Comments on: Save “Their” Show: Public Appeals of Studio Campaigning http://blog.commarts.wisc.edu/2012/08/28/save-their-show-public-appeals-of-studio-campaigning/ Responses to Media and Culture Fri, 12 Feb 2016 19:35:04 +0000 hourly 1 https://wordpress.org/?v=4.7.5 By: Myles McNutt http://blog.commarts.wisc.edu/2012/08/28/save-their-show-public-appeals-of-studio-campaigning/comment-page-1/#comment-249582 Tue, 28 Aug 2012 23:31:59 +0000 http://blog.commarts.wisc.edu/?p=15105#comment-249582 My understanding is that content agreements depend on the country (Canada and US services have distinct licensing processes, for example), but you’re right that this does raise questions about how Netflix-produced content is distributed.

My guess is that, given Netflix will be selling the show to *some* markets where Netflix doesn’t operate, they might be willing to sell it to those outlets in countries where they do if the money is right. But they could also use it as a marketing tool, depending on their reach at that point.

Definitely an interesting question for the future.

]]> By: Mathias Hansson http://blog.commarts.wisc.edu/2012/08/28/save-their-show-public-appeals-of-studio-campaigning/comment-page-1/#comment-249304 Tue, 28 Aug 2012 18:41:16 +0000 http://blog.commarts.wisc.edu/?p=15105#comment-249304 I’m interested in knowing how the international distribution of these series will work. Some weeks ago Netflix stated they will be starting a Scandinavian service. And I guess that means Arrested Development will be exclusive there at first. For other series will they sell them to European cable channels at first if they don’t have distribution channels here?

]]> By: Why Netflix and DirecTV Probably Don’t Actually Want The Killing | Cultural Learnings http://blog.commarts.wisc.edu/2012/08/28/save-their-show-public-appeals-of-studio-campaigning/comment-page-1/#comment-249263 Tue, 28 Aug 2012 16:10:24 +0000 http://blog.commarts.wisc.edu/?p=15105#comment-249263 […] Save “Their” Show”: Public Appeals of Studio Campaigning [Antenna] It is possible to view these stories as a reflection of the expanding influence of streaming services and other emerging distribution models, with new options for shows that were already canceled (Arrested Development’s return on Netflix) or compromises that may allow a show to stay on the air longer (like DirecTV’s adoption of Friday Night Lights). However, while the existence of these networks and these precedents provide the conditions necessary for these stories to emerge, the stories instead reflect the increased agency and the increased activity of production studios within this new television economy: as opposed to fans seeking legitimation through news coverage, it is now studios working to gain visibility through their relationship with journalists. […]

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