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. Early in the twenty-first century, Louisiana, one of the poorest states in the United States, redirected millions in tax dollars from the public coffers in an effort to become the top location site globally for the production of Hollywood films and television series. Why would lawmakers support such a policy? Why would citizens accept the policy’s uncomfortable effects on their economy and culture? Almost Hollywood, Nearly New Orleans addresses these questions through a study of the local and everyday experiences of the film economy in New Orleans, Louisiana—a city that has twice pursued the goal of becoming a movie production capital. From the silent era to today’s Hollywood South, Vicki Mayer explains that the aura of a film economy is inseparable from a prevailing sense of home, even as it changes that place irrevocably.

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. Early in the twenty-first century, Louisiana, one of the poorest states in the United States, redirected millions in tax dollars from the public coffers in an effort to become the top location site globally for the production of Hollywood films and television series. Why would lawmakers support such a policy? Why would citizens accept the policy’s uncomfortable effects on their economy and culture? Almost Hollywood, Nearly New Orleans addresses these questions through a study of the local and everyday experiences of the film economy in New Orleans, Louisiana—a city that has twice pursued the goal of becoming a movie production capital. From the silent era to today’s Hollywood South, Vicki Mayer explains that the aura of a film economy is inseparable from a prevailing sense of home, even as it changes that place irrevocably.

Approached as a wellspring of cultural authenticity and historical exceptionality, New Orleans appears in opposition to a nation perpetually driven by progress. Remaking New Orleans shows how this narrative is rooted in a romantic cultural tradition, continuously repackaged through the twin engines of tourism and economic development, and supported by research that has isolated the city from comparison and left unquestioned its entrenched inequality. Working against this feedback loop, the contributors place New Orleans at the forefront of national patterns of urban planning, place-branding, structural inequality, and racialization. Nontraditional sites like professional wrestling matches, middle-class black suburbs, and Vietnamese gardens take precedence over clichéd renderings of Creole cuisine, voodoo queens, and hot jazz. Covering the city's founding through its present and highlighting changing political and social formations, this volume remakes New Orleans as a rich site for understanding the quintessential concerns of American cities. Contributors. Thomas Jessen Adams, Vincanne Adams, Vern Baxter, Maria Celeste Casati Allegretti, Shannon Lee Dawdy, Rien Fertel, Megan French-Marcelin, Cedric G. Johnson, Alecia P. Long, Vicki Mayer, Toby Miller, Sue Mobley, Marguerite Nguyen, Aaron Nyerges, Adolph Reed Jr., Helen A. Regis, Matt Sakakeeny, Heidi Schmalbach, Felipe Smith, Bryan Wagner

Money is Hollywood's great theme-but money laundered into something else, something more. Money can be given a particular occasion and career, as box office receipts, casino winnings, tax credits, stock prices, lotteries, inheritances. Or money can become number, and numbers can be anything: pixels, batting averages, votes, likes. Through explorations of all these and more, J.D. Connor's Hollywood Math and Aftermath provides a stimulating and original take on “the equation of pictures,” the relationship between Hollywood and economics since the 1970s. Touched off by an engagement with the work of Gilles Deleuze, Connor demonstrates the centrality of the economic image to Hollywood narrative. More than just a thematic study, this is a conceptual history of the industry that stretches from the dawn of the neoclassical era through the Great Recession and beyond. Along the way, Connor explores new concepts for cinema studies: precession and recession, pervasion and staking, ostension and deritualization. Enlivened by a wealth of case studies-from The Big Short and The Wolf of Wall Street to Equity and Blackhat, from Moneyball to 12 Years a Slave, Titanic to Lost, The Exorcist to WALLE, Déjà Vu to Upstream Color, Contagion to The Untouchables, Ferris Bueller to Pacific Rim, The Avengers to The Village-Hollywood Math and Aftermath is a bravura portrait of the industry coming to terms with its own numerical underpinnings.

In an era when many businesses have come under scrutiny for their environmental impact, the film industry has for the most part escaped criticism and regulation. Its practices are more diffuse; its final product, less tangible; and Hollywood has adopted public-relations strategies that portray it as environmentally conscious. In Hollywood’s Dirtiest Secret, Hunter Vaughan offers a new history of the movies from an environmental perspective, arguing that how we make and consume films has serious ecological consequences. Bringing together environmental humanities, science communication, and social ethics, Hollywood’s Dirtiest Secret is a pathbreaking consideration of the film industry’s environmental impact that examines how our cultural prioritization of spectacle has distracted us from its material consequences and natural-resource use. Vaughan examines the environmental effects of filmmaking from Hollywood classics to the digital era, considering how popular screen media shapes and reflects our understanding of the natural world. He recounts the production histories of major blockbusters—Gone with the Wind, Singin’ in the Rain, Twister, and Avatar—situating them in the contexts of the development of the film industry, popular environmentalism, and the proliferation of digital technologies. Emphasizing the materiality of media, Vaughan interweaves details of the hidden environmental consequences of specific filmmaking practices, from water use to server farms, within a larger critical portrait of social perceptions and valuations of the natural world.

Bringing together leading scholars from around the world and across scholarly disciplines, this collection of 32 original chapters provides a comprehensive exploration of the relationships between cities and media. The volume showcases diverse methods for studying media and the city and posits "media urbanism" as an approach to the co-construction and interactions among media texts and technologies, media users, media industries, media histories, and urban space. Chapters serve as a guide to humanities-based ways of studying urban imaginaries, infrastructures and architectures, development and redevelopment, and strategies and tactics as well as a provocation toward new lines of inquiry that further explore the dense interconnectedness of media and cities. Structured thematically, the chapters are organized into four distinct sections, introduced with editorial commentary that places the chapters into conversation with each other and frames them in relation to an overarching question, problem, or method. Part I: Imaginaries and cityscapes focuses on screen representations and mediated experiences of urban space produced and consumed by various actors; Part II: Architectures and infrastructures highlights the different ways in which built environments and socio-technical substrates that sustain differential mobilities, urban rhythms, and systems of circulation and exchange are intertwined with various forms of media and mediation; Part III: Development and redevelopment examines efforts by urban planners and designers, municipal governments, and community organizers to utilize media forms to imagine and shape the construction of the space and meaning of the city; finally, Part IV: Strategies and tactics uses categories for practices of control and resistance to investigate media and struggles for power within urban environments from surveillance and place-branding to activist media and the right to the city. The Routledge Companion to Media and the City provides a definitive reference for both scholars and students of urban cultures and media within the humanities.

This edited volume offers a global overview of the immediate impacts the COVID pandemic had on local and national film, television, streaming, and social media industries—examining in compelling detail how these industries managed the crisis. With accounts from the frontlines, Media Industries in Crisis provides readers with a stakeholder framework, management lessons, and urgent commentaries to unpack the nature of crisis management and communications. The authors show how these industries have not only survived, but often thrive amidst a backdrop of critical national and regional emergencies, wars, financial meltdowns, and climate disasters. This international collection—featuring case studies from 16 countries—examines how media industries managed all of these crises, successfully rebranding themselves as “essential” while making power plays in politics, economics, and culture. The chapters reveal key lessons for the meltdowns, tectonic shifts, and struggles ahead. This collection will be of interest to media and communication students, particularly those focused on media industries, crisis communications, and management, as well as to practitioners working in media industries.

Location shooting has always been a vital counterpart to soundstage production, and at times, the primary form of Hollywood filmmaking. But until now, the industrial and artistic development of this production practice has been scattered across the margins of larger American film histories. Hollywood on Location is the first comprehensive history of location shooting in the American film industry, showing how this mode of filmmaking changed Hollywood business practices, production strategies, and visual style from the silent era to the present. The contributors explore how location filmmaking supplemented and later, supplanted production on the studio lots. Drawing on archival research and in-depth case studies, the seven contributors show how location shooting expanded the geography of American film production, from city streets and rural landscapes to far-flung territories overseas, invoking a new set of creative, financial, technical, and logistical challenges. Whereas studio filmmaking sought to recreate nature, location shooting sought to master it, finding new production values and production economies that reshaped Hollywood’s modus operandi.

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.