Streaming Factories

Laboring Across Borders
1. Auflage 2026
ISBN: 978-1-041-03909-9
Verlag: Taylor & Francis Ltd

Buch, Englisch, 372 Seiten, Format (B × H): 152 mm x 229 mm

This edited collection examines the creative labor impact of the evolving media globalization strategies used by several of the major US subscription video-on-demand (SVOD) services, Netflix, Amazon Prime Video, Disney+, HBO Max, and Peacock.

Using the highly integrated fields of critical media industry studies, production studies, platform studies, and cultural studies, this collection explores the interplay between 21st century tech and media corporations, and domestic and international production cultures. The first half of the collection examines US SVODs’ varied efforts to manage transcultural production frictions in overseas markets by encouraging production side cultural hybridity, implementing physical enclosures, and filming overseas. The second half of the collection focuses on a major shift underway as several of the leading SVODs introduce surveillance-driven advertising technologies to disrupt the digital advertising space by monetizing consumer engagement with story-driven, metaverse-like, direct-to-consumer (DTC) digital enclosures. Featuring contributions from top scholars worldwide, the chapters cover a range of global markets, including Hungary, Poland, Italy, Japan, Korea, Indonesia, Thailand, the Philippines, South Africa, and Kenya.

This book is key reading for students, scholars, and researchers of media and screen industries, as well as practitioners interested in learning more about the strategies used by US SVODs to infiltrate the global marketplace.

Zielgruppe

Academic, Postgraduate, and Undergraduate Advanced

Autoren/Hrsg.

Mann, Denise

Fachgebiete

• Sozialwissenschaften Medien- und Kommunikationswissenschaften Medienwissenschaften
• Sozialwissenschaften Soziologie | Soziale Arbeit Spezielle Soziologie Mediensoziologie

Inhaltsverzeichnis

Chapter 1. Denise Mann, Introduction: Engineering Digital Enclosures for a Global Marketplace  SECTION I: TRANSCULTURAL PRODUCTION FRICTIONS Chapter 2. Anikó Imre and Sylwia Szostak, The Witcher: Peripheral Fantasies and the Polish and Hungarian Media Industries  Chapter 3. Timothy Havens and Shannon Sweeney. Peacocks, Jackals, and Ponies in Budapest: Partial Platformization, Geopolitical Thrillers, and the State of Transnational Streaming Production  Chapter 4. Luca Barra and Dana Renga, Through Other Eyes, for Other Eyes. Rebuilding Netflix’s The Leopard as a Global Television Series  Chapter 5. Shelleen Greene, Zero: The Global Multimedia Presence of Second-Generation Italians  Chapter 6. Denise Mann, Netflix’s Global Power Play: Disrupting Japan’s Mixed Media Tradition  Chapter 7. Hye Jean Chung, Localizing Netflix in Korea: Global Platforms, Transmedia Ecologies, and Virtual Production  Chapter 8. Jasmine Nadua Trice, Fantasy Island: HBO Asia’s Logistical Underworlds  SECTION II: TRANSNATIONAL AUDIENCE FLOWS  Chapter 9. Violaine Roussel, The Invention of Digital Agenting and the Transformation of Entertainment  Chapter 10. James Fleury, From Twitch to Fallout: Video Games Across Amazon’s Global Media Empire  Chapter 11. Jennifer Gillan, Mando Mondays and Disney’s D2C Strategy  Chapter 12. Avi Santo, You’re an Inspiration, Harry! How Harry Potter: Wizards of Baking Reimagines Harry Potter as a Lifestyle Brand  Chapter 13. Daniel Zweifach, Bridgerton Balls and Beyond: Manufactured Participation and Colonial Mimicry in Kenya and South Africa  Chapter 14. Mark Andrejevic and Zala Volcic, Social De-Skilling: Automation in the Era of “Smart” Machines

Über Autor(innen)

Denise Mann is a Professor in the Cinema and Media Studies program in the School of Theater, Film, and Television at UCLA. Mann specializes in the fields of media industry studies, production studies, audience studies, and television studies. She is the editor of Wired TV: Laboring Over an Interactive Future (2014), co-editor of Private Screenings: Television and the Female Consumer (1992), and the author of Hollywood Independents: The Postwar Talent Takeover (2008).