Working in the Global Film and Television Industries‏

edited by Andrew Dawson and Sean P Holmes
Printable version Friday 21 September 2012 Last updated at 11:05

(Bloomsbury Academic, ISBN-10: 1780930232; ISBN-13: 978-1780930237)

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 industry workers at centre stage. It looks at film and television production in a variety of social, economic, political, and cultural contexts. The book provides detailed analyses of specific systems of production and their role in shaping the experience of work, whilst also engaging with the key theoretical and methodological questions involved in film and television production. Drawing together the work of historians, film scholars, and anthropologists, it looks at film and television production not only in Hollywood and Western Europe but also in less familiar settings such as the Soviet Union, India, Nigeria, and the Democratic Republic of Congo. Chronologically wide-ranging, interdisciplinary and international in scope, it is a unique introduction, critical for all students of the film industries and film production.

Contents:

Andrew Dawson & Sean P Holmes, New perspectives on working in the global film and television industries; Andrew Dawson, Labouring in Hollywood’s motion picture industry and the legacy of ‘flexible specialization’; Galina Gornostaeva, Soviet film-making under the ‘producership’ of the party state (1955–85); Olof Hedling, Making films in Scandinavia: work and production infrastructure in the contemporary regional sector; Sean P Holmes, No room for manoeuvre: star images and the regulation of actors’ labour in silent-era Hollywood; Richard Paterson, Working as a freelancer in UK television; Ikechukwu Obiaya, Behind the scenes: the working conditions of technical workers in the

Nigerian film industry; Katrien Pype, Fathers, patrons and clients in Kinshasa’s media world: social and economic dynamics in the production of television drama; Alison Smith, Les Chefs-Opératrices: women behind the camera in France; Linda Marchant, Cornel Lucas: stills photography and production culture in 1950s British film; Clare M. Wilkinson-Weber, Making faces: competition and change in the production of Bollywood film star looks.

 

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