Netflix Documentary Conventions

Netflix was founded in 1997 with the intent to revolutionize the way in which consumers watch movies and television shows. Their accomplishments both in innovation and in customer base for their service indicate that the firm has been, and continues to be, successful in doing so. Currently, the

Movie is common entertainment over the world, so Netflix has an opportunity to challenge abroad by online service platform.

To support this claim, I will present two very popular yet controversial documentaries that were aimed to educate viewers on a couple of compelling societal issues. I will explore how the inclusion of pathos, logos and ethos in ‘Sicko’ by Michael Moore and ‘Supersize Me’ by Morgan Spurlock clarified their messages and made their arguments very convincing. These two documentary films show that the values adhered to by the two filmmakers, and probably by the media firms they work with as well as their corporate sponsors often influence the kind of information and at which angle it is presented to the

A documentary is a genre of film that provides a factual report on a particular story, viewpoint, message or experience. In this essay, two documentaries, Bowling for columbine by Michael Moore and Made in Bangladesh by CBC news will be explored to show how persuasive techniques are used to make an audience feel a particular way.

Netflix has engendered a generic recategorization of texts into previously established genres, as well as into newly established generic categories meant to organize these diverse texts in new and very specific adjective based genres, such as political dramas or spiritual documentaries,which combine descriptive and generic words meant to capture viewers. This generic specificity also accounts for the fact that texts are often cross-listed across multiple of these traditional and contemporary genres. Additionally, texts are categorized on each user’s homepage according to generic categories generated by the user’s profile and viewing history, with categories like, “you might also like this” and “because you watched…”. In accordance with Mittell’s genre theory, which states that genre is a cultural practice situated in larger cultural hierarchies and power relations and accounts for specific attributes of the medium, Netflix’s unique genre categories account for the particular attributes of the medium, but also, significantly, of the new digital platform as well. In making these arguments, I analyze the functions of the platform which create “streaming flow”, its algorithm, format, and generic categorization, as well as texts such as Arrested Development (2003-) and Stranger Things (2016-), that comprise streaming flow and which are generically categorized by

“The documentary tradition as a continually developing “record” that is made in so many ways, with different voices and vision, intents and concerns, and with each contributor, finally, needing to meet a personal text” (Coles 218). Coles writes “The Tradition: Fact and Fiction” and describes the process of documenting, and what it is to be a documentarian. He clearly explains through many examples and across disciplines that there is no “fact or fiction” but it is intertwined, all in the eye of the maker. The documentarian shows human actuality; they each design their own work to their own standards based on personal opinion, values, interest and whom they want the art to appeal to.

Large catalogue of diverse shows and movies – Netflix has a vast collection of international shows and movies that other competitors in the market do not have.

Entering and transforming the video rental industry was a large undertaking for the start-up company. The first marketing objective the company undertook was the process of building a brand. Netflix’s identity was crucial to future growth and success. Without a strong brand, competitors with deep pockets could have easily duplicated the company’s business model. Secondly, leveraging technology was critical to establishing the business and infrastructure growth. The consumer base was the final objective Netflix sought to achieve. Retaining and growing subscribers were fundamental to revenue and marketing goals.

In this essay, I will explain why a documentary is always more realistic than a fiction film. I will show my thesis by exploring elements that influence how realistic a film is: film editing and format, genre, and transparency. I will use the documentary of Armadillo (2010), by Janus Pedersen, and the fiction film of The Chronicle of Anna Magdalena Bach (1968), by Danièle Huille as examples.

In addition, an independent research conducted in Bryant University suggest that out of 50 domestic students, 35 students like watching Indian movies whereas 8 did not like Bollywood movies and 7 have not watched it yet. Though the sample size is small, it serves to show that the domestic people are watching and accepting Bollywood movies. Netflix is an American internet based steaming media provider company which provides more than 100,000 movies. The most interesting fact is that 89% of the Foreign Movie section in Netflix, is Bollywood movies. Netflix has about 33.1 million viewers in United States alone and yet the “Most Watched Movie “and “Foreign Movie” section consist of many Bollywood movies. This shows that Bollywood has influenced the domestic audience as well the industry itself. The influence of Bollywood element and the Indian culture can be seen quite evidently in the music, dance and visual representation in Hollywood movies.

Netflix, the online subscription-based DVD rental service aimed to better satisfy customer in a way competitors didn’t, customized and personalized service with unlimited monthly rentals from a great variety of film offerings. Now they want to leverage their strengths to enter into the Video on Demand market

Netflix Inc. is in the entertainment market, which is a part of a larger video, film

Today, digital technology and the Internet are deeply reshaping the motion picture industry with a trend toward the digitalisation and disintermediation (Zhu, 2010). Media streaming services are an example of this current restructuration. Providing an access to a wide collection of entertainment online at a cheap price, they have penetrated the monopoly that cinema once enjoyed (Herberg, 2017). A significant example can be found in the US company ‘Netflix’, source of nearly a third of all North American downstream internet traffic at peak hours (Hallinan & Striphas, 2016). Once a small DVD subscription service created in 1997, it offers today to its subscribers to watch its own produced movies and shows as well as content of other

This essay will provide insights and sufficient background to understand Netflix’s success and difficulties the company is facing.

Netflix, an addictive media streaming concept born in August of 1997, has revolutionized the way in which we view films and television series. The appealing and amusing service wholly encompasses a wide range of aspects such as its own plethora of original series, video-on-demand titles, rentable DVDs, and even offers its users the ability to watch and live stream content from anywhere they please. Starting at merely $7.99 a month, the streaming service is affordable, accessible, and an overall satisfactory form of entertainment that has expanded worldwide and is continuing to reach a vast majority, all while impacting society is a multitude of negative and positive ways.