The Netflix Effect Technology and Entertainment in the 21st Century

Netflix is the definitive media company of the 21st century. It was among the first to parlay new Internet technologies into a successful business model, and in the process it changed how consumers access film and television. It is now one of the leading providers of digitally delivered media content and is continually expanding access across a host of platforms and mobile devices. Despite its transformative role, however, Netflix has drawn very little critical attention-far less than competitors such as YouTube, Apple, Amazon, Comcast, and HBO.

This collection addresses this gap, as the essays are designed to critically explore the breadth and diversity of Netflix's effect from a variety of different scholarly perspectives, a necessary approach considering the hybrid nature of Netflix, its inextricable links to new models of media production, distribution, viewer engagement and consumer behavior, its relationship to existing media conglomerates and consumer electronics, its capabilities as a web-based service provider and data network, and its reliance on a broader technological infrastructure.

Kevin McDonald teaches in the Communications Department at California State University, Northridge, USA. His research focuses on film theory, contemporary Hollywood, and media industries. His work has appeared in Jump-Cut, Velvet Light Trap (forthcoming) and Alphaville.

Daniel Smith-Rowsey is a visiting lecturer at Sacramento City College, USA, and award-winning filmmaker. His book Star Actors in the Hollywood Renaissance was nominated for a 2014 First Book Award by the Society of Cinema and Media Studies. He has been published in various collections and in Bright Lights Film Journal, Jura Gentium, Newsweek, and Der Spiegel.

Part I: Game-Changing Debates
Chapter One - Netflix's Red Revolution (Cameron Lindsey, New York University, USA)
Chapter Two - Disrupting Game-changers: Economic Adversaries and New Media Historiography (Gerald Sim, Florida Atlantic University, USA)
Chapter Three - When Elephants Fight: Netflix, Net Neutrality, and the Public Interest (Lyell Davies, City University of New York, USA)
Chapter Four - Smartest Guys in the Room: Framing Media Regulation through Netflix (Alison Novak, Temple University, USA)
Part II: (Dis)Empowering Users
Chapter Five - Netflix and the Myth of Choice/Participation/Autonomy (Sarah Arnold, Falmouth University, UK)
Chapter Six - Imaginative Indices and Deceptive Domains: Examining Netflix's Categories and Genres (Daniel Smith-Rowsey, California State University Sacramento, USA)
Chapter Seven - From Genres to Micro-Tags: Reverse-Engineering Cinematic Taste (Neta Alexander, New York University, USA)
Chapter Eight - Netflix and the Documentary Boom (Sudeep Sharma, University of California, Los Angeles, USA)
Part III: Binging Practices
Chapter Nine - "Forward is the Battle Cry": Binge-Viewing Netflix's House of Cards (Casey McCormick, McGill University, Canada)
Chapter Ten - Binge Watching "Noir" at Home: Reimagining Cinematic Reception and Distribution via Netflix (Sheri Chinen Biesen, Rowan University, USA)
Chapter Eleven - The Cognitive Psychological Effects of Binge Watching: Is Netflix Ruining Viewer Empathy for Popular Television? (Zachary Snider, Bentley University, USA)
Part IV: Facing the Future
Chapter Twelve - Risk, Representation, and Netflix's Orange is the New Black (Brittany Farr, University of Southern California, USA)
Chapter Thirteen - Invading Europe: Netflix's Expansion to the European Market, A German Case Study (Christian Stiegler, Karlschochschule International University, Germany)
Chapter Fourteen - Streaming Trans-Atlantic: Netflix, Imported Drama and the British Digital Television Ecology (Sam Ward, University of Nottingham, UK)
Chapter Fifteen - From Online Video Stores to Global Internet TV Networks: Netflix and the Future of Home Entertainment (Kevin McDonald, California State University, Northridge, USA)

Bibliography
Index

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