This article presents the results of an exploratory study about Netflix Originals in Spain in 2018 and 2019 from the point of view of the diversity supplied. Theoretically grounded in audiovisual diversity issues, it reflects upon the characteristics of Netflix’s audiovisual offerings, in general – organized through catalogues that are spatially and temporally defined – as well as upon the creation of Netflix Originals, in particular – a complex and key category in the functioning of the company that is fed by both self-produced and licenced titles. Results regarding the diversity of contents and of their country of origin are included, together with findings on the linguistic diversity attained through the subtitles and audio modalities available: original version, dubbing and audio-description.
A firm step in order to impose a quota for the catalogues of video-on-demand service providers has been given by the EU through the amendment of the Audiovisual Media Services Directive in 2018. This paper aims to analyse the potential implications of this change, in relation to the way the promotion of European works has been implemented so far, since some comments can be made in light of this revision. It will be argued that more interesting than the obligation to comply with a quota, defined by the geographical origin of audiovisual works, is the idea of making VOD service providers part of every national audiovisual production and financing system via direct or indirect financial contributions. It is concluded that indirect obligations could offer a wider room for manoeuvre to better help focus public policy decisions.
Este artigo analisa o recente fenômeno do crescimento do número de Observatórios de Informação, Comunicação e Cultura no contexto iberoamericano. Apresentam-se neste trabalho alguns dos resultados preliminares de uma investigação que tem como objetivo analisar o perfil e a atuação dos observatórios em atividade hoje.
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