Written by Liah Twumasi Danquah | 33772944

The concept of “new media” can be characterised by the “use of a computer for distribution and exhibition rather than production” (Manovich, 2001, pp51). Netflix’s 2024 film Damsel is one of the most popular English films on the platform and is a perfect example of this since it relies entirely on digital technology to reach global audiences. This is much different from traditional distribution and exhibition channels like cinemas or DVD’s. Netflix, as opposed to traditional distributors, enables viewers to “alter the nature of their experience” (Sim, 2016, pp189). This happens by the algorithms it uses to recommend the film to users based on their viewing histories and preferences. 

When it comes to exhibition, Damsel also emphasises the role of computers in redefining the viewer experience. Rather than being confined to a movie theater, viewers can watch the films on their own devices – TVs, tablets, computers, phones etc. This flexibility turns the viewing space into a more personal environment, where users control playback, pause and rewatch as much as they like. By relying on Netflix’s use over computers, Damsel prioritises viewer convenience, which is typical to the concept of new media.

Finally, Netflix’s global reach highlights how computers have transformed distribution. Damsel was released simultaneously across the world in multiple languages, made possible by Netflix’s servers and platforms. This kind of instant, worldwide accessibility is something only digital platforms can offer.

In short, Damsel showcases how new media is reshaping the way films are shared and watched. By relying on computers for distribution and exhibition, it avoids the traditional systems and provides viewers with a more accessible, personalised and global experience.

References:

Manovich, L. (2001) The language of new media. Cambridge, Mass.: MIT

Press.Sim, G., 2016. Individual disruptors and economic gamechangers: Netflix, new media, and neoliberalism. The Netflix Effect: Technology and Entertainment in the 21st Century. London and New York: Bloomsbury Academic, pp.185-202.