Although Netflix’s approach to genre is different to those predominant in screen studies, the streaming site provides useful contextual materials for teaching on the subject. At several points last semester Netflix proved relevant to discussions of genre as part of an introductory Film Studies module, as well as an Honours ‘Film Genres’ module.

A while ago, Martin Barker invited scholars to discuss the potential for the re-incorporation of Marxist ideas into audience studies. For a short time, a group of us discussed via email how Marxism might be re-introduced to the study of audiences. But very quickly, the group fell silent, largely, I assume as a result of our workloads that kept us from fully engaging in the discussion.

According to the most recent iPlayer monthly performance pack (April-June 2016) – a periodical report by the BBC that examines iPlayer usage – the online service fulfilled 290 million programme requests in June 2016 alone.

Colombia’s narcotraficantes [narco-traffickers] emerged as a consequence of many complex factors. Washington supported the trade in drugs during its war in Vietnam as a means of funding proxy local actors, who quickly perceived potentially powerful market forces at play among the US military, and fuelled a demand that was soon repatriated.

Jenji Kohan’s Orange is the New Black (OITNB) (2013 –) has gained a reputation for unabashedly screening female faces and body-types that centric media often overlooks. From its opening sequence, OITNB spotlights a vast array of female bodies.

At some point during the first episode of Judd Apatow’s new Netflix series Love – co-written and co-produced with Paul Rust and Lesley Arfin – the show lost me: or rather, to be more precise, it irritated me, because in fact, it didn’t lose me at all.

Released in its entirety on Netflix on December 18 ^th , 2015, the 10-episode long crime documentary, Making a Murderer – directed by Columbia University film graduates Laura Ricciardi and Moira Demos – quickly became the ‘must see’ global TV hit of Christmas and the New Year.

Binge-Watching, Data Mining, Serie als Roman – technische Neuerungen verändern nicht nur die Art und Weise wie Fernsehen produziert wird, sondern auch die Sehgewohnheiten der Fernsehzuschauer. Motor dieser Entwicklung war der Streamingdienst Netflix. Was ist von diesem Aufbruch übrig geblieben?

So here’s a list of show titles for you: The X-Files, Twin Peaks, Prison Break, The A-Team, Hart to Hart, Gilmore Girls, Star Trek, Full House, and Magyver.  Looking at it, you might think that this was a catalog of DVD box sets or, perhaps, the line-up for another one of those cable channels devoted entirely to reruns.

It’s 2015, and from Hollywood’s Black Mass (2015) to TV’s The Americans (FX, 2013-), Halt and Catch Fire (AMC, 2014-) and Show Me a Hero (HBO, 2015) – the 1980s as an era have become one of the hottest cultural sujets de jour.