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\"Behind-the-scenes\" stories of ranting directors, stingy producers, temperamental actors, and the like have fascinated us since the beginnings of film and television. Today, magazines, websites, television programs, and DVDs are devoted to telling tales of trade lore—from on-set antics to labor disputes. The production of media has become as storied and mythologized as the content of the films and TV shows themselves. Production Studies is the first volume to bring together a star-studded cast of interdisciplinary media scholars to examine the unique cultural practices of media production. The all-new essays collected here combine ethnographic, sociological, critical, material, and political-economic methods to explore a wide range of topics, from contemporary industrial trends such as new media and niche markets to gender and workplace hierarchies. Together, the contributors seek to understand how the entire span of \"media producers\"—ranging from high-profile producers and directors to anonymous stagehands and costume designers—work through professional organizations and informal networks to form communities of shared practices, languages, and cultural understandings of the world. This landmark collection connects the cultural activities of media producers to our broader understanding of media practices and texts, establishing an innovative and agenda-setting approach to media industry scholarship for the twenty-first century. Contributors: Miranda J. Banks, John T. Caldwell, Christine Cornea, Laura Grindstaff, Felicia D. Henderson, Erin Hill, Jane Landman, Elana Levine, Amanda D. Lotz, Paul Malcolm, Denise Mann, Vicki Mayer, Candace Moore, Oli Mould, Sherry B. Ortner, Matt Stahl, John L. Sullivan, Serra Tinic, Stephen Zafirau \" Production Studies 's collection of insightful essays by academics from a range of disciplines presents a superb example of precisely the kind of complex, collaborative work their essays elucidate. Incorporating material from interviews with a range of industry professionals, interrogating both industry practices and the scholarship that has explored them, this book speaks to some of the most pressing issues in the current media studies agenda.\"-- Michele Hilmes , author of NBC: America's Network \"Arriving at a time when the analysis of cultural and material production, in all its forms, has perhaps never been so critical, this rich and diverse collection of essays is a vital contribution to media production studies. The contributors offer a variety of insightful accounts of production culture, approaching it from perspectives including anthropology, cultural studies, feminism, and political economy, and highlighting many different production modes, levels, and locales. Production Studies is the new benchmark for this important and rapidly evolving field, and will influence media scholars and practitioners for years to come.\"-- Derek Kompare , author of Rerun Nation: How Repeats Invented American Television Vicki Mayer is Assistant Professor of Communication at Tulane University. She is author of Producing Dreams , Consuming Youth: Mexican Americans and Mass Media . Miranda J. Banks is Assistant Professor of Visual and Media Arts at Emerson College. John Thornton Caldwell is Professor of Film, Television, and Digital Media at UCLA. He has authored and edited several books, including Televisuality: Style, Crisis and Authority in American Television , Electronic Media and Technoculture , New Media: Digitextual Theories and Practices , and Production Culture: Industrial Reflexivity and Critical Practice in Film and Television . Introduction: Production Studies: Roots and Routes, Vicki Mayer, Miranda Banks, and John Thornton Caldwell. Part One: Histories of Media Production Studies. 1. Bringing the Social Back In: Studies of Production Cultures and Social Theory, Vicki Mayer . 2. Industry-Level Studies and the Contributions of Gitlin’s Inside Prime Time , Amanda Lotz 3. Leo C. Rosten's Hollywood: Power, Status, and the Primacy of Economic and Social Networks in Cultural Production, John L. Sullivan. 4. Privilege and Distinction in Production Worlds: Copyright, Collective Bargaining, and Working Conditions in Media Making, Matt Stahl . Part Two: Producers: Selves and Others. 5. Self-Serve Celebrity: The Production of Ordinariess and the Ordinariness of Production in Reality Television, Laura Grindstaff. 6. Feminism Below-the-Line: Defining Feminist Production Studies, Miranda J. Banks. 7. It's Not TV, It’s Brand Management TV: The Collective Author(s) of the Lost Franchise, Denise Mann. 8. Showrunning the Doctor Who Franchise: A Response to Denise Mann, Christine Cornea . Part Three: Production Spaces: Centers and Peripheries. 9. Liminal Places and Spaces: Public/Private Considerations, Candace Moore. 10. \"Not in Kansas Anymore\": Transnational Collaboration in Television Science Fiction Production, Jane Landman . 11. Crossing the Border: Studying Canadian Television Production, Elana Levine. 12. Borders of Production Research: A Response to Elana Levine, Serra Tinic . Part Four: Production as Lived Experience. 13. Studying Sideways: Ethnographic Access in Hollywood, Sherry Ortner. 14. Audience Knowledge and the Everyday Lives of Cultural Producers in Hollywood, Stephen Zafirau 15. Lights, Camera, but Where’s the Action? Actor-Network Theory and the Production of Robert Connolly's Three Dollars , Oli Mould . 16. Both Sides of the Fence: Blurred Distinctions in Scholarhip and Production (A Portfoloio of Interviews), John Caldwell . The Craft Association, Paul Malcolm . Hollywood Assistanting, Erin Hill . The Writer's Room, Felicia D. Henderson . Select Bibliography. List of Contributors. Index.

First we pass through the gauntlet of a book contract and completing a full manuscript. [...]as we read and edit our work, we would be well served to consider whether the book we have written is the one we wanted someone to write.

The representation of national monuments in science fiction film can celebrate or distort their traditional symbolism, for the sake of pure spectacle and to embody universal ideals. Three models for how monuments are portrayed are outlined: as a specific landmark, as a site of mass destruction, and as a ruin of civilization.

The representation of national monuments in science fiction film can celebrate or distort their traditional symbolism, for the sake of pure spectacle and to embody universal ideals. Three models for how monuments are portrayed are outlined.

Screen-printed electrochemical sensing platforms, due to their scales of economy and high reproducibility, can provide a useful approach to translate laboratory-based electrochemistry into the field. An important factor when utilising screen-printed electrodes (SPEs) is the determination of their real electrochemical surface area, which allows for the benchmarking of these SPEs and is an important parameter in quality control. In this paper, we consider the use of cyclic voltammetry and chronocoulometry to allow for the determination of the real electrochemical area of screen-printed electrochemical sensing platforms, highlighting to experimentalists the various parameters that need to be diligently considered and controlled in order to obtain useful measurements of the real electroactive area.

2D hexagonal boron nitride (2D-hBN) is a lesser utilised material than other 2D counterparts in electrochemistry due to initial reports of it being non-conductive. As we will demonstrate in this review, this common misconception is being challenged, and researchers are starting to utilise 2D-hBN in the field of electrochemistry, particularly as the basis of electroanalytical sensing platforms. In this critical review, we overview the use of 2D-hBN as an electroanalytical sensing platform summarising recent developments and trends and highlight future developments of this interesting, often overlooked, 2D material.

Changing the connection length of an additively manufactured electrode (AME) has a significant impact on the electrochemical and electroanalytical response of the system. In the literature, many electrochemical platforms have been produced using additive manufacturing with great variations in how the AME itself is described. It is seen that when measuring the near-ideal outer-sphere redox probe hexaamineruthenium (III) chloride (RuHex), decreasing the AME connection length enhances the heterogeneous electrochemical transfer (HET) rate constant (k0) for the system. At slow scan rates, there is a clear change in the peak-to-peak separation (ΔEp) observed in the RuHex voltammograms, with the ΔEp shifting from 118 ± 5 mV to 291 ± 27 mV for the 10 and 100 mm electrodes, respectively. For the electroanalytical determination of dopamine, no significant difference is noticed at low concentrations between 10- and 100-mm connection length AMEs. However, at concentrations of 1 mM dopamine, the peak oxidation is shifted to significantly higher potentials as the AME connection length is increased, with a shift of 150 mV measured. It is recommended that in future work, all AME dimensions, not just the working electrode head size, is reported along with the resistance measured through electrochemical impedance spectroscopy to allow for appropriate comparisons with other reports in the literature. To produce the best additively manufactured electrochemical systems in the future, researchers should endeavor to use the shortest AME connection lengths that are viable for their designs.