Caracterización de las producciones cinematográficas latinoamericanas en Netflix: perspectivas desde Bolivia

Autores/as

DOI:

https://doi.org/10.32870/cys.v2021.8037

Palabras clave:

Netflix, Producción cinematográfica, Distribución internacional, Streaming, Bolivia, Análisis de contenido

Resumen

En este artículo estudiamos los flujos fílmicos entre Bolivia y Latinoamérica para explorar la subrepresentación del país en Netflix y su limitada presencia en otras plataformas de streaming. Caracterizamos el contenido original y de terceros disponible en Netflix y películas bolivianas recientes, desarrollando un análisis temático basado en sus sinopsis y géneros cinematográficos, que se completa con resultados de una encuesta sobre el consumo boliviano de streaming. Identificamos patrones comunes en el contenido de Netflix y mostramos sus diferencias con la producción boliviana, más alineada con una tradición típica de un cine nacional. Los resultados sugieren un efecto homogeneizador que podrían tener plataformas como Netflix en la producción audiovisual local.

Descargas

Los datos de descargas todavía no están disponibles.

Citas

Aguiar, L. & Waldfogel, J. (2018). Netflix: global hegemon or facilitator of frictionless digital trade? Journal of Cultural Economics, 42(3), 419-445. https://doi.org/10.1007/s10824-017-9315-z

Albornoz, L. A. & García Leiva, M. T. (2017a). El audiovisual en la era digital. Ediciones Cátedra.

Albornoz, L. A. & García Leiva, M. T. (2017b). Diversidad e industrias audiovisuales: El desafío cultural del siglo XXI. Fondo de Cultura Económica.

Basuroy, S., Chatterjee, S. & Ravid, S. A. (2003). How critical are critical reviews? The box office effects of film critics, star power, and budgets. Journal of Marketing, 67(4), 103-117. https://doi.org/10.1509%2Fjmkg.67.4.103.18692

Calzada, J. & Valletti, T. M. (2012). Intertemporal movie distribution: Versioning when customers can buy both versions. Marketing Science, 31(4), 649-667. https://doi.org/10.1287/mksc.1120.0716

Cassillo, J. & Schwindt, O. (2020). Netflix Has 45% Fewer Movies (and 400% More TV Shows) Than it Did in 2010. TV Revolution. https://tvrev.com/netflix-has-45-fewer-movies-and-400-more-tv-shows-than-it-did-in-2010/

Clark, T. (2018). Netflix movie catalogue has gone down since 2010. Business Insider. https://www.businessinsider.com/netflix-movie-catalog-size-has-gone-down-since-2010-2018-2

Clement, M., Otten, C., Seifert, R., Kleinen, O., Houston, M. B., Karniouchina, E. V. & Heller, C. (2018). IDEA FORUM: the impact of subscription-based video on demand on traditional distributors’ value chains and business models. Journal of Media Economics, 31(1-2), 50-67. https://doi.org/10.1080/08997764.2020.1796687

Cornelio-Marí, E. M. (2020). Mexican Melodrama in the Age of Netflix: Algorithms for Cultural Proximity. Comunicación y Sociedad, e7481. https://doi.org/10.32870/cys.v2020.7481

Crofts, S. (1993). Reconceptualizing national cinema/s. Quarterly Review of Film & Video, 14(3), 49-67. https://doi.org/10.1080/10509209309361406

Cunningham, S. & Scarlata, A. (2020). New forms of internationalisation? The impact of Netflix in Australia. Media International Australia, 177(1), 149-164. https://doi.org/10.1177%2F1329878X20941173

Cunningham, S., Silver, J. & McDonnell, J. (2010). Rates of change: Online distribution as disruptive technology in the film industry. Media International Australia, 136(1), 119-132. https://doi.org/10.1177%2F1329878X1013600114

De la Fuente, A. M. (2018). Netflix ramps up Colombian production. Variety. https://variety.com/2018/tv/global/netflix-colombian-production-six-new-series-1202976981/

Doyle, G. (2016). Digitization and changing windowing strategies in the television industry: Negotiating new windows on the world. Television & New Media, 17(7), 629-645. https://doi.org/10.1177%2F1527476416641194

Eliashberg, J., Elberse, A. & Leenders, M. A. (2006). The motion picture industry: Critical issues in practice, current research, and new research directions. Marketing Science, 25(6), 638-661. https://doi.org/10.1287/mksc.1050.0177

Follows, S. (2017). The numbers behind Netflix Original movies and TV shows. https://stephenfollows.com/netflix-original-movies-shows/

Hadida, A. L., Lampel, J., Walls, W. D. & Joshi, A. (2020). Hollywood studio filmmaking in the age of Netflix: a tale of two institutional logics. Journal of Cultural Economics, 1-26. https://doi.org/10.1007/s10824-020-09379-z

Hennig-Thurau, T., Henning, V., Sattler, H., Eggers, F. & Houston, M. B. (2007). The last picture show? Timing and order of movie distribution channels. Journal of Marketing, 71(4), 63-83. https://doi.org/10.1509%2Fjmkg.71.4.063

Hennig-Thurau, T. & Houston, M. B. (2019). Entertainment science. Springer Books.

Hennig-Thurau, T., Malthouse, E. C., Friege, C., Gensler, S., Lobschat, L., Rangaswamy, A. & Skiera, B. (2010). The impact of new media on customer relationships. Journal of Service Research, 13(3), 311-330. https://doi.org/10.1177%2F1094670510375460

Hershfield, J. (2000). Mexico. En G. Kindem (Ed.), The International Movie Industry (pp. 273-291). SIU Press.

Higson, A. (1989). The concept of national cinema. Screen, 30(4), 36-47. https://doi.org/10.1093/screen/30.4.36

Hjort, M., Mackenzie, S. & Fulford, M. (2000). Cinema and nation. Psychology Press.

Instituto Nacional de Estadística-INE. (2019). Bolivia: Ingreso promedio mensual en la ocupación principal, según características ocupacionales, 2011-2019. Encuesta Nacional de Hogares. https://www.ine.gob.bo/index.php/estadisticas-economicas/encuestas-de-hogares-ingresos/

Iqbal, M. (2020). Netflix Revenue and Usage Statistics. Business of Apps. https://www. businessofapps.com/data/netflix-statistics/

Jay, A. (2020). Number of Netflix subscribers in 2020: Growth, Revenue and Usage. Finances Online. https://financesonline.com/number-of-netflix-subscribers/

Jenner, M. (2018). Netflix and the Re-invention of Television. Springer.

Jones, A. (2019). Netflix now has more TV shows and fewer movies than 5 years ago. Cinema Blend. https://www.cinemablend.com/television/2486360/netflix-now-has-more-tv-shows-but-fewer-movies-than-5-years-ago-smart-trend

Kübler, R., Seifert, R. & Kandziora, M. (2020). Content valuation strategies for digital subscription platforms. Journal of Cultural Economics, 45, 295-326. https://doi.org/10.1007/s10824-020-09391-3

Lee, E. (2019). Netflix Looks Abroad as Growth Slows in the U. S. The New York Times. https://www.nytimes.com/2019/12/16/business/media/netflix-us-subs-slowing-down-international-subs-growing. html

Lobato, R. (2018). Rethinking international TV flows research in the age of Netflix. Television & New Media, 19(3), 241-256. https://doi.org/10.1177%2F1527476417708245

Lobato, R. (2019). Netflix nations: The geography of digital distribution. NYU Press.

Lobato, R. & Lotz, A. D. (2020). Imagining Global Video: The Challenge of Netflix. JCMS: Journal of Cinema and Media Studies, 59(3), 132-136. https://doi.org/10.1353/cj.2020.0034

Lotz, A. D. (2014). The television will be revolutionized. NYU Press.

McKenzie, J., Crosby, P., Cox, J. & Collins, A. (2019). Experimental evidence on demand for “on-demand” entertainment. Journal of Economic Behavior & Organization, 161, 98-113. https://doi.org/10.1016/j.jebo.2019.03.017

Mesa, C. (2018). Historia del cine boliviano 1897-2017. Plural Editores.

Mirrlees, T. (2013). Global entertainment media: Between cultural imperialism and cultural globalization. Routledge.

Navarro Sierra, N. (2015). Del patio de butacas a los nuevos espacios del cine: Sistemas online de distribución cinematográfica. Comunicación y Sociedad, 24, 187-214. https://doi.org/10.32870/cys.v0i24.2527

Schreier, M. (2012). Qualitative content analysis in practice. Sage publications.

Siles, I., Espinoza-Rojas, J., Naranjo, A. & Tristán, M. F. (2019). The mutual domestication of users and algorithmic recommendations on Netflix. Communication, Culture & Critique, 12(4), 499-518. https://doi.org/10.1093/ccc/tcz025

Solanas, F. & Getino, O. (1970). Toward a third cinema. Cineaste, 4(3), 1-10.

Spangler, T. (2018). Netflix content boss Ted Sarandos downplays looming threat from Disney, WarnerMedia. Variety. https://variety.com/2018/digital/news/netflix-ted-sarandos-threat-disney-warnermedia-streaming-1203078374/

Spangler, T. (2020). Netflix Projected to Spend More Than $17 Billion on Content in 2020. Variety. https://variety.com/2018/digital/news/netflix-ted-sarandos-threat-disney-warnermedia-streaming-1203078374/

Statista. (2019). Number of Netflix paying subscribers from 2011 to 2019, by type. https://www. statista.com/statistics/258321/number-of-netflix-subscribers-by-type/

Statista. (2020) Latin America: number of Netflix subscribers 2020. https://www.statista.com/statistics/324452/latin-america-netflix-subscribers/

Turner, G. (2019). Approaching the cultures of use: Netflix, disruption and the audience. Critical Studies in Television, 14(2), 222-232. https://doi.org/10.1177%2F1749602019834554

UNESCO. (2009). The 2009 UNESCO Framework for Cultural Statistics (FCS). http://uis.unesco.org/sites/default/files/documents/unesco-framework-for-cultural-statistics-2009-en_0.pdf

Publicado

2021-09-01

Cómo citar

Rodríguez-Camacho, J. A., Laguna-Tapia, A., Bürger, J., & Landívar-Freire, V. (2021). Caracterización de las producciones cinematográficas latinoamericanas en Netflix: perspectivas desde Bolivia. Comunicación Y Sociedad, 1-41. https://doi.org/10.32870/cys.v2021.8037

Número

Sección

Netflix y la transnacionalización de la industria audiovisual