4. “OTT Is Exactly What TV Is Not”: Structural Adjustment and Shifts in Indian Scriptwriting

Kapitel in diesem Buch

1. Frontmatter i
2. Contents xi
3. Introduction: Streaming Stories 1
4. 1. Why SVOD Commissions Matter 18
5. 2. Conceptualizing the National and the Global in SVOD Original Production 37
6. 3. Place in Netflix Original Police Drama: Local Signifiers and Global Audiences 54
7. 4. “OTT Is Exactly What TV Is Not”: Structural Adjustment and Shifts in Indian Scriptwriting 71
8. 5. Challenging Cultural and Political Taboos: A Turkish SVOD’s Experiments in Taboo Comedy 89
9. 6. Argentina on Demand: Streaming Crisis, Gangsters, and Athletes 107
10. 7. Girls from Ipanema and Netflix’s Deviations from Brazilian Serial Storytelling Norms 127
11. 8. Originals with a Spanish Flavor: Netflix’s Cable Girls and the Reinvention of Broadcast TV Drama for Video-on- Demand Services 141
12. 9. The Secret Life of the Jordanian Teenager: Netflix and Storytelling Opportunities in MENA 156
13. 10. A New Style of K-Drama in Netflix Originals: Generic and Stylistic Experiments in Korean “Genre Dramas” 171
14. 11. A New Era of Creative Freedom: How Tencent Originals Are Reinvigorating Chinese Talk Shows 188
15. 12. Long Live the Rainbow Nation? How Showmax and Netflix Originals Narrate Cultural Diversity in South Africa 208
16. 13. The Return of Indigenismo in Netflix Mexico 225
17. 14. Dark Narratives or Sunny Stories? Appropriating Global Teen Drama in Italian Netflix Originals 248
18. 15. SVODs’ Innovation in Children’s Content 264
19. 16. SVOD Original Film Commissioning: Expanding the Boundaries of Commercial Film? 280
20. 17. To All the Romantic Comedies I’ve Loved Before: How Netflix Reinvigorated a Genre 297
21. 18. iROKOtv Originals and the Construction of Gender Relations in Nollywood Family Films 314
22. Acknowledgments 331
23. About the Editors 333
24. About the Contributors 335
25. Index 339