Film Studies, Cultural Studies, and Media Industries Studies

Schatz, Thomas

doi:10.3998/mij.15031809.0001.108

Cited by 19 publications

(6 citation statements)

References 3 publications

Supporting

Mentioning

Contrasting

Unclassified

Order By: Relevance

“…Media industry studies is a field that was launched by Jennifer Holt and Alisa Perren (2009; for an update on this field, see Holt and Perren 2019;Herbert, Lotz, and Punathambekar 2020). There have been some sharp criticisms of this field (Govil 2013;Schatz 2014), not a few of them by people who have contributed to it. But we ask, what are the theories and methods that can be said to be distinctive of this nascent field?…”

Section: The Contents and Organ Ization Of The Volumementioning

confidence: 99%

Anthropology, Film Industries, Modularity

2021

View full text Add to dashboard Cite

From Bangladesh and Hong Kong to Iran and South Africa, film industries around the world are rapidly growing at a time when new digital technologies are fundamentally changing how films are made and viewed. Larger film industries like Bollywood and Nollywood aim to attain Hollywood's audience and profitability, while smaller, less commercial, and often state-funded enterprises support various cultural and political projects. The contributors to Anthropology, Film Industries, Modularity take an ethnographic and comparative approach to capturing the diversity and growth of global film industries. They outline how modularity—the specialized filmmaking tasks that collectively produce a film—operates as a key feature in every film industry, independent of local context. Whether they are examining the process of dubbing Hollywood films into Hindi, virtual reality filmmaking in South Africa, or on-location shooting in Yemen, the contributors' anthropological methodology brings into relief the universal practices and the local contingencies and deeper cultural realities of film production. Contributors. Steven C. Caton, Jessica Dickson, Kevin Dwyer, Tejaswini Ganti, Lotte Hoek, Amrita Ibrahim, Sylvia J. Martin, Ramyar D. Rossoukh

show abstract

Section: The Contents and Organ Ization Of The Volumementioning

confidence: 99%

Anthropology, Film Industries, Modularity

2021

View full text Add to dashboard Cite

show abstract

“…Finalmente, con el objetivo de estudiar la autoría en la industria televisiva, consideramos los trabajos de Dunne (2007), Lotz (2009), Hadas (2014), Schatz (2014), Steiner (2015), Benshoff (2016), y Fisk y Szalay (2017). En este punto, se revela imprescindible el libro de Gray y Johnson (2013): Companion to Media Authorship.…”

Section: Objetivos Y Metodologíaunclassified

“…Asimismo, debemos destacar la intervención del citado profesional en el departamento de guion (Schatz, 2014), ya que "la unión del guionista y el productor es clave en la producción de una serie dramática" 28 (Dunne, 2007: 99). El showrunner conoce a la perfección la labor de este equipo, de donde suele proceder (Cantor, 1988;Cantor y Cantor, 1992;García-Fanlo, 2016;Fisk y Szalay, 2017).…”

Section: La Autoría En El Medio Televisivounclassified

See 1 more Smart Citation

Revisión histórica y conceptual de la autoría y sus implicaciones en el medio televisivo: El concepto de autor en series de televisión contemporáneas estadounidenses

Ruiz¹,

Pérez

Pascual

2019

Doxa Comunicación. Revista Interdisciplinar De Estudios De Comunicación Y Ciencias Sociales

View full text Add to dashboard Cite

This paper aims to conduct a historical and conceptual review of authorship in television production, taking auteur theory applied to the television media as a reference. For this purpose, the qualitative methodology has been used to carry out a bibliographic and documentary analysis of the author concept in the film and television industry. Despite the collaborative nature of television production, the results obtained suggest the importance of the TV series executive producer’s individual authorship during this process, who is also known as the “showrunner”. They are ultimately responsible for the project’s production, applying a creative and personal style to their entire work. The authorship, influenced by the television channel and the audience, promotes the consideration of fiction TV series as a quality cultural product, which affects its promotional strategies.

show abstract

“…or 'leisure industries' (Hoskins et al, 1997;Schatz, 2014). The reason for this is because such terms emphasise "a crucial theoretical disagreement, and thus also policy disagreements" between 'culture' and 'industries' (Garnham, 2005: 18).…”

Section: The Cultural Industries Schoolmentioning

confidence: 99%

Small Country, Big Films: An Analysis of the New Zealand Feature Film Industry (2002-2012)

Ferrer-Roca¹

View full text Add to dashboard Cite

<p>This thesis explores the contextual, institutional, and economic characteristics that influence contemporary feature filmmaking in New Zealand. It identifies and analyses the conditions and circumstances that have made it possible for New Zealand, as a country whose relatively small market size combines with its geographical remoteness, to not only create and sustain a feature film production industry, but also achieve unusual success for the resulting films, in critical and/or commercial terms. Applying an institutional political economy perspective to its research and analyses, this study draws on archival material, policy analysis and expert interviews with key personnel in industry and state agencies, in its undertaking of a ‘value chain’ examination of New Zealand feature film productions. Seven case studies are used to examine the distinguishing factors of the three kinds of productions – ‘tiers’ – that constitute the New Zealand feature film industry, with an emphasis on the connections between these tiers, as well as their individual significance for feature filmmaking in New Zealand. The study’s successful application of the three-tier feature film production ecology to the contemporary New Zealand filmmaking context is valuable for its capacity to add clarity to existing distinctions between the different types of film production occurring in Twenty-first Century New Zealand. Those are subject to, and emerge from, sometimes very different institutional and financing arrangements, and thus entail different expectations. Important in determining these differences is the question of whether a film’s contribution to a country is primarily cultural or economic, or, is situated somewhere between these functions and expectations. Central to the study’s ‘value chain’ structure and mode of analysis is the investigation of the priorities and motivations of the main institutions and agents involved, in recognition of their capacity to profoundly shape the possibilities for feature film production in New Zealand. This thesis argues that New Zealand is best advised to maintain and nurture all three-tiers of feature productions, because they depend on and complement each other. Together, they have contributed significantly to the success of the New Zealand feature film industry. To sustain this competitive position and to develop the country’s filmmaking potential further, it will be crucial for New Zealand’s public institutions to ensure continued support for bottom- and middle-tier films in particular, both in terms of favourable policies and funding allocations. Continued support is justified not just in recognition of the important cultural contributions of bottom- and middle-tier films, but also to help these film productions overcome the financial hurdles imposed by a small domestic market and limited economies of scale.</p>

show abstract

Film Studies, Cultural Studies, and Media Industries Studies

Cited by 19 publications

References 3 publications

Anthropology, Film Industries, Modularity

Anthropology, Film Industries, Modularity

Revisión histórica y conceptual de la autoría y sus implicaciones en el medio televisivo: El concepto de autor en series de televisión contemporáneas estadounidenses

Small Country, Big Films: An Analysis of the New Zealand Feature Film Industry (2002-2012)

Contact Info

Product

Resources

About