Production studies: cultural studies of media industries PDF
Preview Production studies: cultural studies of media industries
Production Studies “Behind-the-scenes”storiesofrantingdirectors,stingyproducers,temperamental actors,andthelikehavefascinatedussincethebeginningsoffilmandtelevision. Today,magazines,websites,televisionprograms,andDVDsaredevotedtotelling tales of trade lore—from on-set antics to labor disputes.The production of media has become as storied and mythologized as the content of the films andTV shows themselves. Production Studies is the first volume to bring together a star-studded cast of interdisciplinarymediascholarstoexaminetheuniqueculturalpracticesofmedia production.Theall-newessayscollectedherecombineethnographic,sociological, critical, material, and political-economic methods to explore a wide range of topics,fromcontemporaryindustrialtrendssuchasnewmediaandnichemarkets togenderandworkplacehierarchies.Together,thecontributorsseektounderstand how the entire span of“media producers”—ranging from high-profile producers and directors to anonymous production assistants and costume designers—work throughprofessionalorganizationsandinformalnetworkstoformcommunitiesof sharedpractices,languages,andculturalunderstandingsoftheworld. Thislandmarkcollectionconnectstheculturalactivitiesofmediaproducersto ourbroaderunderstandingofmediapracticesandtexts,establishinganinnovative and agenda-setting approach to media industry scholarship for the twenty-first century. Vicki Mayer isAssociate Professor of Communication atTulane University. She is author of Producing Dreams,ConsumingYouth:MexicanAmericans and Mass Media as well as Below the Line:Producers and Production Studies in the NewTelevision Economy (forthcoming). Miranda J. Banks isAssistant Professor ofVisual and MediaArts at Emerson College. JohnThorntonCaldwellisProfessorofFilm,Television,andDigitalMediaat UCLA.Hehasauthoredandeditedseveralbooks,includingTelevisuality:Style,Crisis andAuthority inAmericanTelevision,New Media:DigitextualTheories and Practices,and ProductionCulture:IndustrialReflexivityandCriticalPracticeinFilmandTelevision. Production Studies Cultural Studies of Media Industries Edited by Vicki Mayer Miranda J. Banks John T. Caldwell Firstpublished2009 byRoutledge 270MadisonAve,NewYork,NY10016 SimultaneouslypublishedintheUK byRoutledge 2ParkSquare,MiltonPark,Abingdon,OxonOX144RN RoutledgeisanimprintoftheTaylor&FrancisGroup, aninformabusiness This edition published in the Taylor & Francis e-Library, 2009. To purchase your own copy of this or any of Taylor & Francis or Routledge’s collection of thousands of eBooks please go to www.eBookstore.tandf.co.uk. ©2009Taylor&Francis Allrightsreserved.Nopartofthisbookmaybereprintedorreproduced orutilizedinanyformorbyanyelectronic,mechanical,orothermeans, nowknownorhereafterinvented,includingphotocopyingandrecording, orinanyinformationstorageorretrievalsystem,withoutpermissionin writingfromthepublishers. TrademarkNotice:Productorcorporatenamesmaybetrademarks orregisteredtrademarks,andareusedonlyforidentificationand explanationwithoutintenttoinfringe. LibraryofCongressCataloginginPublicationData Acatalogrecordhasbeenrequestedforthisbook ISBN 0-203-87959-7 Master e-book ISBN ISBN10:0-415-99795-X(hbk) ISBN10:0-415-99796-8(pbk) ISBN10:0-203-87959-7(ebk) ISBN13:978-0-415-99795-9(hbk) ISBN13:978-0-415-99796-6(pbk) ISBN13:978-0-203-87959-7(ebk) Contents Introduction:ProductionStudies:RootsandRoutes 1 VICKI MAYER, MIRANDA J. BANKS AND JOHN T. CALDWELL PARTI Histories of Media Production Studies 13 1 BringingtheSocialBackIn:StudiesofProduction CulturesandSocialTheory 15 VICKI MAYER 2 Industry-LevelStudiesandtheContributionsof Gitlin’sInsidePrimeTime 25 AMANDA D. LOTZ 3 LeoC.Rosten’sHollywood:Power,Status,andthe PrimacyofEconomicandSocialNetworksinCultural Production 39 JOHN L. SULLIVAN 4 PrivilegeandDistinctioninProductionWorlds: Copyright,CollectiveBargaining,andWorking ConditionsinMediaMaking 54 MATT STAHL vi Contents PARTII Producers: Selves and Others 69 5 Self-ServeCelebrity:TheProductionofOrdinariness andtheOrdinarinessofProductioninRealityTelevision 71 LAURA GRINDSTAFF 6 GenderBelow-the-Line: DefiningFeministProduction Studies 87 MIRANDA J. BANKS 7 It’sNotTV,It’sBrandManagementTV:TheCollective Author(s)oftheLostFranchise 99 DENISE MANN 8 ShowrunningtheDoctorWhoFranchise:AResponseto DeniseMann 115 CHRISTINE CORNEA PARTIII Production Spaces: Centers and Peripheries 123 9 LiminalPlacesandSpaces:Public/Private Considerations 125 CANDACE MOORE 10 “NotinKansasAnymore”:TransnationalCollaboration inTelevisionScienceFictionProduction 140 JANE LANDMAN 11 CrossingtheBorder:StudyingCanadianTelevision Production 154 ELANA LEVINE 12 BordersofProductionResearch:AResponseto ElanaLevine 167 SERRA TINIC Contents vii PARTIV Production as Lived Experience 173 13 StudyingSideways:EthnographicAccessinHollywood 175 SHERRY B. ORTNER 14 AudienceKnowledgeandtheEverydayLivesofCultural ProducersinHollywood 190 STEPHEN ZAFIRAU 15 Lights,Camera,butWhere’stheAction?Actor-Network TheoryandtheProductionofRobertConnolly’s ThreeDollars 203 OLI MOULD 16 “BothSidesoftheFence”:BlurredDistinctionsin ScholarshipandProduction(aPortfolioofInterviews) 214 JOHN T. CALDWELL TheCraftAssociation 216 PAUL MALCOLM HollywoodAssistanting 220 ERIN HILL TheWriters’Room 224 FELICIA D. HENDERSON SelectBibliography 231 ListofContributors 242 Index 246 Introduction Production Studies: Roots and Routes Vicki Mayer, Miranda J. Banks and John T. Caldwell Consider the following scenes drawn from popular media narratives of film and television“producers”atwork: Cruise glitzy LA withAri,Vince, Drama,Turtle, and Eric. Swerve into the HollywoodfastlaneandhitLAhotspotswiththeEntourage gang.Giveyour commentsandreviewsonallofthelocationsfeaturedintheshoworaddsome ofyourownfavoritehaunts.1 “The realtor did say something about the house having been shown in the opening shots of each episode ofThe MaryTyler Moore Show and that this was where Mary supposedly lived.” […]The woman who lived there when the show was first broadcast“was overwhelmed by the people showing up and askingifMarywasaround,”Ms.[MaryTyler]Mooresaid.Whentheproducers returned for fresh footage several seasons later,she said,the owner“had by wayofretributiondrapedhuge‘ImpeachNixon’signsalloverthehouse.”2 GeorgeLucasreturnedtotheUnitedStatesafterprincipalshootinginTunisia andBritainandalmostimmediatelycheckedhimselfintoahospitalbecausehe thoughthewashavingaheartattack.Lucaswasunhappywiththeworkofthe film’soriginaleditorinBritain,andhadtoscraphisworkentirely.3 Ann Donahue,executive producer of CSI and CSI:Miami [in a public event]: “Sleep when you’re dead. [crowd applauds] Because you only get this—and weknowthis—youonlygetthisonce.Andit’swhatyouwantedtodoyour wholelife.”4 We frequently come to know about media producers and their work, ironically, throughtherepresentationstheymake.Fromthe“makingof”videosthatcullDVD customers to entertainment television tabloids that“report” on the excitement on the sets, the non-fiction portrayals of production often reflect the drama of some of their producers’best-known fictional works.5To wit:conflict and chaos
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