{"title":"Netflix, Spanish television, and La casa de papel: Growing global and local TV together in the multiplatform era","authors":"Gary Edgerton","doi":"10.1177/17496020221146057","DOIUrl":null,"url":null,"abstract":"This institutional-industrial analysis evaluates how Netflix’s post-2016 rebranding efforts resulted in its ongoing transition from a centrally-managed multinational corporation, based mainly in Silicon Valley, to a more decentralised transnational operation with multiple interconnected headquarters worldwide. Utilising a blended macro-micro critical perspective, Netflix’s October 2015 debut in Spain is examined as an inflection point for this subscription video on demand (SVOD) change agent, Spain’s then-traditional TV infrastructure and the transnational television industry. Netflix’s eventual integration into the Spanish television landscape and its transnational distribution of La casa de papel [Money Heist] (2017–21) serve as a two-fold object lesson into how glocal relations occur during TVIV.","PeriodicalId":51917,"journal":{"name":"Critical Studies in Television","volume":null,"pages":null},"PeriodicalIF":0.9000,"publicationDate":"2022-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"Critical Studies in Television","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1177/17496020221146057","RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"FILM, RADIO, TELEVISION","Score":null,"Total":0}
引用次数: 0
Abstract
This institutional-industrial analysis evaluates how Netflix’s post-2016 rebranding efforts resulted in its ongoing transition from a centrally-managed multinational corporation, based mainly in Silicon Valley, to a more decentralised transnational operation with multiple interconnected headquarters worldwide. Utilising a blended macro-micro critical perspective, Netflix’s October 2015 debut in Spain is examined as an inflection point for this subscription video on demand (SVOD) change agent, Spain’s then-traditional TV infrastructure and the transnational television industry. Netflix’s eventual integration into the Spanish television landscape and its transnational distribution of La casa de papel [Money Heist] (2017–21) serve as a two-fold object lesson into how glocal relations occur during TVIV.
这份制度-产业分析评估了Netflix在2016年后的品牌重塑努力是如何使其从一家主要位于硅谷的中央管理跨国公司，转变为一家在全球拥有多个相互关联总部的更分散的跨国公司。本文运用宏观-微观-批判的混合视角，分析了Netflix 2015年10月在西班牙的首次亮相，作为订阅视频点播(SVOD)变革推手、西班牙当时的传统电视基础设施和跨国电视产业的拐点。Netflix最终融入西班牙电视领域，以及它的《金钱抢劫》(La casa de papel)(2017-21)的跨国发行，为TVIV期间全球关系的发生提供了双重对象教训。
期刊介绍：
Critical Studies in Television publishes articles that draw together divergent disciplines and different ways of thinking, to promote and advance television as a distinct academic discipline. It welcomes contributions on any aspect of television—production studies and institutional histories, audience and reception studies, theoretical approaches, conceptual paradigms and pedagogical questions. It continues to invite analyses of the compositional principles and aesthetics of texts, as well as contextual matters relating to both contemporary and past productions. CST also features book reviews, dossiers and debates. The journal is scholarly but accessible, dedicated to generating new knowledge and fostering a dynamic intellectual platform for television studies.
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