Film Studio Film Production in the Global Economy
Produktdetaljer
Biografisk notat
Ben Goldsmith is a lecturer in the Centre for Screen Studies and Research at the Australian Film, Television, and Radio School in Sydney, Australia. Tom O'Regan is professor of media and cultural studies in the School of English, Media Studies, and Art History at the University of Queensland.The book's strategy—positioning the studio at the centre of current international production—permits a very persuasive and useful analysis of where the industry (in the largest sense) is now and how it got here.
- R. J. Thompson, La Trobe University, Media International Australia
The global film industry is evidently on the verge of a major sea-change as more and more shooting activities decentralize from traditional centers of production—above all Hollywood–to other locations, all over the world. Goldsmith and O'Regan provide us with the first systematic in-depth assessment of this trend and its implications for the future of the global landscape of film-making activities.
- Allen J. Scott, University of California, Los Angeles,
Chapter 1 Acknowledgments
Chapter 2 Introduction
Chapter 3 1 International Production and Globalization
Chapter 4 2 Types of Studio
Chapter 5 3 Studios, the "Location Interest," and Policy
Chapter 6 4 Studios, Stargates, and Urban Reimagining
Chapter 7 5 Extreme Dreams in Satellite Locations: The Rise of the Greenfields Studio
Chapter 8 6 From National to International Film Studios
Chapter 9 7 Still Exceptional? London's Film Studios
Chapter 10 8 "The Same but Different!": Canadian Studios and International Production
Chapter 11 9 Still the Center: Studios and the United States
Chapter 12 Bibliography
Chapter 13 Index
Chapter 14 About the Authors
This series covers a broad range of critical research and theory about media in the modern world. It includes work about the changing structures of the media, focusing particularly on work about the political and economic forces and social relations which shape and are shaped by media institutions, structural changes in policy formation and enforcement, technological transformations in the means of communication, and the relationships of all of these to public and private cultures worldwide. Historical research about the media and intellectual histories pertaining to media research and theory are particularly welcomed. Emphasizing the role of social and political theory for informing and shaping research about communications media, Critical Media Studies addresses the politics of media institutions at national, subnational, and transnational levels. The series will also include short, synthetic texts on key thinkers and concepts in critical media studies. ADVISORY BOARD: Patricia Aufderheide, American University; Jean-Claude Burgelman, Institute for Prospective Technological Studies; Simone Chambers, University of Toronto; Nicholas Garnham, University of Westminster; Hanno Hardt, University of Iowa; Gay Hawkins, The University of New South Wales; Maria Heller, EÜtvÜs Lorçnd University; Robert Horwitz, University of California at San Diego; Douglas Kellner, University of California at Los Angeles; Gary Marx, Massachusetts Institute of Technology; Toby Miller, University of California at Riverside; Vincent Mosco, Queen's University; Janice Peck, University of Colorado; Manjunath Pendakur, Southern Illinois University; Arvind Rajagopal, New York University; Giuseppe Richeri, Universitê Svizzera Italiana; Kevin Robins, Goldsmiths College; Saskia Sassen, University of Chicago; Dan Schiller, University of Illinois; Colin Sparks, University of Westminster; Slavko Splichal, University of Ljubljana; Thomas Streeter, University of Vermont; Liesbet van Zoonen, University of Amsterdam; Janet Wasko, University of Oregon.
Series Editor: Andrew Calabrese, University of Colorado