Category Archives: Publicaciones

Albornoz, L.A., García Leiva, M.T., Gallo, P. y Fernández-Herruzo, J.I. (2025). Obra española en servicios de vídeo bajo demanda por suscripción. Edición 2025. Grupo de investigación Diversidad Audiovisual, Universidad Carlos III de Madrid

Este trabajo analiza la presencia de obra española en seis servicios de vídeo bajo demanda por suscripción (SVOD) en el mercado español. El informe se focaliza, por orden de llegada a España, en Netflix, Prime Video, Max, Apple TV+, Disney+ y SkyShowtime. Además de la presencia de obra española, se examinan los principales mecanismos utilizados para darle prominencia en los servicios. La disponibilidad de títulos españoles ha ido en aumento desde el año 2022, cuando comenzó a elaborarse este informe anual. La conclusión principal del informe es que todos los servicios nutren sus respectivos catálogos de obras españolas, aunque la cantidad y características de estas varían considerablemente. Incluyendo a las coproducciones internacionales, en su conjunto los seis catálogos ofertan 1.802 títulos españoles únicos, cifra que implica un incremento de 741 obras respecto a enero de 2022 (+69,8%). Prime Video, con 1.032 títulos, es el servicio que dispone de una mayor cantidad de contenidos españoles; seguido por Netflix, que ofrece 674 obras españolas. Al poner estos datos en relación con el tamaño total de cada catálogo, SkyShowtime es el servicio que dispone de un mayor porcentaje de obra local, pues los títulos españoles representan un 15,8% de su catálogo. Prime Video se sitúa cerca, con una oferta de obras constituida en un 15% por títulos españoles. En Netflix y Max este porcentaje se ubica alrededor del 8%, mientras que en Disney+ y Apple TV+ representan menos de un 3% en cada caso. La consolidación de tendencias en relación con los contenidos ofertados y su forma de comercialización, hacen de las interfaces de los servicios entornos crecientemente complejos de analizar. Los servicios estudiados utilizan diferentes mecanismos para otorgar prominencia a la obra española de sus catálogos. Con la excepción de Apple TV+, todos disponen de secciones dedicadas a las obras españolas. Asimismo, los buscadores de cada servicio varían en el número y tipo de resultados que arrojan al introducir palabras clave relacionadas con la obra local, siendo Netflix el que en mayor medida facilita la posibilidad de encontrar películas, series y otros tipos de contenidos españoles.

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Disponible también en ingles aquí.

Albornoz, L.A., García Leiva, M.T., Gallo, P. and Fernández-Herruzo, J.I. (2025). Spanish works on subscription video-on-demand services. 2025 Edition. Audiovisual Diversity Research Group, Carlos III University of Madrid

This report analyses the presence of Spanish works in six subscription video-on-demand (SVOD) services in the Spanish market. The report focuses, in order of their arrival in Spain, on Netflix, Prime Video, Max, Apple TV+, Disney+ and SkyShowtime. In addition to the presence of Spanish works, it examines the main mechanisms used to give them prominence in the services. The availability of Spanish titles has been increasing since 2022, when this annual report began. The main conclusion of this 2025 study is that all services include Spanish works in their respective catalogues, although the quantity and characteristics of these works vary considerably. Altogether, the six catalogues offer 1,802 unique Spanish titles, including international co-productions. The figure implies an increase of 211 works compared to January 2024. Prime Video, with 1,032 titles, is the service with the largest amount of Spanish content, followed by Netflix, which offers 674 Spanish works. When these data are compared to the total size of each catalogue, SkyShowtime is the service having the highest percentage of local works, with Spanish titles accounting for 15.8% of its catalogue. Prime Video is close behind, with 15% of its catalogue made up of Spanish titles. On Netflix and Max this percentage is around 8%, while on Disney+ and Apple TV+ they represent less than 3% in each case. The consolidation of certain trends identified in the SVOD market segment regarding the content offered and the way it is marketed, make analysing the services’ interfaces increasingly complex. In this scenario, the services examined here use different mechanisms to give prominence to the Spanish works available in their catalogues. With the exception of Apple TV+, all of them have sections dedicated to Spanish works. Likewise, the search engines of each service vary in the number and type of works they return when keywords related to local works are entered, with Netflix providing the greatest possibility of finding Spanish films, series and other types of content.

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Spanish version here.

Albornoz, Luis A. & Krakowiak, Fernando (2024). Netflix’s First Decade of Presence in Latin America, en Bouquillion, P., Ithurbide, C., & Mattelart , T. (Eds). “Digital Platforms and The Global South. Reconfiguring power relations in the cultural industries”. Routledge, ISBN 9781003391746

Netflix began providing its video-on-demand (VoD) service in Latin America more than a decade ago, a strategic regional market in which it was deployed before its global expansion in Europe, Africa and Asia. Currently, the California-based company leads the market for over-the-top paid audiovisual services in the competitive Latin American market, ahead of giants such as Amazon, Warner Bros. Discovery, Disney, Telefónica, Globo and Televisa. Based on a documentary review of primary and secondary sources, this chapter addresses the localisation strategy developed by Netflix in its first decade of implementation in Latin American countries, which has included the opening of subsidiaries in the region’s main audiovisual markets (Brazil, Mexico, Colombia and Argentina) and the production of its own content in partnership with local companies in order to feed the segment of titles labelled ‘originals’. To this end, the different fronts of action (agreements with other companies, characteristics of the content offer, in-house production of content, etc.) in which the transnational company has played a leading role are addressed. This chapter pays special attention to the Mexican and Brazilian markets in terms of in-house content production and to the debates surrounding the regulation of the VoD services market.

Netflix comenzó a prestar su servicio de vídeo bajo demanda (VoD) en Latinoamérica hace más de una década, un mercado regional estratégico en el que se desplegó antes de su expansión global en Europa, África y Asia. Actualmente, la compañía californiana lidera el mercado de servicios audiovisuales de pago over-the-top en el competitivo mercado latinoamericano, por delante de gigantes como Amazon, Warner Bros. Discovery, Disney, Telefónica, Globo y Televisa. A partir de una revisión documental de fuentes primarias y secundarias, este capítulo aborda la estrategia de localización desarrollada por Netflix en su primera década de implantación en los países latinoamericanos, que ha incluido la apertura de filiales en los principales mercados audiovisuales de la región (Brasil, México, Colombia y Argentina) y la producción de contenidos propios en asociación con empresas locales para abastecer el segmento de títulos etiquetados como «originales». Para ello, se abordan los distintos frentes de actuación (acuerdos con otras empresas, características de la oferta de contenidos, producción propia de contenidos, etc.) en los que la empresa transnacional ha desempeñado un papel protagonista. En este capítulo se presta especial atención a los mercados mexicano y brasileño en materia de producción propia de contenidos y a los debates en torno a la regulación de los servicios de VoD

Acceso al capítulo aqui.

Pedro, Josep & Gutiérrez-Martínez, Begoña (2024). Jazz in Spanish Film Noir: Modernity and Youth Cultures During Late Francoism, en Ádám Havas, Bruce Johnson, David Horn (eds.) “The Routledge Companion to Diasporic Jazz Studies”. Routledge, ISBN 9781032080383

Following an ongoing research about jazz in Spain during Franco´s dictatorship, this article explores the presence and meanings of jazz in the late 1950s and 1960s Spanish film noir. Considering jazz a key genre within the spectrum of modern influences that impacted Spain, it provides a contextualization of the shifting political context and the cultural productions that disseminated it. The article focuses on the analysis of Juventud a la intemperie (The Unsatisfied, Iquino, 1961), a controversial transnational film that pioneered the production of alternate versions of films with more or less violent or erotic content, depending on varying censorship. Marked by a moral message that warns the audience about the growing corrupt youth in Western civilization, the film posits a clear confrontation between the stable and conservative adult world and the more materialistic and hedonistic youth, which appropriates jazz culture as part of their alternative practices and identities. Through the fictional Bongo Club, which attracts countercultural youngsters and rupturist discourses, Juventud a la intemperie represents the transformative power of glocal music scenes, and it features several musical performances that reveal its eclecticism and modernity. “Manhattan Blues”, by African-American singer and Barcelona jazz muse Gloria Stewart, is particularly significant, but there are also performances by composer Enrique Escobar, French artist Rita Cadillac, the Dutch pop-rock band Kroner¿s Duo, and flamenco singer Lorenza Flores Amaya. By analyzing the representation of jazz in Spanish film noir, we approach the multiple diasporic journeys of jazz within a closely-related film tradition that explored the dark side of modern urban life and the limits of expressive culture and social commentary within Francoism. These films had a realist orientation that dealt with existing urban transformations and sociocultural concerns. They tend to depict an occlusive environment that is provisionally subverted through everyday life practices and intercultural dialogues associated with alternative youth cultures, for whom jazz became a complex and disputed sign of dislocating modernity.

Acceso al libro aqui.