Alexa Scarlata Alexa Scarlata i(21940138 works by)
Gender: Female
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Works By

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1 Netflix’s Territory Is a Succession-like Drama Packed with Family Rivalry and Betrayal, Set in Australia’s Outback Alexa Scarlata , 2024 single work review
— Appears in: The Conversation , 24 October 2024;

— Review of Territory 2024 series - publisher film/TV
1 Disney+ Dials up the Australiana in Star-studded Drama Last Days of the Space Age. But Does It Deliver? Alexa Scarlata , 2024 single work review
— Appears in: The Conversation , 2 October 2024;

— Review of Last Days of the Space Age David Chidlow , Alice Addison , Dot West , Jeremy Nguyen , Alan Nguyen , 2023 series - publisher film/TV

'Disney+ will add their latest Australian original to their catalogue today. The brief seems to have been to “amp up the Australianness” – and boy is it a cacophony.'

1 Is a 24-hour Home and Away Channel the Answer to Subscription Fatigue? Alexa Scarlata , Ashleigh Dharmawardhana , 2024 single work column
— Appears in: The Conversation , 17 April 2024;
1 Recommending Wentworth to the World : How Netflix 'Changed the Show' and Australian TV Drama Production Alexa Scarlata , 2022 single work criticism
— Appears in: TV Transformations and Transgressive Women : From Prisoner : Cell Block H to Wentworth 2022;
1 Producing Local Content in International Waters : The Case of Netflix’s Tidelands Alexa Scarlata , Ramon Lobato , Stuart Cunningham , 2021 single work criticism
— Appears in: Continuum : Journal of Media and Cultural Studies , vol. 35 no. 1 2021; (p. 137-150)

'Netflix’s supernatural crime series Tidelands (2019) was the subscription video service’s first commissioned original series to be produced in Australia. Shot in tropical Queensland with a diverse cast of local and international stars, Tidelands exemplifies the complex challenges involved in Netflix’s attempts to be a global producer creating content for national markets. This article builds on a tradition of research into international television production to locate Tidelands within its industrial and cultural contexts. Combining textual and industry analysis, and drawing on an interview with executive producer Nathan Mayfield, we show how Tidelands negotiates a strategic dual orientationin its use of locations, casting and genre, addressing both Australian and international audiences simultaneously. We conclude that internationally oriented Australian subscription video-on-demand originals such as Tidelands rehearse but also reformulate longstanding tensions regarding the interaction between the national and the global in screen culture.' (Publication abstract)

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