Protected: Why Being A ‘Netflix Nation’ Matters – And To Whom
Georgia Aitaki / Karlstad University
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Read moreA Critical Forum on Media and Culture
A Critical Forum on Media and Culture
There is no excerpt because this is a protected post.
Read moreDr. Sylwia Szostak examines Netflix’s “nostalgia strategy” in a recent Polish film, Mr. Car and the Knights Templar, arguing that global distribution results in the delocalization of Netflix’s “local productions.”
Read moreGeorgia Aitaki explores discourses of migration and culture on Sweden’s Älskar, Älskar Inte (Love Me, Love Me Not.)
Read moreRahul Mukherjee analyzes India’s VoD growth, focusing on localization, distribution practices, telecom bundling, local CDNs, and audience data dynamics in streaming.
Read moreDr. Emily West discusses the lacuna in scholarship about NCIS and argues for critical interrogation of popular and mainstream texts alongside “quality” and fan favorite content.
Read moreJess King reflects on the intersectional barriers to agency depicted in Netflix’s Maid (2021), a series about a young lower-class mother struggling to create stability for herself and her daughter.
Read morePeter Arne Johnson theorizes how pure play streaming services like Netflix have discursively deployed audience affect and speculation to inflate their market valuations.
Read moreHannah Wold traces some of the ways in which the horror text Scream: The TV Series received reviews that precluded it from the distinction granted to the Scream film franchise, indicating that its intended audience and the MTV brand ensured that it was left behind in discourses of quality.
Read moreHelen Wheatley discusses the recent proliferation of afterlife-themed television shows and how creators navigate multiple conceptions of “post-death experience.”
Read moreCara Dickason examines how corporations sell Smart TVs as domestic surveillance technologies through gendered formulas.
Read moreIsabel Molina-Guzmán discusses how Bridgerton‘s escapist, colorblind narrative discursively produces a racial nostalgia that simultaneously erases unpleasant histories of racial conflict, generates pleasure in non-white audiences, and maintains white subjectivity.
Read moreRiziki Millanzi assesses the Snowpiercer television series depiction of intersectional politics, arguing the show ignores the nuances and varied experiences of marginalized peoples to oppression.
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