Netflix and the Politics of Streaming_ Shaping Film and TV Criticism

Netflix’s rise from a 1997 DVD-by-mail service to a global streaming empire has radically transformed not only viewing habits but also the foundations of film and television criticism. The presentation begins by posing a critical research question: How has Netflix reshaped the politics of film and TV criticism in the streaming era? The hypothesis argues that Netflix’s algorithmic curation, transnational reach, and redefinition of “authenticity” have restructured the critical ecosystem—shifting evaluative power from professional critics to data-driven systems and global audiences (Yu 5; Lobato 74). After tracing Netflix’s origins and evolution, the presentation maps traditional film criticism’s dependence on auteur theory, aesthetic judgment, and institutional gatekeeping, contrasting it with Netflix’s digital, participatory model. Through a cultural studies lens, Netflix is positioned as both a technological innovator and an ideological force, transforming spectatorship into an algorithmically guided act of consumption. The section on algorithmic curation explains how recommendation systems dictate visibility and success, producing what Mareike Jenner calls “platform authorship,” where algorithms, not directors, shape taste and meaning (Jenner 92). The infographic on “The Myths of Streaming” deconstructs common assumptions—such as the idea that streaming democratizes access—by revealing how global distribution often privileges Western-centric production and data-based market logic (Lobato 80).

The case studies—The Irishman (2019), Roma (2018), and Squid Game (2021)—demonstrate Netflix’s double role as cultural producer and critical arbiter. Martin Scorsese’s The Irishman highlights the theatrical release debate, as Netflix’s refusal to follow traditional exhibition windows challenged Hollywood’s power structures and raised questions about cinema’s ontology in the digital age. The Cannes controversy (2017) section examines the festival’s ban on Netflix films without theatrical releases, symbolizing the tension between art and algorithm, tradition and innovation. Alfonso Cuarón’s Roma exemplifies the global prestige Netflix seeks: an auteur-driven film distributed through a corporate algorithm, merging cinematic artistry with platform capitalism. In contrast, Squid Game showcases Netflix’s algorithmic influence in amplifying non-Western narratives for mass appeal, reconfiguring global critical discourse. Collectively, these examples reveal that Netflix doesn’t merely distribute films—it constructs the frameworks through which films are seen, valued, and critiqued. The conclusion asserts that film criticism must now contend with a platform-based cultural order where metrics replace meaning, and algorithmic systems mediate artistic visibility. Thus, Netflix becomes not just a site of entertainment but a political apparatus redefining authorship, spectatorship, and the global circulation of cinematic value.

1. Netflix and the
Politics of
Streaming: Shaping
Film and TV
Criticism
Presented By
Khushi Raviya
Smt. S.B.Gardi Department of English
Maharaja Krishnakumarsinhji Bhavnagar University

2. Personal Information:
●Name : Khushi Raviya
●Enrollment No : 5108240029
●Roll No : 10
●Batch : M.A. Sem- 3 (2024-2026)
●Paper 204: Contemporary Western Theories and Film Studies
●Submitted To : Smt. S.B.Gardi Department of English M.K.B.U.
●Date : 07/10/2025

3. 01 02
03 04
TABLE OF CONTENTS
●Research Question & Hypothesis
●Introduction
●Netflix: Origins and Evolution
●Traditional Film Criticism – Concept Map
●Algorithmic Curation
●The Myths of Streaming – Infographic Breakdown
●Case Study – The Irishman
●Theatrical Release Debate
●Cannes Controversy (2017)
●Case Study – Roma
●Algorithmic Influence
●Case Study – Squid Game
●Conclusion

4. Research Question:
Hypothesis:
How has Netflix’s streaming model transformed traditional film and
television criticism, and what are the political, cultural, and aesthetic
implications of this shift?

Netflix’s algorithm-driven distribution model prioritizes viewer
engagement over aesthetic evaluation, restructuring critical
discourse. While it democratizes access, it also risks homogenizing
content and diminishing the role of professional criticism.

5. Introduction:
Netflix’s rise as a global streaming platform has fundamentally reshaped the
media landscape. What began as a DVD rental service in 1997 evolved into a
content-producing powerhouse with over 280 million subscribers by 2024.
This transformation has disrupted traditional models of film and television
criticism, challenging the authority of critics, festivals, and academic
discourse. The shift from human judgment to algorithmic recommendation
represents not just a technological change, but a philosophical redefinition of
how audiovisual culture is valued and understood. This presentation explores
the political, cultural, and aesthetic implications of Netflix’s platform logic
and its impact on critical frameworks.

6. Netflix: Origins and Evolution
●Netflix is an American streaming and production company founded in 1997 by
Reed Hastings and Marc Randolph in Scotts Valley, California.

●Initially launched as a DVD rental-by-mail service, Netflix revolutionized media
consumption by introducing a subscription-based model that prioritized user
convenience and choice.

●In 2007, Netflix transitioned to online streaming, enabling instant access to films
and television shows, marking a pivotal shift in digital distribution.

●By the mid-2010s, Netflix became a global media powerhouse, producing original
content (House of Cards, Stranger Things, Roma) and expanding into over 190
countries.

●Its evolution from a rental service to a global content creator exemplifies the
digitization and globalization of film culture, reshaping how films are circulated
and critiqued within Film Studies.
(Lobato) (Jenner)

7. Traditional Film Criticism – Concept Map:
●Critics: Provided expert analysis grounded in theory
●Festivals: Conferred prestige and shaped discourse
●Academic Journals: Developed interpretive frameworks
●Exhibition: Theatrical release shaped viewer experience

These elements fostered rich, localized, and diverse critical
ecosystems, emphasizing aesthetics, cultural context, and theoretical
depth.

8. Algorithmic Curation:
“Algorithm-driven curation presents challenges
related to visibility and diversity.”
— Frontiers in Communication, 2025


Netflix’s recommendation engine replaces human judgment with predictive
analytics. Content is curated based on user behavior, not artistic merit. This
shift flattens aesthetic hierarchies and redefines cultural value.

(van Es)

9. The Myths of Streaming – Infographic Breakdown
●Karin van Es’s Three Netflix Myths:
●Binge-Watching = Freedom → Shaped by autoplay and cliffhangers
●Infinite Choice = Empowerment → Catalog is curated and limited
●Big Data = Objectivity → Data is proprietary and manipulative

These myths obscure Netflix’s control over taste formation and cultural
discourse.
(van Es)

10. Case Study – The Irishman
Scorsese’s The Irishman exemplifies the tension between
auteur filmmaking and streaming priorities. Despite
critical acclaim and 10 Oscar nominations, Netflix’s
limited theatrical release and refusal to share viewership
data hindered cultural analysis.


●Brief theatrical run undermined cinematic experience
●Netflix claimed success without transparent metrics
●Critics lacked data to assess impact
●Raises questions about platform opacity
(Scorsese)

11. Theatrical Release Debate
“Theatrical releases are an outdated concept.”
— Ted Sarandos, Netflix Co-CEO (CinemaBlend, 2025)

Netflix’s stance on theatrical exhibition sparked backlash from filmmakers
like Rian Johnson. The debate centers on whether cinematic legitimacy
requires theatrical context or if streaming suffices.

●Glass Onion had only a one-week release
●Filmmakers advocate for theatrical engagement
●Exhibition shapes viewer interpretation
●Streaming alters critical reception
(Whitten)

12. Cannes Controversy (2017):

Netflix’s entry into Cannes with Okja and The Merry-Go-Round led to
institutional resistance. The festival changed its rules to exclude
non-theatrical films, asserting its gatekeeping role.

●Cannes audience booed Netflix logo
●New policy required French theatrical release
●Streaming bypasses traditional validation
●Highlights tension between platforms and festivals

13. Case Study – Roma:
Alfonso Cuarón’s Roma was crafted for theatrical exhibition, yet Netflix’s streaming-first strategy
compromised its artistic intent. The film’s success paradoxically highlighted streaming’s limitations for
auteur cinema.

●Shot on 65mm for immersive experience
●Limited theatrical release undermined presentation
●Streaming success didn’t guarantee artistic appreciation
●Exhibition context affects viewer engagement

It was nominated for 10 Academy Awards, including Best Picture, and won three for Best Director, Best
Foreign Language Film, and Best Cinematography.
(Cuaron)

14. Algorithmic Influence:

Viewer Behavior → Data Collection → Content Design →
Engagement Metrics → New Data → Repeat


Netflix’s data analytics shape not only distribution but also production.
This feedback loop favors formulaic, retention-optimized content,
potentially homogenizing global cinema

(Wayne)

15. Case Study – Squid Game:
Squid Game illustrates algorithmic amplification and localization challenges.
Translation issues altered thematic meaning, while Netflix’s interface
marginalized professional criticism in favor of viral discourse.

●Global success amplified by recommendation engine
●Subtitles and dubbing affected narrative clarity
●Critics sidelined by platform design
●Social media dominates cultural conversation
(Hwang)

16. Netflix’s streaming model reconfigures film and TV criticism, challenging
traditional frameworks while introducing new dynamics of access, control,
and cultural valuation. By replacing human judgment with algorithmic
systems, the platform reshapes how content is produced, distributed, and
interpreted. While it democratizes access and expands representation, it
also risks flattening artistic diversity and marginalizing critical depth. As
streaming continues to dominate, scholars and critics must develop new
methodologies that account for platform politics, data-driven aesthetics,
and the evolving nature of cultural legitimacy in the digital age.
Conclusion:

17. Bosselman Haley. “Martin Scorsese Says Cinema Is Being ‘Devalued’ to ‘Content’ in
Essay Criticizing Modern Film Industry.” Variety, 16 Feb 2021,
https://variety.com/2021/film/news/martin-scorsese-condemns-movie-business-essay-
1234909069/. Accessed 6 Oct 2025.

Chalaby, K Jean Streaming giants and the global shift: building value chains and
remapping trade flows, Journal of Communication, Volume 75, Issue 2, April 2025,
Pages 112–124, https://doi.org/10.1093/joc/jqae040. Accessed 6 Oct. 2025.

Cuaron Alfonso, director. Roma. Espectáculos Fílmicos El Coyúl[1][2] Pimienta
Films[2][3][4] Participant Media Esperanto-Filmo, 2018.




References:

18. Cuelenaere, E. (2024). How “original” are Netflix Original films? Mapping and
understanding the recycling of content in the age of streaming cinema. Media,
Culture & Society, 46(5), 991-1009. https://doi.org/10.1177/01634437231224081.
Accessed 6 Oct. 2025.

Hwang Dong-huyk, creator. Squid Game. Siren Pictures Inc., 2021.

Jenner, Mareike. Netflix and the Re-invention of Television. Palgrave Macmillan,
2018.

Lobato, Ramon. Netflix Nations: The Geography of Digital Distribution. New
York University Press, 2019.

Scorsese Martin, director. The Irishman [I Heard You Paint Houses]. Tribeca
Enterprises, Sikelia Productions, Winkler Films, 2019.

19. van Es, K. (2024). Exploring Netflix myths: Towards more media industry studies and
empirical research in studying video-on-demand. Critical Studies in Television, 0(0).
https://doi.org/10.1177/17496020241297618. Accessed 6 Oct. 2025.

Wayne, M. L. (2021). Netflix audience data, streaming industry discourse, and the emerging realities of
‘popular’ television. Media, Culture & Society, 44(2), 193-209.
https://doi.org/10.1177/01634437211022723. Accessed 6 Oct. 2025.

Whitten Sarah. “Movie theaters want more from Netflix, but the streaming giant isn’t ready
to budge on its release model.” CNBC, 20 Oct 2022,
https://www.cnbc.com/2022/10/20/netflix-knives-out-sequel-glass-onion-limited-release
.html. Accessed 6 Oct 2025.

20. Thank You