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Localising Hollywood
Hollywood has a complex relationship with local markets around the world. This critical yet accessible overview of Hollywood’s local presence investigates the dynamic between the studios’ film entertainment divisions and individual media markets – exploring how their position, partnerships and practices function in an era characterised by globalisation, digitisation and convergence. Engaging with key scholarly and industrial debates, the book incorporates first-hand accounts gathered from extensive fieldwork and research. It addresses a wide range of international operations, from creative partnerships and production strategies to promotional and distribution processes. With a particular focus on Europe and Latin America, the text interrogates earlier notions of a ‘global Hollywood’ and globalisation, where media conglomerates were viewed as economically rational or all-powerful organisations. By exploring how decision-making processes and creative negotiations between Hollywood media executives and local forces operate, it reveals the complex picture of filmmaking and circulation in today’s supposedly globalised and digitised societies.
The Value Gap
"In this project, Courtney Brannon Donoghue follows female-driven film projects ("starring, written, produced, and/or directed by women") and the women creating them from pitch to premiere, looking at all the unique challenges they face along the way. She focuses on the ways that industry lore (e.g., "female-led movies don't make money" or "female directors don't have the experience (or desire) to direct big-budget action blockbusters") and established business practices serve to limit women's options or co-opt their stories, using a wide range of research, from conducting extensive interviews and participant observation to engaging with marketing materials, trade publications, and industry ...
Projecting Desire
"Examines the post-globalization transformation of India's screen and exhibition industries alongside the shifts in urban planning and architecture"--
Fandom Is Ugly
"In theory, fans are people who love something, so why, across cases from comic books to TV shows to YouTube to politicians to fan fiction, do fans engage in large-scale social media harassment to express their anger, and what does it tell us about media and public culture?"--
Derivative Media
A free ebook version of this title is available through Luminos, University of California Press's Open Access publishing program. Visit www.luminosoa.org to learn more. Sequels, reboots, franchises, and songs that remake old songs—does it feel like everything new in popular culture is just derivative of something old? Contrary to popular belief, the reason is not audiences or marketing, but Wall Street. In this book, Andrew deWaard shows how the financial sector is dismantling the creative capacity of cultural industries by upwardly redistributing wealth, consolidating corporate media, harming creative labor, and restricting our collective media culture. Moreover, financialization is trans...
Point of Sale
Point of Sale offers the first significant attempt to center media retail as a vital component in the study of popular culture. It brings together fifteen essays by top media scholars with their fingers on the pulse of both the changes that foreground retail in a digital age and the history that has made retail a fundamental part of the culture industries. The book reveals why retail matters as a site of transactional significance to industries as well as a crucial locus of meaning and interactional participation for consumers. In addition to examining how industries connect books, DVDs, video games, lifestyle products, toys, and more to consumers, it also interrogates the changes in media circulation driven by the collision of digital platforms with existing retail institutions. By grappling with the contexts in which we buy media, Point of Sale uncovers the underlying tensions that define the contemporary culture industries.
Digital Unsettling
How digital networks are positioned within the enduring structures of coloniality The revolutionary aspirations that fueled decolonization circulated on paper—as pamphlets, leaflets, handbills, and brochures. Now—as evidenced by movements from the Arab Spring to Black Lives Matter—revolutions, protests, and political dissidence are profoundly shaped by information circulating through digital networks. Digital Unsettling is a critical exploration of digitalization that puts contemporary “decolonizing” movements into conversation with theorizations of digital communication. Sahana Udupa and Ethiraj Gabriel Dattatreyan interrogate the forms, forces, and processes that have reinforced ...
Mobile Hollywood
A free ebook version of this title is available through Luminos, University of California Press's Open Access publishing program. Visit www.luminosoa.org to learn more. Contemporary film and television production is extraordinarily mobile. Filming large-scale studio productions in Atlanta, Budapest, London, Prague, or Australia's Gold Coast makes Hollywood jobs available to people and places far removed from Southern California—but it also requires individuals to uproot their lives as they travel around the world in pursuit of work. Drawing on interviews with a global contingent of film and television workers, Kevin Sanson weaves an analysis of the sheer scale and complexity of mobile production into a compelling account of the impact that mobility has had on job functions, working conditions, and personal lives. Mobile Hollywood captures how an expanded geography of production not only intensifies the often invisible pressures that production workers now face but also stretches the parameters of screen-media labor far beyond craftwork and creativity.
Branding Brazil
Branding Brazil examines a panorama of contemporary cultural productions including film, television, photography, and alternative media to explore the transformation of citizenship in Brazil from 2003 to 2014. A utopian impulse drove the reproduction of Brazilian cultural identity for local and global consumption; cultural production sought social and economic profits, especially greater inclusion of previously marginalized people and places. Marsh asserts that three communicative strategies from branding–promising progress, cultivating buy-in, and resolving contradictions–are the most salient and recurrent practices of nation branding during this historic period. More recent political crises can be understood partly in terms of backlash against marked social and political changes introduced during the branding period. Branding Brazil takes a multi-faceted approach, weaving media studies with politics and cinema studies to reveal that more than a marketing term or project emanating from the state, branding was a cultural phenomenon.
Elaine May
A master of subverting tropes with surgical precision, Elaine May forged a career in 1970s Hollywood with films like The Heartbreak Kid and Mikey and Nicky. Elizabeth Alsop explores the director’s non-conformist and uncompromising vision while looking at May’s films against trends in classic and post-classical Hollywood. Shaped by her background and success in the theater, May brought the biting humor of her improv comedy to her filmmaking. But unfriendly media and a system hostile to both her methods and sensibility consigned her to “director’s jail” after the failure of Ishtar. As Alsop moves through the filmmaker’s four movies, she tracks May’s inventive treatment of favorite themes like hapless male characters and the inanities of American culture. She also considers May’s work in relation to her multifaceted career as a writer and performer. A compelling reconsideration of an iconoclast and original, Elaine May reveals how a surprisingly radical auteur created her trademark cinema of discomfort.
