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structure of essay
AE
by
Amna Ejaz
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Updated Feb 24, 2021
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Chapters
00:00
Chapter 1
00:35
Chapter 2
01:05
Chapter 3
01:58
Chapter 4
04:25
Chapter 5
04:28
Chapter 6
06:22
Chapter 7
07:48
Chapter 8
08:08
Chapter 9
08:10
Chapter 10
09:12
Chapter 11
10:19
Chapter 12
10:21
Chapter 13
11:14
Chapter 14
13:11
Chapter 15
13:11
Chapter 16
13:14
Chapter 17
13:28
Chapter 18
Audio Transcript
Auto-generated
00:00 - 00:01
Greetings, everyone.
00:01 - 00:03
This is from Pakistan.
00:04 - 00:04
Ah, Nde.
00:05 - 00:09
My research is is going to focus on isolation but
00:10 - 00:17
very bare form of isolation, physical isolation, the sort of
00:17 - 00:19
isolation that I believe everyone listening to me right now
00:20 - 00:23
I can totally relate to over 2020 Andi, I guess
00:23 - 00:26
2021 being the heir of the pandemic, we were physically
00:27 - 00:30
isolated for a very long period of time.
00:31 - 00:33
On this is an isolation that we have never experienced
00:34 - 00:40
before. My research focuses on how the cinema experience during
00:41 - 00:43
this isolation changed for people.
00:43 - 00:46
So why, yes, they were away from everyone.
00:47 - 00:48
They were not heading out.
00:48 - 00:51
They weren't interacting with people that they were interacting with
00:51 - 00:52
on an everyday basis.
00:53 - 00:56
How did their interaction with their own screen changed?
00:57 - 01:02
With screen time skyrocketing, um, many people turned to the
01:02 - 01:04
American streaming giant Netflix.
01:06 - 01:09
Netflix in Pakistan came in 2000 and 16.
01:10 - 01:12
It was only two years later that had gained a
01:12 - 01:12
lot of traction.
01:13 - 01:16
And this was in 2000 and 18 when the national
01:16 - 01:20
broadband service PTCL partnered with with Netflix.
01:20 - 01:25
This meant that Netflix had exclusive cashes on Dhe even
01:25 - 01:27
when broadband service was was faltering.
01:28 - 01:28
or they're very low signals.
01:29 - 01:32
Netflix would run on zero buffering issues.
01:33 - 01:35
This was this was huge because this man that people
01:35 - 01:37
did not have to rely on a very strong three
01:37 - 01:41
year 40 service in order to enjoy Netflix with 2020
01:42 - 01:46
and with the pandemic many, many people spent hours binge
01:46 - 01:50
watching on Netflix became a very, very fond companion of
01:51 - 01:54
them. All my research is is coming from semi structured
01:55 - 02:00
interviews that were remotely conducted over calls on these were
02:00 - 02:04
done with the main demographic, which were students between the
02:04 - 02:05
age of 18 and 23.
02:06 - 02:08
It's very important to note here that these students belong
02:08 - 02:13
to metropolitan cities on dhe cities that are slightly more
02:14 - 02:15
developed in the rural areas of Pakistan.
02:16 - 02:21
On dhe, this also translates toe who has access to
02:21 - 02:25
Netflix. What is the infrastructural threshold in Pakistan?
02:26 - 02:31
The infrastructure required to be a Netflix user and while
02:31 - 02:34
all of these were very a very diverse group of
02:34 - 02:39
people, they shared some very common strands off background.
02:39 - 02:42
So all of them had access to in Internet service,
02:43 - 02:47
whether that be their home Internet service or their private
02:48 - 02:51
three g 0 40 service is they all had a
02:51 - 02:51
private device.
02:51 - 02:55
Now this is important because the screen culture over the
02:55 - 02:59
years has changed from communal viewing inside the lounge, where
02:59 - 03:02
the entire family would sit together or a group of
03:02 - 03:04
people would sit together and watch anything that was being
03:04 - 03:08
live broadcasted to streaming service is toe to toe, bringing
03:09 - 03:12
the screen to your lap or to your hand to
03:12 - 03:12
your palm.
03:13 - 03:15
And now you're watching in your own personal space.
03:16 - 03:18
So for them to have this personal space and toe
03:18 - 03:21
have a personal device is another infrastructural threshold.
03:21 - 03:25
They should, or they all of them shared, um, screen
03:26 - 03:26
sharing eso.
03:27 - 03:29
Majority of the respondents and I were talking to had
03:30 - 03:33
the maximum amount of screens that Air Force screens on
03:33 - 03:36
this would be shared amongst friends or family members, with
03:37 - 03:40
one of them having a bank card, a debit card
03:41 - 03:41
to pay for the subscription.
03:43 - 03:47
Now, while ah password is required to sign in tow
03:47 - 03:48
the subscribed account.
03:48 - 03:51
There is no password needed to switch between screens.
03:52 - 03:57
But a unset protocol that existed between them is that
03:57 - 03:59
you were not to go in someone else's screen.
04:00 - 04:02
Um, if there are three screens, there are four screens
04:02 - 04:03
with four different people.
04:05 - 04:08
Uh, the answer protocol would mean that I will not
04:08 - 04:10
go into your screen to see what sort of content
04:11 - 04:11
you have been watching.
04:12 - 04:14
And this allowed for a certain level of privacy.
04:14 - 04:19
Lastly, territorial licensing relating to the amount of content that
04:19 - 04:20
is available in Pakistan.
04:20 - 04:24
So not all content that is streamed on Netflix is
04:24 - 04:25
available for Pakistan.
04:27 - 04:28
Moving on.
04:29 - 04:33
We now focus on how dure ing this isolation and
04:33 - 04:36
white people were away from daily conduct.
04:38 - 04:43
They were self interacting with themselves on the Netflix app.
04:45 - 04:46
How did this happen?
04:46 - 04:50
So Netflix brings about a lot of engagement that one
04:50 - 04:50
is doing with the screen.
04:51 - 04:53
You can actively see trailers.
04:54 - 04:55
You can actively add that to your my list.
04:56 - 04:57
You can pause, you can play.
04:58 - 05:00
This is important because you could not pause or play
05:01 - 05:01
on a television.
05:01 - 05:05
When something is being live broadcasted, there isn't an option
05:05 - 05:08
toe playback or to increase the speed, so there's a
05:08 - 05:10
lot of engagement that's happening.
05:11 - 05:15
Also, creative customization, so customization off your own screen you
05:16 - 05:17
would only keep watching content.
05:18 - 05:22
Um, would you particularly liked and this would mean that
05:22 - 05:25
your entire screen would show you suggested content like that.
05:25 - 05:28
One of the respondents mentioned how she would have a
05:28 - 05:33
separate screen tow watch reality TV because that was a
05:33 - 05:33
guilty pleasure.
05:34 - 05:36
And she did not want advertisements or more content.
05:37 - 05:40
Like those reality TV shows on her main account, where
05:40 - 05:45
she usually watches drama or sci fi or romance on
05:46 - 05:48
dhe. It's the way that people are just charting their
05:48 - 05:52
own personal space in the application off Netflix.
05:53 - 05:55
Um, privacy concerns are obviously there.
05:56 - 05:58
So so some of the respondents that do watch erotic
05:58 - 06:02
content like 3 65 days or M I.
06:02 - 06:03
L. F.
06:03 - 06:06
Or other such shows that were aired and made it
06:06 - 06:07
to the top 10 of Pakistan.
06:08 - 06:11
They were very particular about people who were sharing screens
06:11 - 06:14
with them, that they don't log, that they don't, you
06:14 - 06:17
know, move into someone else's screen to see what sort
06:18 - 06:20
off erotic content was there in their histories.
06:21 - 06:25
So this level of privacy was maintained, and my theory
06:25 - 06:30
mostly focuses on on Susan Book Morris's um, Susan book,
06:30 - 06:33
Morris's account on the baddest our kids in 1995.
06:35 - 06:37
So why was Netflix?
06:37 - 06:38
Such a huge thing for Pakistanis?
06:39 - 06:41
Was because of their experience before Netflix.
06:41 - 06:43
So a lot of people were tormenting or they were
06:44 - 06:46
using illegal websites on dhe.
06:46 - 06:49
This would meant that they had tons of ads.
06:50 - 06:53
They had, ah, lot of things that a lot of
06:53 - 06:57
computer viruses Toto negate toe negotiate true.
06:57 - 06:58
Ah, nde.
06:58 - 07:02
What Netflix brings about is a phantom is good article
07:03 - 07:08
dreamscape. And but Morris talks about this as fantastic and
07:08 - 07:08
magical places.
07:09 - 07:12
So these air places that will give overload to your
07:13 - 07:16
senses, being being in the log down, not being able
07:16 - 07:19
to go out with the streets, being completely empty and
07:20 - 07:22
silent. Noble birds, no ads.
07:23 - 07:25
You're suddenly on the Netflix happened.
07:25 - 07:28
Everything is shiny, and and and in the Paris arcades
07:29 - 07:31
she talks about this with the products that are being
07:31 - 07:35
displayed with each and every movie as a product as
07:35 - 07:38
a sort of commodity that is being displayed to you
07:38 - 07:39
with with colors.
07:39 - 07:42
And whenever you would lock into the Netflix app, there
07:42 - 07:45
will be a trailer that would automatically start playing eso.
07:45 - 07:46
You have audio senses as well.
07:48 - 07:51
Ah, nde So So this is This is how a
07:52 - 07:54
Netflix screen would come up to you and the first
07:54 - 07:55
thing. We just start playing.
07:55 - 08:00
You'd have rows and rows off evenly distributed TV shows,
08:00 - 08:04
um, all calling for you to consume all calling for
08:04 - 08:07
you to tow, you know, take part in this commodity
08:08 - 08:12
consumption. Um, but what happens after that?
08:13 - 08:18
Uh, there was a great level of binge thirst on
08:18 - 08:22
the consumption patterns that developed during the pandemic and largely
08:23 - 08:26
the black hole that came with this media consumption.
08:27 - 08:31
So while convenience was a big part of it, convenience
08:32 - 08:35
also meant that they could not keep their eyes off
08:36 - 08:39
the screen on this goes well, hand in hand with
08:39 - 08:42
the way that Netflix was using its algorithms toe firstly
08:43 - 08:46
suggest things that you would be interested in, but also
08:46 - 08:48
to make the app in a certain way that you
08:48 - 08:50
could not lift your finger off it.
08:51 - 08:54
So while there is a greater engagement you can have
08:54 - 08:57
with the screen, there's also a lack of engagement so
08:57 - 09:00
you can just sit back and the next episode would
09:00 - 09:02
automatically play after the five seconds.
09:03 - 09:03
Ah, nde.
09:04 - 09:06
This would mean that you could watch it at ours.
09:06 - 09:10
It end on be completely glued, glued to the screen.
09:11 - 09:16
Um, Netflix algorithms working with to show suggestions that are
09:16 - 09:20
very, very articulated so they would monitor you Google searches.
09:21 - 09:24
They would monitor the things that you are watching on
09:24 - 09:25
Facebook or Instagram.
09:25 - 09:29
And they would carefully curate a list of things that
09:29 - 09:30
are the top picks for you.
09:31 - 09:34
Or a title, which has a 95% match for you,
09:36 - 09:39
Helen on and Jeff as they talk about this as
09:39 - 09:43
a shift from appointment viewing toe binge viewing.
09:43 - 09:46
So appointment viewing from the way that you would watch
09:46 - 09:50
one episode every Thursday when it was being aired toe
09:50 - 09:54
binge viewing, watching the entire season in one go.
09:55 - 09:59
Yeah, a lot of other features like like audio descriptions
10:00 - 10:01
allow for you.
10:01 - 10:03
Do not even look at the screen when you're consuming
10:03 - 10:08
content. So this capitalist enterprises very, very successful in allowing
10:08 - 10:09
you to multi task.
10:09 - 10:12
One of the respondents mentioned how she wouldn't start having
10:13 - 10:16
lunch until unless she could find a suitable title that
10:16 - 10:18
she could watch during her lunch.
10:19 - 10:21
And with this amount off content that they were watching,
10:23 - 10:27
there was a great level off off the blurring of
10:27 - 10:30
boundary between the nation states, international boundaries that were being
10:31 - 10:35
blurred, um, in 2000 and 20 with all the news
10:35 - 10:36
of fear, disease and death.
10:38 - 10:42
There was La Casa, the Purple on and money heights
10:42 - 10:45
like a took the Internet by a storm.
10:46 - 10:50
The fourth season that dropped in became the most popular
10:50 - 10:52
in demand show in the world.
10:54 - 10:58
Why did Netflix allow for such a huge, huge viewership
10:59 - 11:00
for such a program?
11:01 - 11:04
Um, one thing that is very intrinsic off Netflix is
11:04 - 11:06
it's inbuilt option off subtitles.
11:07 - 11:10
Many of the respondents mentioned how this allowed for them
11:10 - 11:13
to watch a lot of content that was not in
11:13 - 11:17
English. So, um, for example, they started doing stuff in,
11:17 - 11:21
um, you know, Turkish dramas that were that gained a
11:21 - 11:22
lot of traction in Pakistan.
11:22 - 11:24
Ah, lot of Japanese and Korean dramas.
11:25 - 11:28
So animals became very, very popular.
11:29 - 11:33
Spanish dramas like er, money, heist or baby.
11:34 - 11:37
Um, also a lot of American and British shows where
11:37 - 11:41
we're much more popular now because what happens with subtitles
11:42 - 11:44
is while although English is a very, very common language
11:45 - 11:48
in Pakistan, it's it is Colonial gift or a subset
11:49 - 11:51
or, uh, something that has remained here.
11:52 - 11:55
Um, a lot of accents are very difficult to decipher.
11:56 - 11:57
If one were listening without subtitles.
11:59 - 12:02
So American shows and British shows that would have a
12:02 - 12:06
very Scottish accent or in shows like Sherlock, where the
12:06 - 12:09
main character would speak so fast that you wouldn't you
12:09 - 12:11
wouldn't be able to get all the details.
12:11 - 12:12
Subtitles become very important.
12:13 - 12:16
This allows for people to get a lot of pop
12:16 - 12:19
culture references as well things that they would otherwise have
12:19 - 12:20
missed on.
12:20 - 12:24
All of this becomes part off a cultural capital, something
12:25 - 12:27
that is being borrowed from Bordeaux or cultural capital.
12:28 - 12:32
Off these people off what becomes school toe watch what
12:32 - 12:33
becomes hip toe.
12:33 - 12:36
Watch off the things there, then being inculcated into the
12:36 - 12:37
daily lives of people.
12:38 - 12:41
So, um, money, heist and and a lot of songs
12:42 - 12:43
of money heist where now are now?
12:44 - 12:47
Ah, very prominent part of vetting functions in Pakistan.
12:48 - 12:48
Ah, nde.
12:49 - 12:53
Indian shows are particularly important here because Indian content otherwise
12:54 - 12:57
is banned in Pakistan and Netflix became the only only
12:57 - 12:59
legal place toe watch Indian content.
13:00 - 13:03
So people that weren't able to see any Indian shows
13:03 - 13:07
or the newer Indian younger, you know that featured young
13:07 - 13:08
people on TV.
13:09 - 13:16
They turned to Netflix and under the question that we
13:16 - 13:22
would, um, cater to is how to Netflix change the
13:22 - 13:23
screen watching landscape.
13:24 - 13:28
So what change does not like bring upon ah, nde.
13:29 - 13:32
This is particularly to Netflix originals and two other shows
13:33 - 13:37
that are now being made for audiences but also being
13:37 - 13:40
put up on Netflix So they capitalize on the binging
13:41 - 13:41
habits of people.
13:42 - 13:45
Um, for example, what you have in front of you
13:45 - 13:46
is next in fashion.
13:46 - 13:48
This is a clip shot from next in fashion, and
13:49 - 13:52
at the end of every episode, uh, the two presenters
13:52 - 13:55
would sit on a sofa and they point to the
13:55 - 13:57
right end of the screen and they'll ask you Toe
13:57 - 13:58
klik play next.
13:59 - 14:02
Because that's the exact spot that Netflix displays its play
14:02 - 14:06
next, and a lot of script changing changes in script
14:07 - 14:10
writing has occurred, so there are less commercial breaks, no
14:10 - 14:11
need for commercial breaks.
14:12 - 14:14
There are larger cliffhangers at the end of the every
14:15 - 14:17
every episode toe toe allow you to, you know, watch
14:18 - 14:19
the next one to go on to the next episode.
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