Browsing by Subject "Netflix"
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Item Chinese and American University Students' Perceptions of Public Apologies(2013-12-05) Song, Si ChunThe purpose of this study was to examine Chinese and American students? perceptions of public apologies issued by Reed Hastings, the CEO of Netflix, and Akio Toyoda, the CEO of Toyota. The researcher conducted two independent studies by collecting both quantitative and qualitative data through two survey questionnaires and four focus group interviews. The findings indicated that Chinese and American participants evaluated the effectiveness of public apologies based on their cultural schemas of the verbal and non-verbal cues used by the apologizer. The participants? perceptions of recognizing the effectiveness of the apology were related to their cultural perspectives regarding the key elements of public apologies. Related to the verbal strategies for conveying sincerity, both groups indicated that offering compensation is an important component of a sincere apology. However, each group has different cultural perspectives regarding non-verbal cues such as making eye contact, dress code, facial expressions, setting, body posture, and tone of voice. For example, Chinese emphasized the importance of professional dress code, having remorseful facial expressions, formal setting, bowing a head, and lowering voice tone. In contrast, Americans emphasized the importance of maintaining eye contact, body posture embodying attentiveness, and varying intonation to convey the apologizer?s feelings. They indicated that the choice of clothing may be changed according to the severity of the offense, the relationship between the apologizer and the offended person, and the location of the apology.Item "Come TV with us" : the business strategies, discourses, and imagined audiences of Netflix and Hulu(2016-05) Mann, Lane McDaniel; Perren, Alisa; Scott, SuzanneWith Netflix promising 600 hours of original content in 2016 and Hulu revamping its original content slate, there exists a vast body of popular cultural criticism and news stories about online original television programming. However, academic literature on Netflix and Hulu is limited. This thesis provides a foundation for understanding the publicly constructed business models for two of the most prominent subscription video-on-demand (SVOD) services, their origins, business strategies, and imagined audiences. Through discourse analysis of industry paratexts and trade press coverage this study reveals how Netflix and Hulu’s programming choices, branding strategies, marketing materials, and public rhetoric communicate and construct particular public business goals, models of success, and ideal audience engagement. It finds that Netflix and Hulu’s stakeholders have distinguished their brands in specific ways. Partially through the influence of various industry stakeholders, both platforms have adopted business strategies from earlier forms of media (cable and broadcast), while also formulating particular constructions of audiences and adopting specific ways of engaging and sustaining those audiences. However, the companies have also manipulated new technologies, privileging fresh ways of measuring engagement, and promoting certain types of viewership behavior. The differing business decisions made by Hulu and Netflix, and the distinctive ways they convey such decisions to the press and public, have contributed to specific cultural narratives about legacy media companies, new technologies, the current state of television, the ongoing flux of media industries, and especially prized audience groups in the twenty-first century.