流媒体差异:Netflix和多元化品牌

IF 0.9 2区艺术学 0 FILM, RADIO, TELEVISION

Critical Studies in Television Pub Date : 2022-09-21 DOI:10.1177/17496020221129516

Axelle Asmar, T. Raats, Leo Van Audenhove

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引用次数: 7

摘要

自2020年以来，Netflix一直强调该平台通过其内容提供的表现形式的多样性。在发布其多样性报告后，该流媒体将自己定位为电影和电视行业中代表性不足的社区的包容性推动者。这篇文章探讨了Netflix是如何在公司沟通中强调多样性的。本文通过对Netflix新闻稿的专题分析，探讨了Netflix如何利用其多元化品牌来产生跨国吸引力。文章概述了四个战略，突出文化和工业实践部署的流线，以获得竞争优势。

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Streaming difference(s): Netflix and the branding of diversity

Since 2020, Netflix has emphasised the diversity of representation the platform provides through its content. Following the publication of its diversity report, the streamer positions itself as a driver of inclusion for underrepresented communities in film and television industries. This article examines how Netflix rhetorically frames the emphasis on diversity in its corporate communication. Based on a thematic analysis of Netflix’s press releases, it explores how Netflix uses its branding of diversity to generate a transnational appeal. The article outlines four strategies which highlight the cultural and industrial practices deployed by the streamer to gain competitive advantages.

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来源期刊

Critical Studies in Television FILM, RADIO, TELEVISION-

CiteScore

2.10

自引率

30.00%

发文量

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.