4,380
Views
3
CrossRef citations to date
0
Altmetric
Original Articles

Connecting with audiences in new markets: Netflix´s Twitter strategy in Spain

ORCID Icon & ORCID Icon
Pages 127-146 | Received 28 Jun 2017, Accepted 23 May 2018, Published online: 31 May 2018

References

  • Aguiar, L., & Waldfogel, J. (2017). Netflix: Global hegemon or facilitator of frictionless digital trade? Journal of Cultural Economics, 1–27. Retrieved from https://link.springer.com/article/10.1007/s10824-017-9315-z
  • Arrojo, M. J. (2013). La televisión social. Nuevas oportunidades y nuevos retos para el sector audiovisual. In B. Lloves & F. Segado (Eds.), (Coords.). I Congreso Internacional de Comunicación y Sociedad Digital. Universidad Internacional de La Rioja. Retrieved from http://reunir.unir.net/handle/123456789/1729
  • Artt, S., & Schwan, A. (2016). Screening women’s imprisonment: Agency and exploitation in orange is the new black. Television & New Media, 17(6), 467–472.
  • Belcher, C. (2016). There is no such thing as a post-racial prison: Neoliberal multiculturalism and the white savior complex on orange is the new black. Television & New Media, 17(6), 1-13. doi:10.1177/1527476416647498
  • Castelló-Martínez, A. (2013). The use of hashtags on Twitter on the part of Spanish television programmes. In B. Lloves & F. Segado (Eds.), (Coords.). I Congreso Internacional de Comunicación y Sociedad Digital. Universidad Internacional de La Rioja. Retrieved from http://reunir.unir.net/handle/123456789/1762
  • Claes, F., & Deltell, L. (2015). Audiencia social en Twitter: Hacia un nuevo modelo de consumo televisivo. Trípodos, 36, 111–132. Retrieved 2016 December 03 Retrieved from: http://www.tripodos.org/index.php/Facultat_Comunicacio_Blanquerna/article/view/245
  • CNMC (2016): Informe anual de telecomunicaciones. Available in. Retrieved 2016 December 03. Retrieved from http://data.cnmc.es/datagraph/jsp/inf_anual.jsp
  • Congosto, M. L., Deltell, L., Claes, F., & Osteso, J. M. (2013). Análisis de la audiencia social por medio de Twitter. Caso de estudio: Los premios Goya 2013. Icono 14, 11(2), 53–82.
  • D’heer, E., Godin, F., Evens, T., De Neve, W., Verdegem, P., & Van de Walle, R. (2015). How can Twitter data and viewing rates enrich one another? A conceptual and empirical comparison between viewing rates and Twitter data for TV audience research. ICA, Proceedings. Presented at the ICA.
  • DeCarvalho, L. J., & Fox, N. B. (2016). Extended “Visiting hours”. Deconstructing identity in Netflix’s promotional campaigns for orange is the new black. Television & New Media, 17(6), 504–519.
  • Del Pino, C., & Aguado, E. (2012a). Comunicación y tendencias de futuro en el escenario digital: El universo “sisomo” y el caso de la plataforma Netflix. Revista Comunicación, 1(10), 1483–1494.
  • Del Pino, C., & Aguado, E. (2012b). Internet, televisión y convergencia: Nuevas pantallas y plataformas de contenido audiovisual en la era digital. El caso del mercado audiovisual online en España. Observatorio (OBS*) Journal, 6(4), 057–075.
  • Deltell, L., Osteso, J. M., & Claes, F. (2013). Audiencias televisivas y líderes de opinión en Twitter. Caso de estudio: El Barco. Estudios Sobre El Mensaje Periodístico, 19(1), 347–364.
  • Díaz-Del Campo, J. D., & Boj, F. J. S. (2013). Radio and Facebook: An analysis of the main Spanish networks and programmes profiles. Icono 14, 11(2), 209–228.
  • Eastman, S. T., & Ferguson, A. D. (2006). Media programming. Strategies and practices. USA: Thomson Wadsworth.
  • Elaluf-Calderwood, S. (2014, May 9). Netflix as a player in the digital market. In Network Economy Forum. Retrieved from http://blogs.lse.ac.uk/nef/2014/05/09/netflix-digital-market/.
  • Ferguson, D. A., & Eastman, S. T. (2006). A frame work for programming strategies. In S. T. Eastman & A. D. Ferguson (Eds.), Media programming. Strategies and practices. USA: Thomson Wadsworth.
  • Ferguson, D. A., & Greer, C. F. (2016). Reaching a moving target: How local TV stations are using digital tools to connect with generation C. International Journal on Media Management, 18(3–4), 141–161.
  • Ferguson, D. A. (2006). Online video and audio programming. In S. T. Eastman & A. D. Ferguson (Eds.), Media programming. strategies and practices. USA: Thomson Wadsworth.
  • Fernández-Manzano, E. P., Neira, E., & Clares-Gavilán, J. (2016). Data management in audiovisual business: Netflix as a case study. El Profesional De La Información, 25(4), 568–577.
  • Fernández-Morales, M., & Menéndez-Menéndez, M. (2016). “When in Rome, use what you’ve got”. A discussion of female agency through orange is the new black. Television & New Media, 17(6), 534–546.
  • Gallego, F. (2013). Social Tv Analytics. New metrics for a new way to watch tv. Index.Comunicación, 3(1), 13–39.
  • Gomez-Uribe, C. A., & Hunt, N. (2016). The Netflix recommender system: Algorithms, business value, and innovation. ACM Transactions on Management Information Systems (TMIS), 6(4), 13.
  • González Molina, S., & Ramos Del Cano, F. (2014). Social networking in Journalism: How do key European media use their profiles on Twitter and Facebook? Comunicación Y Hombre, 10, 37–52.
  • Hallinan, B., & Striphas, T. (2016). Recommended for you: The Netflix prize and the production of algorithmic culture. New Media & Society, 18(1), 117–137.
  • IAB Spain & Elogia (2016). Estudio anual de redes sociales 2016. Retrived from: http://www.iabspain.net/wp-content/uploads/downloads/2016/04/IAB_EstudioRedesSociales_2016_VCorta.pdf Retrieved 2017 February 11.
  • Izquierdo-Castillo, J. (2012). Distribución online de contenidos audiovisuales: Análisis de 3 modelos de negocio. El Profesional De La Información, 21(4), 385–390.
  • Izquierdo-Castillo, J. (2015). The new media business concept led by Netflix: A study of the model and its projection into the spanish market. El Profesional De La Información, 24(6), 819–826.
  • Jenner, M. (2014). Is this TVIV? On Netflix, TVIII and binge-watching. New Media & Society, 18(2), 257–273.
  • Letki, G. (5 June, 2016). How Netflix is Winning Social Media – Case Study. Retrived from: https://brand24.com/blog/how-netflix-is-winning-social-media-case-study/Retrieved 24/02/2017.
  • Lim, J. S., Hwang, Y., Kim, S., & Biocca, F. A. (2015). How social media engagement leads to sports channel loyalty: Mediating roles of social presence and channel commitment. Computers in Human Behavior, 46, 158–167.
  • Maciá, F. &., & Santoja, M. (2015). Marketing en redes sociales. Madrid: Ediciones Anaya Multimedia.
  • Medina, M., Urgellés, A., & Herrero, M. (2016). Netflix´s arrival into the Spanish market: Friend or foe. European media management association, Emma conference 2016.
  • Nelson, N. (3 May, 2016). The power of a picture. Retrived from: https://media.netflix.com/en/company-blog/the-power-of-a-picture Retrieved 11/02/2017.
  • Nielsen (2012). State of the Media. The Social Media Report 2012.Retrieved 2017 10 February Retrived from: http://www.nielsen.com/us/en/reports/2012/state-of-the-media-the-social-media-report-2012.html.
  • Nielsen. (2013). The follow back: Understanding the Tw-way causal influence between Twitter activity and TV viewership. Retrived from: http://www.nielsen.com/us/en/insights/news/2013/the-follow-back–understanding-the-two-way-causal-influence-betw.htmlRetrieved10/02/2017
  • Ojer, T., & Capapé, E. (2012). Nuevos modelos de negocio en la distribución de contenidos audiovisuales: El caso de Netflix. Revista Comunicación, 1(10), 187–200.
  • Pérez-Latre, F.-J., & Sánchez-Tabernero, A. (2016). Uncertainty and weakness of entry barriers in new media market landscapes: An industry in constant flux? The launching of El Español and Netflix in Spain. European media management association, Emma conference 2016.
  • Quintas-Froufe, N., & González-Neira, A. (2014). Active audiences: Social audience participation in television. Comunicar, 2014, 22(43), 83–90.
  • Rodríguez-Mateos, D., & Hernández-Pérez, T. (2015). Social tv on fiction series and new roles for a media librarian: El Ministerio del Tiempo as a case study. Index Comunicación, 5(3), 95–120.
  • Rohn, U., & Von Rimscha, B. (2017). A showcase of recent member work from the European Media Management Association. Journal of Media Business Studies, 14(2), 79–81.
  • Schwan, A. (2016). Postfeminism meets the women in prison genre privilege and spectatorship in orange is the new black. Television & New Media, 17 (6), 473–490.
  • Segado-Boj, F, Grandío, M, & Fernández-Gómez, E. (2015). Social media and television: a bibliographic review on the web of science. El Profesional De La Información, 24(3), 227-234. doi:10.3145/epi.2015.may.03
  • Silverman, R. E., & Ryalls, E. D. (2016). “Everything is different the second time around”. The stigma of temporality on orange is the new black. Television & New Media, 17(6), 520–533.
  • Stefanone, M. A., Lackaff, D., & Rosen, D. (2010). The relationship between traditional mass media and “social media”: Reality television as a model for social network site behavior. Journal of Broadcasting & Electronic Media, 54(3), 508–525.
  • Torrego, A., & Gutiérrez, A. (2016). Ver y tuitear: Reacciones de los jóvenes ante la representación mediática de la resistencia [Watching and Tweeting: Youngsters’ responses to media representations of resistance]. Comunicar, 47, 9–17.
  • Travis, B. “The Crown: Netflix 100£ million TV series in numbers”, in Evening Standard. Retrieved 2017 February 03. Retrived from: http://www.standard.co.uk/stayingin/tvfilm/the-crown-netflixs-100-million-tv-series-in-numbers-a3385416.html.
  • Van Es, K. (2015). Social TV and the participation dilemma in NBC’s the voice. Television & New Media, 17(2), 108–123.
  • Vinader Segura, R., & De La Cuadra De Colmenares, E. (2012). Television 2.0: Comunicative strategies on the social web. Estudios Sobre El Mensaje Periodístico, 18 (Special Number November) 909-918. Retrived from: http://dx.doi.org/10.5209/rev_ESMP.2012.v18.40969
  • Wallenstein, A. “Netflix series spending revealed”, in Variety. Retrieved 2017 February 03. Retrived from: http://variety.com/2013/digital/news/caa-agent-discloses-netflix-series-spending-1200006100
  • Wang, Y. (2016). How do television networks use Twitter? Exploring the relationship between Twitter use and television ratings. Southern Communication Journal, 81(3), 125–135.
  • Wilson, S. (2016). In the Living Room: Second screens and TV audiences. Television & New Media, 17(2), 174–191.
  • Ytreberg, E. (2009). Extended liveness and eventfulness in multi-platform reality formats. New Media & Society, 11(4), 467–485.

Reprints and Corporate Permissions

Please note: Selecting permissions does not provide access to the full text of the article, please see our help page How do I view content?

To request a reprint or corporate permissions for this article, please click on the relevant link below:

Academic Permissions

Please note: Selecting permissions does not provide access to the full text of the article, please see our help page How do I view content?

Obtain permissions instantly via Rightslink by clicking on the button below:

If you are unable to obtain permissions via Rightslink, please complete and submit this Permissions form. For more information, please visit our Permissions help page.