How Netflix Changed Entertainment TED2018
Hastings, R. (2018, April). How Netflix has changed entertainment. [TedTalk Video]. Retrieved from https://www.ted.com/talks/reed_hastings_how_netflix_changed_entertainment_and_where_it_s_headed
Netflix changed the world of entertainment -- first with DVD-by-mail, then with streaming media and then again with sensational original shows like "Orange Is the New Black" and "Stranger Things" -- but not without taking its fair share of risks. In conversation with TED curator Chris Anderson, Netflix co-founder and CEO Reed Hastings discusses the company's bold internal culture. (Hastings, 2018)
Narrative structure (TV series not novel)
- Wolff, N. (2015, June 15). How Netflix flipped the script on television’s disruption. Retrieved from http://niemanreports.org/articles/how-netflix-flipped-the-script-on-televisions-disruption/
It is not Netflix bringing digital to television, but, quite obviously, Netflix bringing television programming and values and behavior—like passive watching—to heretofore interactive and computing-related screens. - Franssen, C. (2015). The Netflix addiction: why our brains keep telling us to press play. Retrieved from https://www.huffingtonpost.com/catherine-franssen/the-netflix-addiction_b_8473094.htmlBinge-watching shows is here to stay, and Netflix, Hulu and other streaming television companies know it—that’s why they released entire seasons of original shows at once, banking that people like you and me will power through episode after episode.
- Sharma, R. (2016). The Netflix effect: impacts of the streaming model on television storytelling. Retrieved from https://wesscholar.wesleyan.edu/cgi/viewcontent.cgi?article=2591&context=etd_hon_theses
This thesis looks at the impacts of the streaming model on television storytelling . First, it tracks the historical precedents that make up the evolutionary skeleton of the Netflix model. Finally, it analyzes the specific ways and tools Senses8 uses to tell a televisual story through its season and episodes. By taking this incremental approach to understanding the relationship between streaming and storytelling.
Netflix – institutional controls and constraints, funding, exhibition
- Burke, J. (2017, December 29).Netflix, Stan, Amazon: streaming services capture audiences. Retrieved from https://www.theaustralian.com.au/arts/television/netflix-stan-amazon-streaming-services-capture-audiences/news-story/8535219dac90c6e29a9d0fb9dc062418The most significant streaming video on demand success this year was Hulu’s The Handmaid’s Tale, the first streaming show to win the Emmy for best drama. It streamed here on SBS On Demand before progressing to its free-to-air channel — and at least a dozen European crime dramas trod the same path, going from streaming on “the free Netflix”, as it’s sometimes called, to the main channel.
- Nimdzi Insights, (2017). How Netflix does it. Retrieved from http://www.nimdzi.com/wp-content/uploads/2017/11/How-Netflix-Does-It.pdfNetflix is trudging forward towards world domination. They have found a formula that
seems to work for them for international expansion. The higher ups within the company
have made international expansion a priority. Having just received USD $1.6B in
funding, there is no chance that Netflix will slow down now. This article explains how they do it.
Media trends in Internet streaming – television.
The 2017 Online & On Demand report, based on research conducted by Nielsen on behalf of Screen Australia, has been released today. The report finds streaming services have completely changed how Australians view content, yet broadcast TV remains popular and piracy levels have declined drastically. (Screen Australia, 2018)
Political and Social Context – Violence and Gender
- Stillman, P., & Johnson, S. (1994). Identity, Complicity, and Resistance in The Handmaid's Tale. Utopian Studies, 5(2), 70-86. Retrieved from http://www.jstor.org.db.plcscotch.wa.edu.au/stable/20719314Identity, Complicity, and Resistance in The Handmaid's Tale
- Armbruster, J. (1990). Memory and Politics — A Reflection on "The Handmaid's Tale". Social Justice, 17(3 (41)), 146-152. Retrieved from http://www.jstor.org.db.plcscotch.wa.edu.au/stable/29766564CopyFocuses on the politics of Sophocles' tragedies, `Electra' and `Antigone.' Depictions of the main characters; Similarities between the two mourning heroines; Obsession with violent deaths in their families; Successful political threats to their respective regimes; Locus classicus for a study of the political in Greek tragedy; Masculine nature of the hero in ancient Greece.
Media for political comment
- Bolanda, M. (2018). Netflix needs Government to impose Australian-content quota to recover industry 'under siege'. Retrieved from http://www.abc.net.au/news/2018-06-27/netflix-needs-australian-content-quota-screen-industry-says/9912706The Australian stars were part of 30-strong group, including high profile writers and directors, who told politicians from both sides, including Minister of Communications and the Arts Mitch Fifield, the local screen industry could be wiped out by the new delivery platforms.
