Mostrar el registro sencillo del ítem
From Parochialism to Cosmopolitanism in the American Audiovisual Supply? Netflix’s New Releases of Television Fiction in the United States and their Geographical Diversity
¿De oferta parroquiana a cosmopolita en la oferta audiovisual estadounidense? Estrenos de televisión de ficción en los Estados Unidos y su diversidad geográfica
dc.contributor.author | Lozano, José Carlos | |
dc.date.accessioned | 2022-05-25T20:05:43Z | |
dc.date.available | 2022-05-25T20:05:43Z | |
dc.date.created | 2022-05-19 | |
dc.identifier.issn | 1692-2522 | |
dc.identifier.uri | http://hdl.handle.net/11407/7005 | |
dc.description | The supply of films and TV series in the United States has been historically dominated by national programming produced by its powerful media conglomerates, significantly limiting the diversity and plurality of choices for their American viewers. Netflix and other video-on-demand platforms are changing this situation, significantly increasing the availability in the United States of fiction produced in different regions of the world, potentially exposing their subscribers to new narrative styles, scenarios, ethnicities, nationalities, languages, and cultural features. This study, based on the methodology of content analysis, analyzes the geographical origin and production type of new Netflix scripted television releases in the United States from January 2017 to June 2018 and discusses their potential relevance in broadening the degree of geographical diversity among American subscribers to the platform. The paper concludes that while Netflix USA substantially increased the supply of foreign television series in its catalog during that period, a sizeable part of the imports came from countries with high degrees of “cultural proximity” with the United States. The article concludes by discussing the possible “Americanization” of foreign audiovisual productions, formats, and genres bought or produced by Netflix. | eng |
dc.description | Históricamente, la oferta de películas y series de televisión en los Estados Unidos ha estado dominada por la programación nacional producida por sus poderosos conglomerados de medios, lo que limita significativamente la diversidad y pluralidad de opciones que han tenido los espectadores estadounidenses. Netflix y otras plataformas de video bajo demanda parecen estar cambiando esta situación, aumentando significativamente la disponibilidad en los Estados Unidos de ficción producida en diferentes regiones del mundo, exponiendo potencialmente a sus suscriptores a nuevos estilos narrativos, escenarios, etnias, nacionalidades, idiomas, y características culturales. El presente estudio, basado en la metodología del análisis de contenido, revisa el origen geográfico y el tipo de financiamiento de los estrenos televisivos de ficción de Netflix Estados Unidos de enero de 2017 a junio de 2018, con el propósito de discutir el grado en que la plataforma ha incrementado la disponibilidad de contenidos extranjeros en Estados Unidos y las implicaciones de lo anterior en el enriquecimiento de la diversidad vertical en el consumo de sus suscriptores. El documento concluye que, si bien Netflix ha aumentado sustancialmente la oferta de series foráneas en su servicio estadounidense, una parte considerable de las importaciones proviene de países con altos grados de “proximidad cultural”. El artículo concluye discutiendo la posible “americanización” de producciones, formatos y géneros audiovisuales extranjeros comprados o producidos por Netflix. | spa |
dc.format.extent | p. 199-223 | |
dc.format.medium | Electrónico | spa |
dc.format.mimetype | application/pdf | |
dc.format.mimetype | ||
dc.language.iso | eng | eng |
dc.publisher | Universidad de Medellín | spa |
dc.relation.ispartofseries | Anagramas Rumbos y Sentidos de la Comunicación; Vol. 20 No. 40 (2022) | spa |
dc.relation.haspart | Anagramas Rumbos y Sentidos de la Comunicación; Vol. 20 Núm. 40 enero-junio 2022 | spa |
dc.relation.uri | https://revistas.udem.edu.co/index.php/anagramas/article/view/3662 | |
dc.rights.uri | http://creativecommons.org/licenses/by-nc-sa/4.0/ | * |
dc.rights.uri | http://creativecommons.org/licenses/by-nc/4.0 | * |
dc.source | Anagramas Rumbos y Sentidos de la Comunicación; Vol. 20 No. 40 (2022): enero-junio; 199-223 | spa |
dc.subject | Contenido de programa | spa |
dc.subject | Video bajo demanda | spa |
dc.subject | Flujos audiovisuales | spa |
dc.subject | Diversidad cultural | spa |
dc.subject | Nacionalismo cultural | spa |
dc.subject | Circulación internacional de materiales | spa |
dc.title | From Parochialism to Cosmopolitanism in the American Audiovisual Supply? Netflix’s New Releases of Television Fiction in the United States and their Geographical Diversity | eng |
dc.title | ¿De oferta parroquiana a cosmopolita en la oferta audiovisual estadounidense? Estrenos de televisión de ficción en los Estados Unidos y su diversidad geográfica | spa |
dc.type | Article | eng |
dc.identifier.doi | https://doi.org/10.22395/angr.v20n40a9 | |
dc.subject.keyword | Show content | eng |
dc.subject.keyword | Netflix | eng |
dc.subject.keyword | SVOD subscription video on demand | eng |
dc.subject.keyword | Media studies | eng |
dc.subject.keyword | Cultural diversity | eng |
dc.subject.keyword | Cultural nationalism | eng |
dc.subject.keyword | International circulation of materials | eng |
dc.relation.citationvolume | 20 | |
dc.relation.citationissue | 40 | |
dc.relation.citationstartpage | 199 | |
dc.relation.citationendpage | 223 | |
dc.audience | General interest | spa |
dc.audience | Comunidad Universidad de Medellín | spa |
dc.publisher.faculty | Facultad de Comunicación | spa |
dc.coverage | Lat: 06 15 00 N degrees minutes Lat: 6.2500 decimal degreesLong: 075 36 00 W degrees minutes Long: -75.6000 decimal degrees | |
dc.publisher.place | Medellín | spa |
dc.description.resumo | Historicamente, a oferta de filmes e séries de TV nos Estados Unidos tem sido dominada pela programação nacional produzida por seus poderosos conglomerados de mídia, limitando significativamente a diversidade e pluralidade de opções que os espectadores americanos têm. A Netflix e outras plataformas de vídeo sob demanda parecem estar mudando essa situação, aumentando significativamente a disponibilidade nos EUA de ficção produzida em diferentes regiões do mundo, potencialmente expondo seus assinantes a novos estilos narrativos, cenários, etnias, nacionalidades, idiomas e características culturais. O presente estudo, com base na metodologia de análise de conteúdo, analisa a origem geográfica e o tipo de financiamento das estreias mensais da Netflix nos Estados Unidos de janeiro de 2017 a junho de 2018, a fim de discutir o grau em que a plataforma aumentou a disponibilidade de conteúdo estrangeiro nos EUA e as implicações do acima exposto no enriquecimento da diversidade vertical no consumo de seus assinantes. O documento conclui que, embora a Netflix tenha aumentado substancialmente a oferta de séries estrangeiras em seu serviço nos EUA, um número considerável das importações vêm de países com alto grau de “proximidade cultural”. Discussão. O artigo conclui discutindo a possível “americanização” de produções, formatos e gêneros audiovisuais estrangeiros comprados ou produzidos pela Netflix. | por |
dc.title.portuguese | Da oferta paroquial à cosmopolita na oferta audiovisual americana? Estreias de televisão ficcionais nos Estados Unidos e sua diversidade geográfica | por |
dc.audience.spa | Interés general | spa |
dc.relation.references | Aguiar, L. & Waldfogel, J. (2018). Netflix: Global hegemon or facilitator of frictionless digital trade? Journal of Cultural Economics 3(42), 419-445. DOI: https://doi.org/10.1007/s10824-017-9315-z | |
dc.relation.references | BBC. (2018, January 23). Netflix’s history: From DVD rentals to streaming success. BBC Newsbeat. http://www.bbc.co.uk/newsbeat/article/42787047/netflixs-history-from-dvd-rentals-tostreaming- success | |
dc.relation.references | Becerra, M., & Mastrini, G. (2010). Concentración de los medios en América Latina: tendencias de un nuevo siglo. Contratextos, (18), 41-64. DOI: https://doi.org/10.26439/contratexto2010. n018.199 | |
dc.relation.references | Bertran, A. (2020, March 2). Netflix to launch 14 new original productions in Mexico this year. Nextv News Latin America. https://en.nextvlatam.com/netflix-to-launch-14-new-original-productionsin- mexico-this-year/ | |
dc.relation.references | Castro, D., & Cascajosa, C. (2020). From Netflix to Movistar+: How subscription Video-on-Demand Services has transformed Spanish TV production. JCMS: Journal of Cinema and Media Studies, 59(3), 154-160. DOI: https://doi.org/10.1353/cj.2020.0019 | |
dc.relation.references | Croteau, D., & Hoynes, W. (2001). The business of media. Corporate media and the public interest. Thousand Oaks, CA: Pine Forge Press. | |
dc.relation.references | De Bens, E., & De Smaele, H. (2001). The inflow of American television fiction on European broadcasting channels revisited. European Journal of Communication, 16(1), 51-76. DOI: https:// doi.org/10.1177/0267323101016001003 | |
dc.relation.references | Doyle, G. (2016). Digitization and changing windowing strategies in the television industry: Negotiating new windows on the world. Television & New Media, 17(7), 629-645. | |
dc.relation.references | Evans, S.K., Pearce, K.E., Vitak, J., & Treem, J.W. (2017). Explicating affordances: A conceptual framework for understanding affordances in communication research. Journal of Computer- Mediated Communication, 22(1), 35-52. DOI: 10.1111/jcc4.12180 | |
dc.relation.references | Fontaine, G., & Grece, C. (2016). Origin of films and TV content in VOD catalogues in the EU & Visibility of films on VOD services. European Audiovisual Observatory. | |
dc.relation.references | Fu, W. W. (2010). Explaining global box-office tastes in Hollywood films: Homogenization of national audience’s movie selections. Communication Research, 37(2), 215-238. DOI: https:// doi.org/10.1177/0093650209356396 | |
dc.relation.references | Garcia Leiva, M.T. & Albornoz, L.A. (2021). VOD service providers and regulation in the European Union: An audiovisual diversity approach. International Journal of Cultural Policy, 27(3), 267-281. DOI: https://doi.org/10.1080/10286632.2020.1769614 | |
dc.relation.references | Gitlin, T. (1985). Inside prime time. Pantheon Books. | |
dc.relation.references | Gomery, D. (1992). Shared pleasures: A history of movie presentation in the United States. University of Wisconsin Press | |
dc.relation.references | Hellman, H. (2001). Diversity - An end in itself? Developing a multi-measure methodology of television program variety studies. European Journal of Communication, 16(2), 181-208. DOI: https://doi.org/10.1177/0267323101016002003 | |
dc.relation.references | Hoskins, C., Mirus, R., & Rozeboom, W. (1989). US television programs in the international market: Unfair pricing? Journal of Communication, 39(2), 55-75. DOI: https://doi. org/10.1111/j.1460-2466.1989.tb01029.x | |
dc.relation.references | Iordache, C. (2021). Netflix in Europe: Four markets, four platforms? A comparative analysis of audio-visual offerings and investment strategies in four EU states. Television & New Media, Advance Online Publication. https://doi.org/10.1177/15274764211014580 | |
dc.relation.references | Jarvey, N. (2018). How Amazon Video subscribers stack up against Netflix, Hulu (Report). The Hollywood Reporter. https://www.hollywoodreporter.com/live-feed/new-data-reveals-howamazon- video-stacks-up-netflix-hulu-report-1094783 | |
dc.relation.references | Katz, B. (2020, August 5, 2020). Thanks to quarantine, Amazon is gaining on Netflix’s numbers. Observer. https://observer.com/2020/08/netflix-subscribers-stock-amazon-prime-videosubscribers/ | |
dc.relation.references | Kivikuru, U. (1988). From import to modeling: Finland —An example of old periphery dependency. European Journal of Communication, 3, 9-34. DOI: https://doi.org/10.1177/0267323188003001002 | |
dc.relation.references | Lembo, R., & Tucker, K. (1990). Culture, television, and opposition. Rethinking cultural studies. Critical Studies in Mass Communication, 7, 97-116. DOI: https://doi.org/10.1080/15295039009360167 | |
dc.relation.references | Limov, B. (2020). Click it, binge it, get hooked: Netflix and the growing U.S. audience for foreign content. International Journal of Communication, (14), 6304-6323. | |
dc.relation.references | Lobato, R. (2018). Rethinking international TV flows research in the age of Netflix. Television & New Media, 19(3), 241-256. DOI: https://doi.org/10.1177/1527476417708245 | |
dc.relation.references | Lotz, A., & Lobato, R. (2019, November 8). Apple, Disney, and Netflix’s streaming battle aren’t winner-take-all. The Conversation US. https://theconversation.com/apple-disney-and-netflixsstreaming- battle-isnt-winner-take-all-125360 | |
dc.relation.references | Lotz, A. (2020). In between the global and the local: Mapping the geographies of Netflix as a multinational service. International Journal of Cultural Studies. Advanced online publication. DOI: https://doi.org/10.1177/1367877920953166 | |
dc.relation.references | Lozano, J.C. & Hernández Lomelí, F. (2020). Media flows. In W. Raussert, G. L. Anatol, S. Thies, S. Corona Berkin, & J.C. Lozano (Eds.), The Routledge Handbook to the Culture and Media of the Americas (pp. 382-392). Routledge. | |
dc.relation.references | Lynch, J. (2019). Netflix has now 139 million subscribers and says it competes with Fornite more than HBO. Adweek. https://www.adweek.com/tv-video/netflix-now-has-139-million-subscribersand- says-it-competes-with-fortnite-more-than-hbo/ | |
dc.relation.references | Maltby, R., & Stokes, M. (2004). Hollywood abroad: Audiences and cultural exchange. BFI Publishing. | |
dc.relation.references | Martínez, F. J. (2005). La oferta de televisión en América Latina: Hacia un análisis de flujos. ZER Revista de Estudios de Comunicación, (19), 145-172. http://hdl.handle.net/10810/40882 | |
dc.relation.references | McQuail, D. (1992). Media performance: Mass communication and the public interest. London: Sage. | |
dc.relation.references | Moody, R. (2020). Netflix subscribers and revenue by country. Comparitech. https://www.comparitech. com/tv-streaming/netflix-subscribers/ | |
dc.relation.references | Moore, K. (2020, August 5). Does Netflix have too much foreign content? What´s on Netflix. https:// www.whats-on-netflix.com/news/does-netflix-have-too-much-foreign-content/ | |
dc.relation.references | Morley, D. (2006). Unanswered questions in audience research. The Communication Review, 9, 101- 121. DOI: https://doi.org/10.1080/10714420600663286 | |
dc.relation.references | Napoli, P. (1999). Deconstructing the diversity principle. Journal of Communication, 49(4), 7-34. DOI: https://doi.org/10.1111/j.1460-2466.1999.tb02815.x | |
dc.relation.references | Nordenstreng, K., & Varis, T. (1974). Television traffic--a one-way street? A survey and analysis of the international flow of television program material. Unesco. | |
dc.relation.references | Nunan, T. (2020, October 29, 2020). Peacock posts a surprising number of subscribers. Forbes. https://www.forbes.com/sites/tomnunan/2020/09/15/peacock-posts-surprising-number-ofsubscribers/? sh=62b89e4f736b | |
dc.relation.references | Penner, T. A. & Straubhaar, J.D. (2020). Títulos originais e licenciados com exclusividade no catálogo brasileiro da Netflix: um mapeamento dos países produtores. MATRIZes, 14(1), 125-149. | |
dc.relation.references | Prang, A. (2019, January 8). Hulu reports more than 25 million subscribers in 2018. The Wall Street Journal. Retrieved from https://www.wsj.com/articles/hulu-reports-more-than-25-millionsubscribers- in-2018-11546963200 | |
dc.relation.references | Press, J. (2020, June 22). Hulu’s streaming-wars strategy: Less is more. Vanity Fair. https://www.wsj. com/articles/hulu-reports-more-than-25-million-subscribers-in-2018-11546963200 | |
dc.relation.references | Robinson, J. (2018, November 9). The four types of Netflix Originals. What’s New on Netflix. https:// www.whats-on-netflix.com/news/the-four-types-of-netflix-originals/ | |
dc.relation.references | Rios, S. & Scarlata, A. (2018). Locating SVOD in Australia and Mexico: Stan and Blim contend with Netflix. Critical Studies in Television, 13(4), 475-490. | |
dc.relation.references | Rodríguez, A. (2019, February 26). Netflix didn´t make many of the “originals” that made it famous. That´s changing. Quartz. https://qz.com/1545594/netflix-doesnt-make-most-of-its-originalsnow- thats-changing/ | |
dc.relation.references | Schement, J. R., Gonzalez, I. N., Lum, P., & Valencia, R. (1984). The international flow of television programs. Communication Research, 11(2), 163-182. DOI: https://doi. org/10.1177/009365084011002003 | |
dc.relation.references | Schneider, M. (2018, November 15). With 100 foreign-language series, Netflix will take binge-watching global. IndieWire. https://www.indiewire.com/2018/11/netflix-international-casa-de-papel-darksacred- games-erik-barmack-interview-1202020918/ | |
dc.relation.references | Spangler, T. (2018, February 27). Netflix eyeing a total of about 700 Original Series in 2018. Variety. https://variety.com/2018/digital/news/netflix-700-original-series-2018-1202711940/ | |
dc.relation.references | Statista. (2019a). Value of the entertainment and media market in the United States from 2011 to 2020. https://www.statista.com/statistics/237769/value-of-the-us-entertainment-andmedia- market/ | |
dc.relation.references | Statista. (2019b). Number of HBO Now subscribers from December 2015 to February 2018 (in millions). https://www.statista.com/statistics/539290/hbo-now-subscribers/ | |
dc.relation.references | Straubhaar, J. (1991). Beyond media imperialism: Asymmetrical interdependence and cultural proximity. Critical Studies in Mass Communication, 8, 39-59. DOI: https://doi. org/10.1080/15295039109366779 | |
dc.relation.references | Straubhaar, J. (2003). Choosing national TV: Cultural capital, language, and cultural proximity in Brazil. In M. G. Elasmar (Ed.), The impact of international television: A paradigm shift (pp. 77-111). Lawrence Earlbaum Associates. | |
dc.relation.references | Trainer, D. (2019, March 8). Loss of licensed content Is an underrated crisis for Netflix. Forbes. https://www.forbes.com/sites/greatspeculations/2019/03/08/loss-of-licensed-content-is-anunderrated- crisis-for-netflix/?sh=53b1b2ba2111 | |
dc.relation.references | Trejo Delarbre, R. (2010). Muchos medios en pocas manos: concentración televisiva y democracia en América Latina. Intercom - Revista Brasileira de Ciencias da Comunicacao, 33(1), 17-51. | |
dc.relation.references | Van Cuilenburg, J. (2007). Media diversity, competition, and concentration: Concepts and theories. In E. de Bens & C. Hamelink (Eds.), Media between culture and commerce: An Introduction. Bristol. UK: Intellect. | |
dc.relation.references | Varis, T., Nordenstreng, K. (1985). The international flow of television programs. Unesco. | |
dc.relation.references | Wayne, M. L., & Uribe Sandoval, Anna C. (2021). Netflix Original series, global audiences, and discourses of streaming success. Critical Studies in Television, 0(0), 1-20. | |
dc.relation.references | Watson, A. (2018, October 23, 2020). How often do you use Netflix? Statista. https://www.statista. com/statistics/740061/tv-consumption-netflix-age/ | |
dc.rights.creativecommons | Attribution-NonCommercial-ShareAlike 4.0 International | * |
dc.identifier.eissn | 2248-4086 | |
dc.type.coar | http://purl.org/coar/resource_type/c_6501 | |
dc.type.version | info:eu-repo/semantics/publishedVersion | |
dc.type.local | Artículo científico | spa |
dc.type.driver | info:eu-repo/semantics/article | |
dc.identifier.reponame | reponame:Repositorio Institucional Universidad de Medellín | |
dc.identifier.repourl | repourl:https://repository.udem.edu.co/ | |
dc.identifier.instname | instname:Universidad de Medellín | |
dc.subject.keywordportuguese | conteúdo do programa | por |
dc.subject.keywordportuguese | Netflix | por |
dc.subject.keywordportuguese | Vídeo Sob demanda | por |
dc.subject.keywordportuguese | Streams audiovisuais | por |
dc.subject.keywordportuguese | Diversidade cultural | por |
dc.subject.keywordportuguese | Nacionalismo cultural | por |
dc.subject.keywordportuguese | Circulação internacional de materiais | por |