Netflix and Desiring Machines
Document Type
Panel Presentation
Start Date
19-4-2019 10:45 AM
End Date
19-4-2019 12:00 PM
Keywords
Anti-Oedipus, Netflix, Desire
Biography
Joseph Phipps is a Literary Studies and Creative Writing major from Chapmanville, WV. He is a junior at Marshall university who focuses his research mostly on various forms of mass media leading to him also declaring minors in Film Studies and Digital Humanities. Joseph, or Joe as he prefers it, is the oldest child of Mary and Chad Phipps who have been very supportive of his desire to consume most of the media around him. He hopes to continue exploring his and the world’s relationship with popular media through creative and research projects.
Major
Literary Studies & Creative Writing
Advisor for this project
Dr. John Young
Abstract
Gilles Deleuze and Félix Guattari created the field of Schitzoanalysis in Anti-Oedipus: Capitalism and Schizophrenia (1972), which is perhaps best known for the concept of desiring machines: the connective synthesis of production, the disjunctive synthesis of recording, and the conjunctive synthesis of consumption-consummation. While many scholars have examined desiring machines in print literature, this paper argues that desiring machines can help audiences understand major media companies such as Netflix. Specifically, I focus on the first season of Stranger Things to explain how Netflix original series function as desiring machines and what is accomplished by Netflix’s model of television. My talk will be divided into two sections: the first will demonstrate how Netflix shows fall into the role of each of the aspects of desiring machines, and the final section will seek to explain that Netflix does not care what viewers watch but wants to entice viewers to continue watching, regardless of the content.
Netflix and Desiring Machines
Gilles Deleuze and Félix Guattari created the field of Schitzoanalysis in Anti-Oedipus: Capitalism and Schizophrenia (1972), which is perhaps best known for the concept of desiring machines: the connective synthesis of production, the disjunctive synthesis of recording, and the conjunctive synthesis of consumption-consummation. While many scholars have examined desiring machines in print literature, this paper argues that desiring machines can help audiences understand major media companies such as Netflix. Specifically, I focus on the first season of Stranger Things to explain how Netflix original series function as desiring machines and what is accomplished by Netflix’s model of television. My talk will be divided into two sections: the first will demonstrate how Netflix shows fall into the role of each of the aspects of desiring machines, and the final section will seek to explain that Netflix does not care what viewers watch but wants to entice viewers to continue watching, regardless of the content.
