Miya Treadwell - Academia.edu (original) (raw)
My research focuses on the intersection of streaming platforms, social activism, and Black narratives through exploring Netflix's role in redefining media consumption in the digital age. The growth of Netflix's original media production and distribution has seen the company invest in a considerable amount of Black content creation. Netflix’s Strong Black Lead branding initiative highlights this strategic venture and commitment to Black representation. I hold a B.A. in Journalism and Spanish Literature from the University of Maryland and a M.A. in Film and Literature from the University of York.
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Papers by Miya Treadwell
Journal of British Cinema and Television, Sep 30, 2023
Studies in World Cinema
In this article, I argue that recent Black American narratives on Netflix intersect with and can ... more In this article, I argue that recent Black American narratives on Netflix intersect with and can be understood through principles of world cinema. Black American narratives have long existed outside of the Hollywood conventions that often serve as a line of demarcation in world cinema scholarship. Building on Lúcia Nagib’s definition of world cinema (2006) and her concept of realistic modes of production (2020a/2020b), I show how contemporary Black American narratives on Netflix are sustaining a diasporic perspective. Although originating in the US, its marginalized production and preoccupations with colonial dynamics or racial and geographical inequality help to regard this content as a mode of world cinema. Moreover, as In Our Mothers’ Gardens (2021) and High on the Hog (2021) demonstrate, these connections with world cinema have been intensified by Netflix’s production model.
Journal of British Cinema and Television, Sep 30, 2023
Studies in World Cinema
In this article, I argue that recent Black American narratives on Netflix intersect with and can ... more In this article, I argue that recent Black American narratives on Netflix intersect with and can be understood through principles of world cinema. Black American narratives have long existed outside of the Hollywood conventions that often serve as a line of demarcation in world cinema scholarship. Building on Lúcia Nagib’s definition of world cinema (2006) and her concept of realistic modes of production (2020a/2020b), I show how contemporary Black American narratives on Netflix are sustaining a diasporic perspective. Although originating in the US, its marginalized production and preoccupations with colonial dynamics or racial and geographical inequality help to regard this content as a mode of world cinema. Moreover, as In Our Mothers’ Gardens (2021) and High on the Hog (2021) demonstrate, these connections with world cinema have been intensified by Netflix’s production model.