Working in the global film and television industries : creativity, systems, space, patronage / edited by Andrew Dawson and Sean P. Holmes.

Includes bibliographical references and index.

Print version record.

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.

10 Cornel Lucas: Stills photography and production culture in 1950s British film.

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 the.

Electronic reproduction. London : Bloomsbury Publishing, 2014. Available via World Wide Web. Access limited by licensing agreement. OrPS

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