Biography
Michael holds a PhD in sociology from the University of Virginia, USA. From 2015 to 2018, Michael was a Kreitman Post-Doctoral Research Fellow in the Department of Communication Studies at Ben-Gurion University of the Negev, Israel. He is currently a member of the Global Internet TV Consortium and previously served as the managing editor of The Communication Review between 2011 and 2015.
Michael’s research uses a variety of qualitative methods to address television industries, audiences, and texts from a critical perspective. His work has been published in Media, Culture & Society, Journal of Popular Culture,* Interactions: Studies in Communication & Culture*, and Journal of Popular Television.
Erasmus School of History, Culture and Communication
Assistant professor | Department of Media and Communication
- wayne@eshcc.eur.nl
More information
Work
- Michael L. Wayne & Nahuel Ribke (2024) - Loved everywhere?: Netflix’s top 10 and the popularity of geographically diverse content - Convergence, 30 (4), 1348-1364 - doi: 10.1177/13548565241265504 - [link]
- Michael Wayne (2023) - Place in Netflix Original Police Drama: Local Signifiers for Global Audiences - [link]
- Matt Sienkiewicz & Michael Wayne (2023) - Minority representation in the streaming era: An analysis of Jewish identity in competing subscription video on-demand platforms - International Journal of Cultural Studies, 26 (2), 145-163 - doi: 10.1177/13678779231155507 - [link]
- Michael L. Wayne & Matt Sienkiewicz (2023) - “We Don’t Aspire to Be Netflix”: Understanding Content Acquisition Practices Among Niche Streaming Services - Television and New Media, 24 (3), 298-315 - doi: 10.1177/15274764221100474 - [link]
- Michael L. Wayne (2022) - Netflix audience data, streaming industry discourse, and the emerging realities of ‘popular’ television - Media, Culture and Society, 44 (2), 193-209 - doi: 10.1177/01634437211022723 - [link]
- Michael L. Wayne & Ana C. Uribe Sandoval (2021) - Netflix original series, global audiences and discourses of streaming success - Critical Studies in Television, 1-20 - doi: 10.1177/17496020211037259 - [link]
- Michael Wayne (2020) - Netflix Nations: The Geography of Digital Distribution by Ramon Lobato - Journal of Communication, 70 (4), E14–E16 - doi: 10.1093/joc/jqz050
- Michael Wayne & Deborah Castro Marino (2020) - SVOD Global Expansion in Cross-National Comparative Perspective: Netflix in Israel and Spain - Television & New Media, 1-18 - doi: 10.1177/1527476420926496 - [link]
- Michael Wayne (2020) - Global Portals in National Markets: Branding Netflix in Israel - Journal of Cinema and Media Studies, 59 (3), 149-153 - doi: 10.1353/cj.2020.0037 - [link]
- Michael Wayne (2019) - Global Streaming Platforms and National Pay-Television Markets: A Case Study of Netflix and Multi-Channel Providers in Israel - The Communication Review - doi: 10.1080/10714421.2019.1696615 - [link]
- Michael Wayne (2018) - Between the programme and the portal: Thinking about the future of transnational TV branding - Critical Studies in Television, 13 (4), 510-514 - doi: 10.1177/1749602018796747 - [link]
- Michael Wayne (2018) - Netflix, Amazon, and branded television content in subscription video on-demand portals - Media Culture & Society (print), 40 (5), 725-741 - doi: 10.1177/0163443717736118 - [link]
- Michael Wayne (2017) - Depicting the racist past in a “postracial” age: the white, male protagonist in Hell on Wheels and The Knick - Alphaville - Journal of Film and Screen Media, 13, 105-116
- Michael Wayne & AL Press (2017) - Television
- Michael Wayne (2016) - Critically Acclaimed and Canceled: FX’s The Bridge, Channel as Brand, and the Adaptation of Scripted TV Formats - VIEW: Journal of European Television History and Culture, 5 (9), 116-125 - [link]
- Michael Wayne (2016) - Cultural class analysis and audience reception in American television’s ‘third golden age’ - Interactions (Bristol): studies in communication & culture, 7 (1), 41-57 - doi: 10.1386/iscc.7.1.41_1
- Michael Wayne (2016) - Middle-Class Viewers and Breaking Bad: Audience and Social Status in the Post-Network Era - The Projector: A Journal on Film, Media and Culture, 16 (1), 23-38 - [link]
- Michael Wayne (2016) - Post-network audiences and cable crime drama - Northern lights: film & media studies Yearbook, 14 (1), 141-157 - doi: 10.1386/nl.14.1.141_1
- Andrea L. Press, Fan Mai, Francesca Tripodi & Michael L. Wayne (2015) - Audiences, Media - doi: 10.1016/B978-0-08-097086-8.95010-4 - [link]
- Michael Wayne (2019) - Branding Young: Marketing OTTs in the Shadow of Netflix (Speaker)
Activity: Oral presentation › Academic - Michael Wayne (2019) - Constructing the Racist Past in a Post-Racial Age: Colorblind Audiences and Cinemax’s The Knick (Speaker)
Activity: Oral presentation › Academic - Michael Wayne (2019) - Off-the-Record and Into Print: Making the Most of Industry Interviews in the Age of Netflix (Speaker)
Activity: Oral presentation › Academic - Michael Wayne (2019) - “Stagnation is the New Up”: A Case Study of Global SVODs and Multi-Channel Providers in Israel (Speaker)
Activity: Oral presentation › Academic - Michael Wayne (2019) - “Stagnation is the New Up”: Netflix Original Series and Multi-Channel Providers in Israel (Speaker)
Activity: Oral presentation › Academic - Michael Wayne (2018) - Netflix and the National Television Industry: Examining Multi-Channel Providers in Israel (Speaker)
Activity: Oral presentation › Academic
