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Working in the global film and television industries : creativity, systems, space, patronage /
Like many other cultural commodities, films and TV shows tend to work in such a way as to obscure the conditions under which they are produced, a process that has been reinforced by dominant trends in the practice of Film and Television Studies. This collection places the workplace experiences of in...
| Clasificación: | Libro Electrónico |
|---|---|
| Otros Autores: | , |
| Formato: | Electrónico eBook |
| Idioma: | Inglés |
| Publicado: |
London :
Bloomsbury Academic,
2012.
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| Edición: | 1st ed. |
| Temas: | |
| Acceso en línea: | Texto completo |
Tabla de Contenidos:
- Cover; Contents; List of Contributors; Acknowledgements; 1 New perspectives on working in the global film and television industries; Introduction; Scope of the study; Theorizing systems of production; Methodologies; Systems of production; The role of the state; Patronage and clientelism; Gender; Manoeuvrable spaces; Labour relations and unionization; Creative agency; Final word; Notes; Bibliography; Section I: Systems of production; 2 Labouring in Hollywood's motion picture industry and the legacy of 'flexible specialization'; Flexible specialization; Politics of production.
- Fordism: classical Hollywood distortedTheoretical inertia; Conclusions; Notes; Bibliography; 3 Soviet film-making under the 'producership' of the party state (1955-85); Introduction; Organization of the film industry in the USSR; Goskino; Studios; Creative units; Directors; Two examples of creative units in the Soviet Union; The Experimental Creative Studio (ECS); Andrei Tarkovsky: the film-maker as 'auteur'; Conclusions; Bibliography; 4 Making films in Scandinavia: Work and production infrastructure in the contemporary regional sector; Wallander.
- Proceeds from local and regional film productionThe background and the set-up; Conditions for the development of film production in a small Swedish town; Conceptual maps; Some outcomes, some work; Conclusions; Notes; Bibliography; Section II: Manoeuvrable spaces; 5 No room for manoeuvre: Star images and the regulation of actors' labour in silent-era Hollywood; Notes; Bibliography; 6 Working as a freelancer in UK television; Introduction; Background; The new labour market in television production; Finding work
- the evidence; The contractual discourse; Differentiated work histories.
- Contracts and their discontentsConclusions; Notes; Bibliography; 7 Behind the scenes: The working conditions of technical workers in the Nigerian film industry; The Nigerian video film industry; The working conditions of the Nigerian film workers; The role of the guilds in promoting the cause of workers; Training for the below-the-line workers; Conclusions; Bibliography; Section III: Patronage and clientelism; 8 Fathers, patrons and clients in Kinshasa's media world: Social and economic dynamics in the production of television drama; Kinshasa's media world; The troupe.
- Artistic and spiritual kinshipDistributing the money; Ties with sponsors and fans: name-dropping; The politics of mabanga; Beti, talking about her 'patronne'; Ance, talking about his 'patron'; Conclusions; Notes; Bibliography; 9 Les chefs-opératrices: Women behind the camera in France; The structure of the profession; From assistant to chef-ops: working with established DPs; The importance of the 'auteur' sector; The nature of the auteurist association; A female gaze?; Conclusions; Notes; Bibliography; Section IV: Creative agency.