the industrial practices that allow this behavior and explain discrepant experiences of internet distribution across industries. This article uses collaborative comparative media analysis to investigate the commonalities and variations among streaming in the US music, film, and television industries to assess the viability of theorizing the cultural implications of streaming as a consistent phenomenon across media industries. The article explores the consistencies and divergences of streaming among consumer experience, business practices, and textual implications to compare how established uses, production practices, and media content have been affected by internet distribution. Such detailed industry comparison is a novel approach, and the article also considers the methodological value of rigorous collaboration among scholars expert in different media industries. The analysis is based on industry data and practices obtained through trade press, industry reports,and interviews with media workers consistent with a critical media industries approach.

Esta investigación analiza cómo la plataforma de televisión en streaming Netflix consigue generar comunidad en la red social Twitter. A través de un análisis de contenido (N=1.048 tweets, n=100 tweets) se responde a las características que presentan aquellos mensajes que más conversación generan, más se comparten y más gustan. Los resultados reflejan lo que la audiencia social valora de una marca audiovisual para relacionarse con la misma. Se concluye que contar con una estrategia de creación propia, promocionar e informar sobre series y emplear el lenguaje propio de la red –como el hashtag acompañado de recursos visuales- incrementa la participación de los seguidores. Además, plantear preguntas para estimular la participación, recurrir al humor o al suspense ayuda en este cometido.

This article examines the Netflix revival of Full House, the family sitcom about three single men raising three girls that was part of the family-friendly “TGIF” (Thank Goodness It’s Funny) lineup ABC aired on Friday nights in the 1980s and 1990s. The 2016 release of Fuller House, I argue, was driven not only by the possibility to exploit an existing property with ongoing media and cultural presence in times of “peak TV” but also by Netflix’s strategic efforts to revive the bygone days of TGIF-style programming and reinvent family-friendly viewing in the era of complex television and online streaming platforms. In analyzing the Full House revival—its production and reception contexts, its carefully crafted text and paratexts, its position among complex dramas and edgy sitcoms—I will also trace the ways in which Fuller House engages in postfeminist discourse and raises pertinent questions about family values, gender roles, and ethnic diversity.

This article can be read for free at https://www.cambridge.org/core/journals/theatre-research-international/article/killjoy-comedian-hannah-gadsbys-nanette/9B685EEB4E24CB6D1B1D06512D6E6E16/share/56e7f616478bf894dcdf8ba3ec969beef68d0cdc?fbclid=IwAR2hf6TKd0G2Gg6_3MEHYxQ4QCkmmqMr_PrQ8q-EWAjt8Fw0GJErftH9JAs.

In her 2017 show Nanette, Australian comedian Hannah Gadsby announced that she was quitting comedy. In the show, Gadsby argued that as a marginalized person – a gender-nonconforming lesbian from rural Tasmania – she was doing herself a disservice when she invited audiences to laugh at her trademark self-deprecating humour. Gadsby framed her decision to quit comedy partly as a problem of persona: her practice as a comedian was to take actual, sometimes traumatic, events from her life and turn them into jokes, which she described as ‘half-told stories’. So framed, the problem with Gadsby’s comic persona is the way it both presents and truncates her traumatic experience. When she refuses to be funny, Gadsby casts herself as something like Sara Ahmed’s ‘feminist killjoy’, a spoilsport figure whose unhappiness positions her as a source of tension. In this article I consider how Gadsby’s decision to quit comedy, and the terms in which she articulates that decision in Nanette, can help us think about varied modes of humourlessness and comic possibility.

uTurn is a digital art installation that allows interaction inside a cinema-like environment or a similar public space — an exhibition system in the context of an audience, retrieving an elected media from the choices made by the majority of the public. The software in its core manages the selection — a meta-remediation that elects a media block, in the form of short-story movies (Vidbits) to be watched by a crowd. The interaction model assumes the need to find a preference in the viewing room in order to identify and choose the next Vidbit. The system allows navigation through media blocks in environments like a cinema room, a summer festival, or a public event. It can be configured to support visual concepts, or to integrate a narrative system in which other types of structures in the story demand that the content follows a segmentation of media. uTurn was exhibited during the 5th Artech International Conference, in 2015. The article addresses the creative process towards the production of the digital artifact using Apple's Quartz Composer.

Academic discussion of Netflix has already highlighted the labour of localization that the global service has had to carry out or contract in order to operate smoothly across borders. But not much has been said about independent local players who help to align the service with local audiences, doing so often without any authorization or recognition, and who are still looking for a place in the new distribution ecosystem. Employing the perspective of valuation studies, this article discusses the changing business model of a Czech video-on-demand (VOD) directory, Filmtoro, as an example of a new type of local intermediary contributing to the social construction of the global VOD market.

This article examines the mutual domestication of users and recommendation algorithms on Netflix. Based on 25 interviews with users and an inductive analysis of their practices and profiles on the platform, we discuss five dynamics through which this mutual domesti- cation occurs: personalization, or the ways in which individualized relationships between users and the platform are built; how algorithmic recommendations are integrated into a matrix of cultural codes; the rituals through which they are incorporated into spatial and temporal processes in daily life; the resistance to various aspects of Netflix as a form to enact agency; and the conversion or transformation of the private consumption of the platform into a public issue. The conclusion elaborates on the theoretical and analytical implications of this approach, to rethink the relationship between algorithms and culture.

This article revisits the long tail phenomenon, a dozen years after it was first articulated as a model for the digital media economy. As this article illustrates, both the research evidence and the evolution of industry practice have demonstrated that the long tail phenomenon has failed to take hold to the extent expected. This article outlines the interconnected technological, institutional and economic factors that explain the decline of the long tail, and considers the implications of this decline for media policy and media research.