This multi-disciplinary collection of essays, provides a thorough analysis of working life in the film and television industries. International in scope, it is the first truly global introduction to film and TV production.

The global film industry has witnessed significant transformations in the past few years. Regions outside the USA have begun to prosper while non-traditional production companies such as Netflix have assumed a larger market share and online movies adapted from literature have continued to gain in popularity. How have these trends shaped the global film industry? This book answers this question by analyzing an increasingly globalized business through a global lens. Development of the Global Film Industry examines the recent history and current state of the business in all parts of the world. While many existing studies focus on the internal workings of the industry, such as production, distribution and screening, this study takes a "big picture" view, encompassing the transnational integration of the cultural and entertainment industry as a whole, and pays more attention to the coordinated development of the film industry in the light of influence from literature, television, animation, games and other sectors. This volume is a critical reference for students, scholars and the public to help them understand the major trends facing the global film industry in today’s world.

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 theoretical and methodological questions involved in film and television production. Drawing together the work of historians, film scholars, and anthropologists, it looks at film and television production not only in Hollywood and Western Europe but also in less familiar settings such as the Soviet Union, India, Nigeria, and the Democratic Republic of Congo. Chronologically wide-ranging, interdisciplinary and international in scope, it is a unique introduction, critical for all students of the film industries and film production.

This interdisciplinary and international volume offers an innovative and critical exploration of the impact of motherhood on the engagement of women in media and creative industries across the globe. Diverse contributions critically engage with the intersections and overlap between the social categories of worker and mother, and the work of media production and maternal caregiving. Conflicting ideas about, and expectations of, mothers are untangled in the context of the working world of radio, film, television and creative media industries. The book teases out commonalities between experiences that are evident across a number of countries, from Hollywood to Bollywood, as well as examining the differences between class, religion, maternal status and cultural frameworks that surround working mothers in various nation states. It also offers some possibilities for ways forward that can improve the lives of women workers who are also mothers. A timely and valuable contribution to international debates on equality, mothers and motherhood in audiovisual industries, this book will be of interest to scholars and students of media, communication, cultural studies and gender, programmes engaged with work inequalities and motherhood studies, and activists, funders, policymakers and practitioners.

This is the first non-specialist introduction to the economics of the contemporary film and television business. This global industry is significant both financially and culturally, and the political economy of its trade is an extremely sensitive issue. Are cultural goods merely entertainmentgoods? And why does the US dominate this territory? The present volume offers a systematic, structured explanation of how the global markets for TV and film operate while also discussing the implications for public policy and business strategy. By listing in detail the economic and culturalcharacteristics related to such trade, the authors provide the tools necessary for the evaluation of international communications issues. They also stress the uniqueness of cultural products and put forth the argument that the economic and cultural development approaches to cultural issues can belargely reconciled.

Women, Inequality and Media Work investigates how women experience gender inequality in film and television production industries. Examining women’s place in the production of media is vital to understanding the broader and related question of how women are (mis)represented in media content. This book goes behind the camera to explore the world of women working in media industries and unpacks the systemic gender inequality that they experience at work. It argues that women internalize their experience of gender inequality by adopting various beliefs: whether it is that gender does not matter in the workplace; that the workplace is now post-feminist; or by adopting a sense of self as liminal, neither fully included nor excluded from the industry. Drawing on detailed academic research and empirical investigation, Women, Inequality and Media Work is an important and timely book for students, researchers and those working in media industries.

The pioneering story of Australia's own Hollywood. Hollywood films and television programs are watched by a global audience. While many of these productions are still made in southern California, the last twenty years have seen new production centers emerge in the US, Canada and other locations worldwide. Global Hollywood has been made possible by this growing number of Local Hollywoods: locations equipped with the requisite facilities, resources and labor, as well as the political will and tax incentives, to attract and retain high-budget, Hollywood-standard projects. This new book gives an unprecedented insight into how the Gold Coast became the first outpost of Hollywood in Australia. When a combination of forces drove Hollywood studios and producers to work outside California, the Gold Coast's unique blend of government tax support, innovative entrepreneurs and diverse natural settings made it a perfect choice to host Hollywood productions. "Local Hollywood" makes an essential contribution to the field of film and media studies, as well as giving film buffs a behind-the-scenes tour of the film industry.

British Film and Television Industries--Decline or Opportunity?, Volume II: Evidence

In Media Heterotopias Hye Jean Chung challenges the widespread tendency among audiences and critics to disregard the material conditions of digital film production. Drawing on interviews with directors, producers, special effects supervisors, and other film industry workers, Chung traces how the rhetorical and visual emphasis on seamlessness masks the social, political, and economic realities of global filmmaking and digital labor. In films such as Avatar (2009), Interstellar (2014), and The Host (2006)—which combine live action footage with CGI to create new hybrid environments—filmmaking techniques and "seamless" digital effects allow the globally dispersed labor involved to go unnoticed by audiences. Chung adapts Foucault's notion of heterotopic spaces to foreground this labor and to theorize cinematic space as a textured, multilayered assemblage in which filmmaking occurs in transnational collaborations that depend upon the global movement of bodies, resources, images, and commodities. Acknowledging cinema's increasingly digitized and globalized workflow, Chung reconnects digitally constructed and composited imagery with the reality of production spaces and laboring bodies to highlight the political, social, ethical, and aesthetic stakes in recognizing the materiality of collaborative filmmaking.

The International Film Business examines the independent film sector as a business, and addresses the specific skills and knowledge it demands. It describes both the present state of the industry, the significant digital and social media developments that are continuing to take place, and what changes these might effect. The International Film Business: describes and analyses the present structure of the film industry as a business, with a specific focus on the film value chain discusses and analyses current digital technology and how it potentially may change the structure and opportunities offered by the industry in the future provides information and advice on the different business and management skills and strategies includes case studies on a variety of films including The Guard (2011), The King’s Speech (2010), The Best Exotic Marigold Hotel (2012), Cloverfield (2008), Pobby & Dingan (aka Opal Dream, 2005), Confessions of a Dangerous Mind (2002), The Reckoning (2002)and The Mother (2003), and company case studies on Pixar, Renaissance, Redbus and Zentropa. Further case studies on films that failed to go into production include Neil LaBute’s Vapor and Terry Gilliam’s Good Omens. Taking an entrepreneurial perspective on what future opportunities will be available to prepared and informed students and emerging practitioners, this text includes case studies that take students through the successes and failures of a variety of real film companies and projects and features exclusive interviews with leading practitioners in all sectors of the industry, from production to exhibition.