Globalization and Cultural Identity: Unveiling Non-Western Narratives from China, Russia, and Turkey on Netflix
The main question focuses on how non-Western audiovisual products can act as ideological, identity, and cultural vectors, although when mediated by a Western digital intermediary like Netflix. The research concentrates on audiovisual products from China, Russia, and Turkey. Selected countries served as cases to potentially de-westernize sociological, political, and digital imaginations (Bhambra, 2023).
Despite their differences, these countries share imperialist legacies that reshape power dynamics, including in the intersections of media, culture, and society (Morgan, 2022). In the current era of media abundance, narrative products still hold a privileged position in shaping worldviews and common sense (Jenkins, 2014). From Netflix Italy’s catalog, the study selected three series based on school settings and youth protagonists: A Love So Beautiful (China), Sparta (Russia), and Love 101 (Turkey). A mixed methods approach (Creswell 2015) was used, conducting qualitative content (Downe-Wamboldt, 1992) and visual analysis (Rose, 2022) of 48 episodes. The methodology set up a qualitative analysis sheet to examine how the cultural and political values are represented and conveyed to international audiences.