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Working in the Global Film and Television Industries
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Table of Contents

INTRODUCTION Andrew Dawson and Sean Holmes, "Working in Film and Television" PART ONE: SYSTEMS OF PRODUCTION 1. Andrew Dawson, "Labouring in Hollywood's Motion Picture Industry and the Promise of 'Flexible Specialisation'" 2. Dorota Ostrowska, "Alternative Models of Film Production: Film Units in Poland after World War II." 3. Olof Hedling, "New Creative Cities in Scandinavia?" PART TWO: MANOEUVRABLE SPACES 4. Sean Holmes, "No Room for Manoeuvre: Star Images and the Regulations of Actors' Labour in Silent-Era Hollywood." 5. Richard Paterson, "Freelance Life in UK Television" 6. Ikechukwu Obiaya, "Behind the Scenes: The Hidden Face of Nollywood." PART THREE: PATRONAGE AND CLIENTISM 7. Katrien Pype, "Fathers, Patrons and Clients: Social and Economic Aspects in the Production of Television Drama in Post-Mobutu Kinshasa." 8. Alison Smith, "Les Chefs-Operatrices: Women Behind the Camera in France." PART FOUR: CREATIVE AGENCY 9. Linda Marchant, "Cornel Lucas: Stills Photography and Production Culture in 1950s British Film." 10. Clare Wilkinson-Weber, "Making Faces: Competition and Change in the Production of Bollywood Film Star Looks." CONCLUSION BIBLIOGRAPHY INDEX

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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.

About the Author

Andrew Dawson is Film Studies programme leader at the University of Greenwich. He teaches courses on Film and American Society and Working for Hollywood. Sean Holmes is Subject Leader for Screen Media and a lecturer in Film and Television Studies at Brunel University. He has taught in the U.K. and the U.S. and his current research looks at the politics of cultural production.

Reviews

We live in a world where work is often about relations between people and place, and about creating an identity. More than that, hidden behind the scenes of the structures within which workers operate are real-life stories that offer unique insights into what the way we work says about our society. That is why I am fascinated by this important book...This book offers a valuable contribution to our reflections on social justice issues and change in work for readers in media and film studies, cinema history, and work and labour studies. One of the many strengths of the text is that it offers revealing and often surprising snapshots of the kinds of politics, restrictions, constraints and pressures under which various workers have had to operate, and that they must delicately navigate...Overall, the collection encourages the reader to reflect on the kind of world in which professionals in creative industries have worked, and invigorates questions about the kind of world in which we might want to work and live. -- Sheree K. Gregory, Swinburne Institute for Social Research * Media International Australia *
There is an absence of work in the literature [on film and television] as a whole that would give voice to the crafts and technical trades whose arcane job titles (focus puller, matte painter or dolly grip) cinema goers glimpse fleetingly as the credits roll. The importance of this text is that it makes a contribution towards filling this gap . . . This is a welcome contribution to the literature on work in film and television production, indeed on work in the creative industries more broadly, offering a grounded and empirically informed insight into production cultures that have been ignored, or arguably worse, hyped as glamorous. -- Keith Randle, University of Hertfordshire, UK * Work, Employment & Society *

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