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This study investigates how the concept of 'quality TV' is evolving in the age of streaming video on demand (SVOD) platforms, using reviews of two Israeli TV series on Netflix – Fauda and Shtisel. In accordance with Pierre Bourdieu's view of journalistic reviewers as social agents and intermediaries with the power to enshrine cultural artifacts in an artistic canon, the study is based on a qualitative analysis of reviews of these two series published on major Anglo-American journalistic platforms. The analysis shows how the reviewers take part in constructing the Netflix brand of 'a 'foreign-language quality TV' series. [ABSTRACT FROM AUTHOR]

This article contributes to the theorization of hope in the cultural industries in conflict zones. Although the merits of hope in explicating the behavior of creative workers in cultural production in western countries has won some attention, the literature has fallen short of addressing the impact of conflict on the meaning of hope for minority creative workers in this field. To fill this lacuna, we explore the experience of Palestinian creative workers in Israeli cultural industries, which are very functional in national identity making and branding. Our evidence is helpful in illuminating the temporal dimension of hope, as a resource and a form of passive action that takes place in the present in order to keep the horizon open for a better future, also when this future does not entail a clear referent. It also sheds light on the affinity of hope with ethical agency claiming in the cultural industries. [ABSTRACT FROM AUTHOR]

This study aims to explore Palestinian-Israeli actors' and actresses' experiences in the Israeli TV market and their understanding of the rationalization/racialization processes taking place in the global television industry, which is dominated by Streaming Video On Demand platforms. The study is based on observations and interviews. The observations were conducted on the set of the internationally successful action drama Fauda during its second season. Fauda is a co-production of Netflix and the Israeli satellite conglomerate YES. It portrays the Palestinian-Israeli conflict in a way that some see as Zionist and hegemonic. The interviews were conducted with the Palestinian-Israeli actors and actresses. Our analysis of their experiences on the set of Fauda shows a dialectical and complex reality in which self-exploitation, which results in justifying playing terrorists and villains for the sake of money or art, resolves itself into an antithesis of subversion. [ABSTRACT FROM AUTHOR]

Cultural industries, television among them, are industries that exemplify harsh working conditions and precariousness. Recently, there has been greater attention paid to the specific experiences of ethnic and racial minorities in the creative industries in general and on television specifically. However, the study of minorities in television has generally focused on content analysis and not on the daily experiences of workers in the precarious television labor market itself. This paper offers an in-depth examination of the work process and conditions of ethnic–national minority (Israeli–Palestinians) versus majority creative workers (Jewish Israelis) in a television production, using observations conducted on the set of the Israeli TV series, Fauda (" Chaos " in Arabic) as a case study. Our study's conclusions emphasize the way groups' experiences reproduce social hierarchies based on ethnicity, nationality, and gender. [ABSTRACT FROM AUTHOR]

Reality TV is a highly popular but much criticized television genre. However, little has been written about the attitude of state broadcasting authorities toward this genre and the degree to which it is regulated and controlled in different countries. In this article, we focus on the Second Authority for Television and Radio, the public body that oversees commercial broadcasting in Israel, and look at how it controls the volume and content of reality TV programs while considering factors that are unique to Israeli economics and politics. The findings of this article indicate that in Israel, reality television is legitimized de facto despite perception of its moral shortcomings. [ABSTRACT FROM AUTHOR]