Antoni Roig e-mail(Login required) , Judith Clares-Gavilán e-mail(Login required) , Jordi Sánchez-Navarro e-mail(Login required)

Main Article Content

Authors

Antoni Roig e-mail(Login required)
Judith Clares-Gavilán e-mail(Login required)
Jordi Sánchez-Navarro e-mail(Login required)

Abstract

1118

This article offers an analysis of the strategies behind the release of original Netflix fictional feature films. Even if there is an already extensive literature about the streaming giant, little academic attention has been devoted to the release strategies of feature film originals and its implications for film production and distribution. With this goal in mind, we have built a database of titles identifiable as original Netflix features between 2015 and 2018 (n=171), considering theatrical exhibition, festival presence, language, genre, release territories and involvement in production. We have contrasted this macro-level approach with a more micro-level analysis through specific case-examples, in order to consider the case-by-case particularities of the film industry. Per our results, (a) Netflix has combined consistent release methods with some contingent experiments based on trial and error; (b) the unfolding of these strategies is related to the company’s transnational identity and to the (c) goal of recognition according to established quality standards, like top film festivals or prestigious awards. Furthermore, the observed tendency towards capillary collaboration with local agents points to more potential diversity of catalogue titles and in some cases a greater international exposure of non-English speaking titles, even if circumscribed to popular genres like science-fiction, thriller or horror.

Keywords

Netflix, OTT, feature film, transnationality, film distribution

References

Becz, P. (2016). Netflix goes to cinema: the new chapter of quality TV conquers the big screen. Master Thesis in Film and Media Studies. University of Copenhagen. Retrieved from http://bit.ly/3llMm87

Bordwell, D. & Thompson, K. (1993). Film art: an introduction. New York: McGraw-Hill Education.

Brennan, L. (2018, October 12). How Netflix expanded to 190 countries in 7 years. Harvard Business Review. Retrieved from http://bit.ly/37irLfP

Cunningham, T. (2015, October 18). 5 Takeaways and 1 Question From Box Office Flop of Netflix’s ‘Beasts of No Nation’. The Wrap. Retrieved from http://bit.ly/2JpWz68

Cunningham, S. & Craig, D. (2016). Online entertainment: A new wave of media globalization? International Journal of Communication, 10, 5409-5425. Retrieved from https://bit.ly/3fNnvsN

Dwyer, T., Shim, Y., Lee, H. & Hutchinson, J. (2018). Comparing Digital Media Industries in South Korea and Australia: The Case of Netflix Take-Up. International Journal of Communication, 12, 20. Retrieved from https://bit.ly/37lyu8J

Epstein, A. (2016, January 27). Netflix’s lineup of original shows is kind of confusing–and that’s the point. Quartz. Retrieved from https://bit.ly/3fNJorX

Follows, S. (2017, April 24). The numbers behind Netflix Original movies and TV shows. Stephenfollows.com. Retrieved from https://bit.ly/3mlRSsN

Follows, S. (2018, February 12). Genre trends in global film production. Stephenfollows.com. Retrieved from https://bit.ly/2Vf1lpI

Havens, T. (2018). Streaming channel brands as global meaning systems. In D. Johnson (Ed.), From Networks to Netflix: A Guide to Changing Channels (pp. 321-331). Abindgon: Routledge.

Jenner, M. (2018). Introduction: Netflix as transnational broadcaster. In Netflix and re-invention of television. London: Palgrave-McMillan.

Kehoe, K. & Mateer, J. (2015). The Impact of Digital Technology on the Distribution Value Chain Model of Independent Feature Films in the UK. International Journal on Media Management, 17(2), 93-108. https://www.doi.org/10.1080/14241277.2015.1055533

Keslassi, E. (2018a, November 28). Netflix, Cannes Film Festival still at odds over theatrical release rules. Variety. Retrieved from https://bit.ly/39rAgYJ

Keslassi, E. (2018b, December 13). Alfonso Cuaron Says He Owes ‘Roma’ in Part to Cannes’ Thierry Fremaux, Variety. Retrieved from https://bit.ly/3lmW5ev

Kit, B. (2017, December 7). Annihilation: Behind-the-Scenes of a Producer Clash and That Netflix Deal. Hollywood Reporter. Retrieved from https://bit.ly/33phUDZ

Lobato, R. (2019). Netflix nations: the geography of digital distribution. New York: NYU Press. Retrieved from https://bit.ly/2KS41Yy

Lotz, A. & Havens, T. (2016). Original or exclusive? Shifts in television financing and distribution shift meanings. Antenna: Responses to Media and Culture, 1 January. Retrieved from: https://bit.ly/3oApzaB

Maft (2017). What, exactly, is a Netflix original? Newonnetflix.com. Retrieved from https://bit.ly/3fRsVD1

McClintock, P. (2016, February 22). ‘Crouching Tiger, Hidden Dragon’ Sequel to Play in 15 or Fewer Imax Theaters in U.S. The Hollywood Reporter. Retrieved from https://bit.ly/39rM8de

Mische, A. (2009). Projects and possibilities: Researching futures in action. Sociological Forum, 24(3), 694–704. https://www.doi.org/10.1111/j.1573-7861.2009.01127.x

Neira, E., Clares-Gavilán, J. & Sánchez-Navarro, J. (2020). Impacto de los servicios over-the-top en la generación de comunidades de gustos y nichos globales: Netflix como estudio de caso, Comunicació: Revista de Recerca i d’Anàlisi, 37(2), 93-111. https://doi.org/10.2436/20.3008.01.198

Neira, E., Clares-Gavilán, J., Roig, A. & Sánchez-Navarro, J. (2020). El Papel del VOD en la distribución audiovisual post COVID-19. La estrategia de Disney como estudio de caso. In J. Herrero-Gutiérrez, J. Segarra-Saavedra & T. Hidalgo-Marí (Eds.), La narrativa audiovisual: del concepto a la alfabetización mediática (pp. 47-60). Madrid: Fragua.

Newbould, C. (2019, April 14). Could Cannes Film Festival miss out on this year’s ‘Roma’ – again? The National - Arts and Culture. Retrieved from https://bit.ly/37iss97

Ng, D. (2018, August 12). Must Reads: As Netflix surges, original content is the new black. But licensed shows still take the crown, Los Angeles Times. Retrieved from https://lat.ms/33tFcso

Robinson, J. (2018, November 9). The Four Types of Netflix Originals. What’s on Netflix. Retrieved from https://bit.ly/3qdd722

Rodriguez, A. (2019, February 26). Netflix didn’t make many of the “originals” that made it famous. That’s changing. Quartz. February 26, 2019. Retrieved from https://bit.ly/2VkwF6o

Roig, A. & Clares-Gavilán, J. (2020). They Follow: Experiments in Formal Distribution of Contemporary Horror Films. In M. P. Martínez & F. Mateu (Eds.), Melted reality: new proposals from the fantastic aesthetics (pp. 75-93). Valencia: Unicornio Negro.

Spiegel, J. (2018, February 5). Did Netflix (or Paramount) Get the Last Laugh With Cloverfield Paradox. Variety. Retrieved from https://bit.ly/39A8GZc

Thompson, A. (2017, May 18). Netflix at Cannes: Pedro Almodóvar Will Give ‘Okja’ a Fair Shake. Indiewire. Retrieved from https://bit.ly/2JqonYe

Wayne, M. L. (2017). Netflix, Amazon, and branded television content in subscription video on-demand portals. Media, Culture & Society, 40(5), 725-741. https://www.doi.org/10.1177/0163443717736118

Metrics





Search GoogleScholar


Details

Article Details

Section
Articles
Author Biography

Jordi Sánchez-Navarro, Universitat Oberta de Catalunya

Jordi Sánchez Navarro es profesor e investigador en la Universitat Oberta de Catalunya (UOC), donde actualmente dirige los Estudios de Ciencias de la Información y de la Comunicación y trabaja en temas relacionados con las transformaciones de las formas narrativas en el cine contemporáneo, la innovación en el entretenimiento audiovisual y los nexos entre la cultura lúdica y el género fantástico. Desde 1989 escribe en varios medios sobre cómic, cine y televisión. Fue director del Salón Internacional del Cómic de Barcelona (1997-2000) y subdirector del Festival Internacional de Cine Fantástico de Cataluña-Sitges (2001-2004), con el que colabora en la actualidad como programador de «Anímate», la sección de animación. Sánchez Navarro es asimismo autor, entre otros, de los libros Tim Burton: Cuentos en sombras (2000), Freaks en acción: Álex de la Iglesia o el cine como fuga (2005), Narrativa audiovisual (2006) y Pantalla rasgada. Quince conversaciones con cineastas y escritores sobre sueños y cine (2014), y ha coordinado libros colectivos como Fanáticos. La cultura fan (2013), Aprovecha el tiempo y juega (2009), Realidad virtual. Visiones sobre el ciberespacio (2004) e Imágenes para la sospecha. Falsos documentales y otras piruetas de la no-ficción (2001). Ha impartido numerosos cursos y conferencias sobre cine fantástico, ciencia ficción, cómic y, especialmente, historia y estética del cine de animación.