Nahuel Ribke
I am a medi and cultural studies scholar committed to studying the relationships among media industries, political institutions and cultural practices. My original focus was Brazilian television history, but I have recently broadened my research interests to include studies adopting a transnational and transmedia perspective, ranging from traditional media to the internet and social networks. Such studies examine the circulation of cross media texts and the complex interactions among media producers, new and old global media audiences and local cultural industries.
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(SVOD) service (available in more than 190 countries)
with more than 232 million global subscribers. However, in the
five years following Netflix’s 2016 international expansion, there
was little information available regarding the consumption
practices of global audiences due to the company’s longstanding
anti-transparency data policies and varied content
across national libraries. In November 2021, Netflix introduced
a new data policy that included the continual release of multiple
weekly top 10 reports (backdated to July 2021) listing the mostwatched
English and non-English-language films and TV series
(Porter, 2021). The present article proposes to analyze Netflix’s
weekly global top 10 list figures for English and non-English
across almost two years starting on June 28, 2021, and ending
on May 29, 2023. While our analysis acknowledges the limitations
of Netflix’s viewership public figures, it also claims that
a proper contextualization based on recent academic research
and economic data extracted from the specialized press could
turn Netflix’s Global Top 10 figures into a fertile ground to
examine current dynamics in the production, distribution, and
consumption of global streaming contents.
technologies across the region from the 1950s to the present. The resulting remapping of Latin American television prompts us to consider the linguistic and cultural obstacles and barriers affecting the circulation of television contents produced in the region as well as the established power asymmetries and hierarchies among Latin American countries.
suspense of the plot. On the other hand, the series has faced criticism for downplaying and obscuring the realities of the Israeli occupation, focusing on a cat and mouse thriller rather than the hardships incurred by a civilian population under military control. Based on a qualitative analysis of media coverage in Israel and abroad, this article analyzes the
complex relationship between an ongoing asymmetrical conflict and its representation in fictional television entertainment.
5 Recientemente la relación entre la disputa geopolítica e ideológica de la Guerra Fría y las industrias culturales comienza a ganar visibilidad, a través de enriquecedores trabajos que ponen en relieve las complejas relaciones entre la lógica política y la lógica comercial que orientaba la producción y el consumo cultural en este período.
focusing on young Israeli adoptees from Brazil, struggling to trace their biological
origins, recover (to some extent) their culture of birth and make their plight known.
Theoretically speaking, this study is based on the notion of hybridity, understood as a
strategy used by individuals to elaborate new social identities (Israeli adoptees organized
as online support group, moving to activism, recovering their culture of origin through
media and travelling), by media producers to elaborate texts relevant to complex
audiences (dramatized documentary, transnational ‘docu-telenovela’, Brazilian primetime
entertainment programme used to expose social problems), and more generally,
as a characteristic of the media system that constantly (re)combines technologies,
genres and actors. Hybridity, however, should not be confused with equality. Relations
between system components are mostly asymmetrical, but are constantly evolving,
often unpredictably, offering some manoeuvrability even for weaker actors.
(SVOD) service (available in more than 190 countries)
with more than 232 million global subscribers. However, in the
five years following Netflix’s 2016 international expansion, there
was little information available regarding the consumption
practices of global audiences due to the company’s longstanding
anti-transparency data policies and varied content
across national libraries. In November 2021, Netflix introduced
a new data policy that included the continual release of multiple
weekly top 10 reports (backdated to July 2021) listing the mostwatched
English and non-English-language films and TV series
(Porter, 2021). The present article proposes to analyze Netflix’s
weekly global top 10 list figures for English and non-English
across almost two years starting on June 28, 2021, and ending
on May 29, 2023. While our analysis acknowledges the limitations
of Netflix’s viewership public figures, it also claims that
a proper contextualization based on recent academic research
and economic data extracted from the specialized press could
turn Netflix’s Global Top 10 figures into a fertile ground to
examine current dynamics in the production, distribution, and
consumption of global streaming contents.
technologies across the region from the 1950s to the present. The resulting remapping of Latin American television prompts us to consider the linguistic and cultural obstacles and barriers affecting the circulation of television contents produced in the region as well as the established power asymmetries and hierarchies among Latin American countries.
suspense of the plot. On the other hand, the series has faced criticism for downplaying and obscuring the realities of the Israeli occupation, focusing on a cat and mouse thriller rather than the hardships incurred by a civilian population under military control. Based on a qualitative analysis of media coverage in Israel and abroad, this article analyzes the
complex relationship between an ongoing asymmetrical conflict and its representation in fictional television entertainment.
5 Recientemente la relación entre la disputa geopolítica e ideológica de la Guerra Fría y las industrias culturales comienza a ganar visibilidad, a través de enriquecedores trabajos que ponen en relieve las complejas relaciones entre la lógica política y la lógica comercial que orientaba la producción y el consumo cultural en este período.
focusing on young Israeli adoptees from Brazil, struggling to trace their biological
origins, recover (to some extent) their culture of birth and make their plight known.
Theoretically speaking, this study is based on the notion of hybridity, understood as a
strategy used by individuals to elaborate new social identities (Israeli adoptees organized
as online support group, moving to activism, recovering their culture of origin through
media and travelling), by media producers to elaborate texts relevant to complex
audiences (dramatized documentary, transnational ‘docu-telenovela’, Brazilian primetime
entertainment programme used to expose social problems), and more generally,
as a characteristic of the media system that constantly (re)combines technologies,
genres and actors. Hybridity, however, should not be confused with equality. Relations
between system components are mostly asymmetrical, but are constantly evolving,
often unpredictably, offering some manoeuvrability even for weaker actors.