Cultural glocalisation in the era of video on demand

Content diversity in Netflix, HBO and Prime Video


  • Josep Pedro Universidad Carlos III de Madrid



Glocalisation, Culture, Diversity, SVOD, Netflix, HBO, Prime Video


Drawing on the concept of glocalisation and the practice of mapping, this article explores the diversity of content offered by three transnational subscription video-on-demand services: Netflix, HBO and Prime Video. Three categories linked to different dimensions of cultural diversity are proposed and applied: diversity of place; diversity of gender; and ethnic-racial diversity. In this way, the article identifies and classifies multiple works that represent and symbolise the presence and representation of dialogues between the global and the local, as well as of diverse identities in terms of origin, gender and/or “race” or ethnicity.


Download data is not yet available.


Adorno, T. and Horkheimer, M. (2002 [1944]). Dialectic of Enlightment. Philosophical Fragments. Stanford University Press.

Afilipoaie, A.; Iordache, C. y Raats, T. (2021). The ‘Netflix Original’ and what it means for the production of European TV content. Critical Studies in Television, 16, 3. DOI:

Albornoz, L. A. y García Leiva, M. T. (Eds.) (2019). Audiovisual Industries and Diversity. Economics and Policies in the Digital Era. Routledge. DOI:

Ampere Analysis (25 de abril de 2019). Spanish TV groups’ investment in original production grows. Ampere Analysis.

Brewer, S. y Dundes, L. (2018). Concerned, meet terrified: Intersectional feminism and the Women’s March. Women’s Studies International Forum, 69, 49-55. DOI:

Burke, P. (2010): Hibridismo cultural. Akal.

Carastathis, A. (2014). The Concept of Intersectionality in Feminist Theory. Philosophy Compass, 9(5), 304-314. DOI:

Collins, P. H. (2019). Intersectionality as Critical Social Theory. Duke University Press. DOI:

Cornis-Pope, M. y Neubauer, J. (2002). Towards a History of the Literary Cultures in East-Central Europe: Theoretical Reflections. American Council of Learned Societies.

Crenshaw, K. W. (1991). Mapping the Margins: Intersectionality, Identity Politics, and Violence against Women of Color. Stanford Law Review, 43(6), 1241-1299. DOI:

García Canclini, N. (2009). Culturas Híbridas. Estrategias para entrar y salir de la modernidad. Randon House Mondadori.

Grece, C. y Jiménez Pumares, M. (2020). Film and TV content in VOD catalogues. European Audiovisual Observatory.

Fontaine, G. y Jiménez Pumares, M. (2020). European high-end fiction series: State of play and trends. European Audiovisual Observatory.

Hastings, R. y Meyer, E. (2020). No Rules Rules. Netflix and the Culture of Reinvention. Random House.

Leverette, B. y Buckley, C. L. (2008). It’s Not TV. Watching HBO in the Post-Television Era. Routledge.

Lipsitz, G. (2001). Time Passages. Collective Memory and American Popular Culture. University of Minnesota Press.

Lobato, R. (2019). Netflix Nations. The Geography of Digital Distribution. NYU Press. DOI:

Mantilla, D. (29 de mayo de 2021). Adriana Ugarte y las escenas de violencia contra la mujer: “La ficción sirve para cambiar y provocar debate”. El Español.

Morillo, Valentina (30 de mayo de 2021). Necesitamos menos violaciones en las series y más mujeres guionistas para evitarlas. El Español.

Morley, D. (2005). Globalisation and cultural imperialism reconsidered: old questions in new guises. En J. Curran y D. Morley (Eds.), Media and Cultural Theory (pp. 30-43). Routledge. DOI:

Parrot Analytics (2020). The Impact of Talent Diversity on Audience Demand for Television. Parrot Analytics.

Parrot Analytics (2021). The Global Television Demand Report. Parrot Analytics.

Pedro, J. (2017). An intercultural history of blues in Austin, Texas: from the Negro district to the global rock circuit. Atlantic Studies, 14:1, 66-81. DOI:

Pedro, J. (2022). Descubriendo Netflix: identidad de marca y representaciones de la diversidad. Revista de Comunicación. [Artículo evaluado favorablemente, en revisión]. DOI:

Robertson, R. (1994). Globalisation or glocalisation? Journal of International Communication, 1(1), 33-52. DOI:

Santibañez Guerrero, D. (2018). El concepto interseccionalidad en el feminismo negro de Patricia Collins. Resonancias. Revista de Filosofía, 4, 49-58. DOI:

Scorsese, M. (2021). “Il Maestro. Federico Fellini and the lost magic of cinema”, Harper’s Magazine, March.

Tomlison, J. (1991). Cultural Imperialism: A Critical Introduction. Continuum.

Wayne, M. L. (2017). Netflix, Amazon, and branded television content in subscription video on-demand portals. Media, Culture & Society, 40(5), 1-17. DOI:



How to Cite

Pedro, J. (2022). Cultural glocalisation in the era of video on demand: Content diversity in Netflix, HBO and Prime Video. VISUAL REVIEW. International Visual Culture Review / Revista Internacional De Cultura Visual, 9(Monográfico), 1–13.