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Examining the impact of streaming on the global production and flow of television and film, this book provides an innovative theoretical framework to conceptualize how asymmetric dynamics of power play out in the era of global streaming.
This book analyses Netflix and Amazon Prime Video, two tech-based digital native streamers, and compares them to Disney+ and Max (Warner Bros. Discovery), two legacy Hollywood studios with cable TV, and broadcasting operations, now pursuing global streaming. The book compares their different models of operation and specifically explores how these four streamers, particularly Netflix, are co-producing and commissioning television programs and films in an increasing number of countries and how this is creating new opportunities for independent producers and soft power for the producing nations. It also considers the direct algorithmic targeting of individuals by their genre tastes across boundaries of culture, language, and nation that previously protected national and regional television markets, creating a new flow of data colonialism. At a more local level, the book also examines some of the national and regional streaming platforms emerging in some of the key players in the Global South: Brazil, India, and Mexico.
This is essential reading for students, researchers and academics interested in media studies, global media, and global television studies.
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Examining the impact of streaming on the global production and flow of television and film, this book provides an innovative theoretical framework to conceptualize how asymmetric dynamics of power play out in the era of global streaming.
This book analyses Netflix and Amazon Prime Video, two tech-based digital native streamers, and compares them to Disney+ and Max (Warner Bros. Discovery), two legacy Hollywood studios with cable TV, and broadcasting operations, now pursuing global streaming. The book compares their different models of operation and specifically explores how these four streamers, particularly Netflix, are co-producing and commissioning television programs and films in an increasing number of countries and how this is creating new opportunities for independent producers and soft power for the producing nations. It also considers the direct algorithmic targeting of individuals by their genre tastes across boundaries of culture, language, and nation that previously protected national and regional television markets, creating a new flow of data colonialism. At a more local level, the book also examines some of the national and regional streaming platforms emerging in some of the key players in the Global South: Brazil, India, and Mexico.
This is essential reading for students, researchers and academics interested in media studies, global media, and global television studies.