Cross-Cultural Television Audiences in the Age of Streaming

Lothar Mikos is Professor Emeritus of Television Studies at Filmuniversität Babelsberg in Potsdam and Professor of Media and Communication Studies at Freie Universität Berlin, Germany. His main research area is television and streaming as popular culture. Gisela Dachs is a full professor at the European Forum and the Center of German Studies of the Hebrew University of Jerusalem, Israel. She has also been working as an international journalist and book-author, covering Israel and the Middle East. Since 2001 she is the editor of the Jewish Yearbook “Jüdischer Almanach” of the Leo Baeck Institute Jerusalem.Anne Beier completed her PhD on the relation of religion and politics in German media. Additionally, her research focuses on intercultural integration and television analysis, and quantitative and qualitative social research methods.Benjamin Nickl is a Senior Lecturer in the Department of Comparative Literature, Culture, and Translation Studies at The University of Sydney, Australia. He works on entertainment technologies such as streaming and its techno-cultural politics, tastes, and audience developments. He is the author of Turkish German Muslims and Comedy Entertainment (2020) and co-editor of Moral Dimensions of Humour: Essays on Humans, Heroes and Monsters (2024).

• ContentsContents. 5List of Figures. 7Contributors. 11Introduction. 15Lothar Mikos, Gisela Dachs, Anne Beier, Benjamin NicklSection 1: Practical Research Reflections. 29Abundance of exports: Researching transnational audiences in the transition from broadcast to video-on-demand. 33Cathrin Bengesser & Susanne EichnerExploring Transnational Audiences in the Streaming Age: A multimethod design for cross-cultural and context sensitive reception research. 53Anne Beier, Joachim TrebbeThe Tags that Streams Are Made Of: Content Metadata in Streaming Media and the Transnational Export of Categorical Meaning. 63Shawn ShimpachSection 2: When National Becomes Transnational –Production and Distribution. 85Distribution and sales companies as gatekeepers in the export of meaning. 87Lothar MikosListen to the Audience: Social TV and the Importance of Community Management on Social Media 107Ann-Kathrin Böttke, Sven StollfußLocal narratives that travel the world: the Israeli case. 127Gisela DachsCross-cultural, but illegal: Piracy and Media Content in Russia. 145Yulia Yurtaeva-MartensSection 3: Content is King: Perspectives on Television Texts. 163Questioning Freedom of Press, From a Distance: The case of Borgen and Novine. 165Giancarlo LombardiPostcarding Madrid: Analysing residents’ interpretations of the city in the Netflix series Valeria. 181Deborah Castro, Ana C. Uribe SandovalThe Cultural Export Politics of Streaming Television: On-Demand Meaning and German Prestige Drama 197Benjamin NicklOutback Noir: Transactional Transnationalism and the Australian TV drama. 219Sue Turnbull and Marion McCutcheonSection 4: Content Communities. 237Consumption and Distribution of South Korean TV Dramas in the US: From Diaspora TV to Netflix 239Sangjoon LeeExporting the Past to Costa Rica: Stranger Things as Digital Nostalgia. 259Rodrigo Muñoz-González, Adrian AthiqueThe Co-decoding of Fannish Meaning: Transcultural Fandom and Imagined Industry. 284Matt HillsBibliography. 303Index. 315