ABSTRACT

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.

摘要

Netflix的超自然犯罪系列Tidelands（2019）是订阅视频服务的第一批委托原创电影，将在澳大利亚制作。Tidelands拍摄于热带昆士兰，本地和国际明星纷呈，彰显了Netflix努力成为为国家市场创造内容的全球制作人所涉及的复杂挑战。本文基于对国际电视制作进行研究的传统，以将Tidelands定位于其工业和文化环境中。结合文本分析和行业分析，并在对执行制片人内森·梅菲尔德（Nathan Mayfield）的采访中，我们展示了Tidelands如何在使用地点，演员和体裁时就战略双重取向进行谈判，同时针对澳大利亚和国际观众。我们得出的结论是，面向国际的澳大利亚订阅视频点播原作（例如Tidelands）进行了排练，但也重新形成了关于国家和全球在屏幕文化之间互动的长期紧张关系。