| dc.description.abstract | This thesis investigates how particular content on a subscription video-on-demand service
(SVOD) could support the reach of the service. Central to this thesis are the platform ‘Netflix’ and
the Spanish-language series La Casa de Papel (LCDP), which is available on Netflix. The medium
of television and the internet have merged together, resulting in the development of new forms
of television. As a consequence of these developments, Michael Curtin calls for ‘the matrix media
era’: an era shaped by non-linear digital services on the internet, that is associated with a different
reach than traditional media. Namely, the national character of television is replaced by the
international, or sometimes global, character of SVODs. In the case of Netflix, some scholars, such
as Mareike Jenner, argue that this platform’s reach should be called ‘transnational’, since Netflix
reaches across borders. It is not available in every country due to imbalances and, according to
Jenner, therefore not global. As Netflix says to strive to be ‘a global entertainment service’, it is
likely that the service tries to increase its transnationality. In this research, platform specific
strategies that relate to spatiality are analysed, showing that Netflix actively works on increasing
its reach. This involves both the level of its locations, and how the service deals with content:
Netflix maintains strong relations with ‘its countries’ and, e.g., texts from diverse cultures are
included in the library, therefore engaging a wide audience. The fact that La Casa de Papel has
become Netflix’ most watched non-English-language series indicates that it contains qualities that
are accessible to people from various cultures. The format, linguistic aspects, genre and themes
of LCDP and in what way the series is displayed on the Netflix interface are analysed to explore
its connection to Netflix transnationalism. It is concluded that especially the four substantive
features of the series could possibly contribute to Netflix transnationalisation, although the
presentation of LCDP on the interface shows some connections to the extension of Netflix’ reach
as well. | |
