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Palabras Clave - producción audiovisual; Identidad; Latinoamerica

Abstract:

The audiovisual, beyond the commercial circuits, has allowed to create identity relations between cinematographic works, music, soap operas, etc. with human groups, cities and countries. This article proposes the analysis of the Netflix platform and the Latin American contents. At the same time, the production of Ecuador is evaluated. In takes as reference for the analysis and interpretation the statistics of exhibition and consumption of audiovisual productions of Latin American in the aforementioned platform in the months of April and May of 2017. Latin American production consolidates at a slow pace within of a world-wide audiovisual in which they stand out: Mexico, Argentina, Brazil, Colombia and Chile. In Ecuador, in spite of the investment that the Government of the Citizen Revolution (2007-2017) did in the audiovisual sector its presence is almost invisible in the platform of study. The average growth rates of the national cinematographic projects beneficiaries of the Cinematographic Development Fund and projects executed with the same fund between 2007 and 2016 are -11% and -8%, which shows that the subsidy encouraged the production, but not mass visualization in the context of study. In short, there is substantial Ecuadorian production, but these titles do not form the offer of Netflix.