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|Additional Physical Format:||Print version:
Beyond the bottom line
|Material Type:||Document, Internet resource|
|Document Type:||Internet Resource, Computer File|
|All Authors / Contributors:||
Andrew Spicer; A T McKenna; Christopher Meir
|Description:||1 online resource.|
|Contents:||Cover; Contents; List of Illustrations; Contributors; Acknowledgements; 1 Introduction; Part One Theoretical and Historical Contexts; 2 'A Judge of Anything and Everything': Charles Urban and the Role of the 'Producer-Collaborator' in Early British Film; 3 Mapping a Typology of the Film Producer --
Or, Six Producers in Search of an Author; 4 The Independent Producer and the State: Simon Relph, Government Policy and the British Film Industry, 1980-2005; 5 Producing the Self: The Film Producer's Labour and Professional Identity in the UK Creative Economy. 6 Producer and Director? Or, 'Authorship' in 1950s Italian Cinema7 The Australian Screen Producer in Transition; Part Two Media and Genre Contexts; 8 The Producer in Animation: Creativity and Commerce from Bray Studios to Pixar; 9 'Trying to Ride a Naughty Horse': British Television Comedy Producers; 10 Keith Griffiths' Poetics of Production; 11 The American Independent Producer and the Film Value Chain; Part Three National and Transnational Contexts; 12 Lita Stantic: Auteur Producer/Producer of Auteurs. 13 Beyond National Humiliation: Han Sanping and China's Post-Olympics Historical Event Blockbusters14 The Producer and Belgian Cinema(s): The Case of Jean (and Jan) Van Raemdonck; 15 Post-Imperial Co-Producers: Emile Sherman, Iain Canning and Contemporary Anglo-Australian Cinema; Index.
|Responsibility:||edited by Andrew Spicer, A.T. McKenna, Christopher Meir.|
This will prove an invaluable book, both to students and to those wishing to learn more about the film and media industries. Its spread is broad, making comparisons between different countries,