Productores y cambios en la industria: Morena Films y el cine español en la era del streaming [Producers and Industrial Change: Morena Films and Spanish Cinema in the Streaming Era]

  • Christopher Meir Departamento de Comunicación. Universidad Carlos III de Madrid [Switzerland]

Abstract

We publish a translation of a chapter by Christopher Meir, assistant professor at the Universidad Carlos III de Madrid, from European Cinema in the Streaming Era published by Springer Nature (edited by Christopher Meir and Roderik Smits) as part of the Palgrave European Film and Media Studies series. His study, which constitutes Chapter 10 of this publication on the impact of streaming platforms on European cinema, analyses current audiovisual production and distribution models, in which significant changes have been seen in recent years. Meir takes a look at the case of the production company Morena Films, exploring both the sources of friction and the common ground between the creative interests involved in and the industrial aspects of audiovisual production, a constant in analysis of the modern-day audiovisual industry. This perspective is an essential contribution to this monograph, the reason why it is republished here in translation.

##about.statistics##

43
Download data is not yet available.

References

Benito, P. (2020). Interview with Christopher Meir. 9 July.

Cascajosa, C. (2021). Bambú Producciones and the Transformation of Spanish Television Fiction Production. En L. Barra & M. Scaglioni (eds.), A European Television Fiction Renaissance: Premium Production Models and Transnational Circulation (pp. 227-240). London: Routledge. https://doi.org/10.4324/9780429326486-21

Castro, D. & Cascajosa, C. (2020). From Netflix to Movistar+: How Subscription Video-on-Demand Services Have Transformed Spanish TV Production. Journal of Cinema and Media Studies, 59(3): 154-160. https://doi.org/10.1353/cj.2020.0019

Cineuropa. (2022). Episode 41: On the Fringe (Spain/Belgium), Podcast published 15 December. Available online at https://cineuropa.org/en/newsde-tail/436048/ [accessed 30 Dec 2022].

Fontaine, G. (2022). Investment in Original European Content, 2011-2021, Technical report from the European Audiovisual Observatory. Available online at: https://rm.coe.int/investments-in-european-original-content-2011-2021-analysis-september-/1680a75db4 [accessed 23 Sept 2022].

Gómez-Pérez, F. J., Castro-Higueras, A. & Pérez-Rufí, J. P. (2022). Producción cinematográfica de Netflix en España: políticas de comunicación y relaciones con la estructura de la producción de cine español. ZER: Revista de Estudios de Comunicación = Komunikazio Ikasketen Aldizkaria, 27(53): 145-164.https://doi.org/10.1387/zer.23784.

Gordon, J. (2022). Interview with Christopher Meir. 25 March.

Hayes, D. (2022). Amazon Has Tripled the Number of Original Films and Series Since 2018, Says It Spent $13 Billion in 2021. Deadline Hollywood, 4 February. https://deadline.com/2022/02/amazon-originals-film-tv-prime-video-spending-2021-1234926697/ [accessed 23 Sept 2022].

Historias lamentables de Javier Fesser se estrenará este año antes en Amazon Prime Video que en los cines. (2020). Audiovisual 451, 16 October. https://www.audiovisual451.com/historias-lamentables-de-javier-fesser-se-estrenara-este-anoantes-en-amazon-prime-video-que-en-los-cines/ [accessed 23 Sept 2022].

Hopewell, J. (2014). Morena Films: Thinking Outside of the Box. Variety, 21 September. https://variety.com/2014/film/festivals/morena-films-thinking-outside-the-box-1201309842/ [accessed 23 Sept 2022].

Hopewell, J. (2020). Sony Pictures, Amazon, Alex de la Iglesia set The Fear Collection. Variety, 26 May. https://variety.com/2020/film/news/sony-pictures-amazon-alex-de-la-iglesia-the-fear-collection-1234617032/ [accessed 23 September 2022].

Hopewell, J. (2021). Spain's Morena Films Adds Vertice Cine for Penelope Cruz Starrer, Talks Netflix Hit Below Zero. Variety, 10 May. https://variety.com/2021/film/global/morena-penelope-cruz-netflix-below-zero-1234969705/ [accessed 23 Sept 2022].

Hopewell, J. (2022). Paramount's VIS, Spain's Morena Films Close First Look Deal. Variety, 23 June. https://variety.com/2022/tv/markets-festivals/vis-paramount-morena-films-first-look-1235301486/ [accessed 23 September 2022].

Hopewell, J. & Barraclough, L. (2022). Studiocanal Links with Paul Laverty, Icíar Bollaín as TV and Film Become a Two-Way Street. Variety, 4 April. https://variety.com/2022/tv/global/studiocanal-global-screen-101-films-abacus-1235224908/ [accessed 23 Sept 2022].

Hopewell, J. & Lang, J. (2021). Netflix Acquires Pedro Almodóvar's Parallel Mothers for Latin America. Variety, 2 November. https://variety.com/2021/film/news/netflix-pedro-almodovar-parallel-mothers-latin-america-1235102733/ [accessed 23 Sept 2022].

Iordache, C., Raats, T. & Afilipoaie, A. (2021). Transnationalisation Revisited Through the Netflix Original: An Analysis of Investment Strategies in Europe. Convergence: The International Journal of Research into New Media Technologies: 1-19. https://doi.org/10.1177/13548565211047344.

Lang, J. (2020). How Werewolves and a Jack London Story Inspired Netflix's Spanish Political Thriller Series Minions of Midas. Variety, 12 November. https://variety.com/2020/streaming/global/netflix-mateo-gil-minions-of-midas-1234825876/ [accessed 23 Sept 2022].

Meir, C. (2019). Mass Producing European Cinema: Studiocanal and Its Works. London: Bloomsbury. https://doi.org/10.5040/9781501327117

Meir, C. (2021). European Conglomerates and the Contemporary European Audiovisual Industries: Transforming the Industrial Landscape Amid the Arrival of SVOD Platforms, a High-End Television Boom and the COVID-19 Crisis. A report prepared for the European Commission's DG Connect, Communications, Networks, Content and Technology, I.3 Unit: Audiovisual Industry & Media Programmes. https://doi.org/10.13140/RG.2.2.25894.45126

Meir, C. (2024). Depuis que le streaming existe? Gaumont and French Cinema in the Streaming Era. En M. Harrod, and R. Moine (eds.), Postnational Frenchness in Mainstream Film and Television (pp. 237-255). London: Palgrave Macmillan. https://doi.org/10.1007/978-3-031-39195-8_11

Smits, R. (2019). Gatekeeping and the Evolving Business of Independent Film Distribution. London: Palgrave Macmillan.

Spicer, A., McKenna, A. T. & Meir, C. (2014). Introduction. En A. Spicer, A. T. McKenna & C. Meir (eds.), Beyond the Bottom Line: The Producer in Film and Television Studies (pp. 1-24). London: Bloomsbury.

Uriol, P. (2018). El cine independiente ahora tiene sentido contando historias locales, aunque luego tenga elementos universales. Audiovisual, 451, 20 March. https://www.audiovisual451.com/pedro-uriol-el-cine-independiente-ahora-tiene-sentido-si-lo-haces-contando-historias-locales-aunque-luego-la-pelicula-tenga-elementos-universales/ [accessed 23 Sept 2022].

Uriol, P. (2021). Interview with Christopher Meir. 8 October.

Wayne, M. & Castro, D. (2020). SVOD Global Expansion in Cross-National Comparative Perspective: Netflix in Israel and Spain. Television & New Media 22(8): 896-913. https://doi.org/10.1177/1527476420926496

Published
2025-10-17
How to Cite
Meir, C. (2025). Productores y cambios en la industria: Morena Films y el cine español en la era del streaming [Producers and Industrial Change: Morena Films and Spanish Cinema in the Streaming Era]. Príncipe De Viana, (290), 679-700. https://doi.org/10.35462/pv.290.2