Intersezioni di sguardi. La rappresentazione intersezionale in alcune serie Netflix di successo

Abstract

Digitalization has been changing the methods of production, distribution, and use of audiovisual products, according to a process of platformization (Van Dijck, Poell, de Waal, 2018). Platforms have introduced a new user-based model that feeds different forms of participation and spreadability through intermediality and storytelling (Jenkins et al., 2013; Salmon, 2007). This produces a different audience that is not national, but global, used to see films or series in their original language at once (binge-watching) and to comment in a continuous stream on social media (Corvi, 2020), according to the prosumer culture (Collins, 2010), characterized by users’ ability in terms of distinction (Bourdieu, 1984). This user-based model seems to encourage new ways of representation characterized by many gazes, points of view and identities. Specifically, Netflix’s audiovisual contents, according to an intersectional framework (Weber, 2001), show a strong interest about diversity and inclusion. This is the case of some Netflix’s Original TVSeries such as Orange is the new Black, Sense 8, Hollywood and Bridgerton, which are characterized by an intersectional perspective in terms of representation. Moving from this framework, the aim of the analysis will be to make a preliminary investigation about these TvSeries, according to an intersectional perspective.