Production Culture: Industrial Reflexivity and Critical by John Thornton Caldwell

By John Thornton Caldwell

In construction tradition, John Thornton Caldwell investigates the cultural practices and trust platforms of Los Angeles–based movie and video construction staff: not just these in prestigious positions reminiscent of manufacturers and administrators but in addition many “below-the-line” employees, together with gaffers, editors, and digital camera operators. Caldwell analyzes the narratives and rituals during which employees make feel in their exertions and critique the movie and television in addition to the tradition writ huge. As a self-reflexive undefined, Hollywood continuously exposes itself and its creation techniques to the general public; staff’ principles concerning the are embedded of their day-by-day practices and the media they carry. Caldwell indicates ways in which students may perhaps study from the industry’s ordinary self-scrutiny.
Drawing on interviews, observations of units and offices, and analyses of television indicates, records, monetary info, and promotional fabrics, Caldwell exhibits how movie and video employees functionality in a remodeled, post-network undefined. He chronicles how staff have spoke back to adjustments together with media convergence, hard work outsourcing, more and more risky exertions and enterprise kin, new creation applied sciences, company conglomeration, and the proliferation of user-generated content material. He explores new struggles over “authorship” inside of collective artistic endeavors, the best way that branding and syndication became vital enterprise ideas for networks, and the “viral” use of commercial self-reflexivity to inspire shoppers via DVD bonus tracks, behind-the-scenes documentaries, and “making-ofs.” an important, on-the-ground research of an in flux, creation tradition bargains new methods of wondering media creation as a cultural job.

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First, it underscores the humble, unexceptional origins needed to create the rising action and dramatic arc of the classical myth of heroism. The cinematographer Daryn Okada, asc, underscores this narrative premise. When he was asked where he studied or trained, Okada replied: ‘‘Unfortunately, film school was beyond my financial grasp, so I focused my time on reading about art, photography, and film history. I also read American Cinematographer when I could get my hands on a copy. ’’∫ Second, the against-all-odds genre works to highlight the pluck, persistence, and tenacity of the worker in finally achieving his or her now well-earned success.

Everything that you see on a camera was invented by a cameraman, because he needed to do something, and he didn’t know how to do it. ’’∑Ω Burum acknowledges a degree of initial ignorance on the part of cameramen, but he is clearly unapologetic about it. Rather, from his perspective this status gives the cameraman a clean slate from which to see, engage, and Production Culture solve problems. His argument is pragmatic: the filmmaking art is essentially a process of physical problem solving based on the obligatory need to overcome production obstacles.

Trivia,’’ the fourth reflexive strategy announced by nbc management to its industrial partners, provides short game-show-like doses of ‘‘interesting facts’’ about the network. ) had appeared as phone-in guests on nbc’s hit show Frasier. The fifth strategy dramatized on the video, termed ‘‘Special Events,’’ showcases a montage of historical Olympic coverage produced by nbc decades earlier. This device provides the trade, audience with opportunities for chest-thumping nationalism as part of the network brand.

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