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\"The film industry in Hollywood now employs a global mode of production run by massive media conglomerates that mobilize hundreds, sometimes thousands, of workers for each feature film or television series. Yet these workers and their labor remain largely invisible to the general audience. In fact, this has been a signal characteristic of Hollywood style for more than a hundred years: everything that matters happens onscreen, not off. Consequently, when it comes to movies and television, the voices heard most often are those belonging to talent and corporate executives. Those we hear least are the voices of labor, and it's that silence we aim to redress in the collection of interviews in this book. Drawing from the detailed and personal accounts in this collection, we offer three interrelated propositions about the current state and future prospects of craftwork and screen media labor: 1. Craftwork exists within an intricate and intimate matrix of social relations. 2. Hollywood craftwork today constitutes a regime of excessive labor. 3. Screen media production is a protean entity. We organized the collection into three sections: company town, global machine, and fringe city. The first section refers to Hollywood's historic roots as a core component of the motion picture business. The second section engages more directly with the spatial dynamics of film and television production to underscore the economic and political structures that are integrating distant locations into the studios' mode of production. We close with a section on the visual effects sector, in which stories shared by vfx artists, advocates, and organizers specifically illustrate how the industry today relies on marginal institutions to sustain its power and profitability\"--Provided by publisher.

Distribution Revolution is a collection of interviews with leading film and TV professionals concerning the many ways that digital delivery systems are transforming the entertainment business. These interviews provide lively insider accounts from studio executives, distribution professionals, and creative talent of the tumultuous transformation of film and TV in the digital era. The first section features interviews with top executives at major Hollywood studios, providing a window into the big-picture concerns of media conglomerates with respect to changing business models, revenue streams, and audience behaviors. The second focuses on innovative enterprises that are providing path-breaking models for new modes of content creation, curation, and distribution—creatively meshing the strategies and practices of Hollywood and Silicon Valley. And the final section offers insights from creative talent whose professional practices, compensation, and everyday working conditions have been transformed over the past ten years. Taken together, these interviews demonstrate that virtually every aspect of the film and television businesses is being affected by the digital distribution revolution, a revolution that has likely just begun. Interviewees include: • Gary Newman, Chairman, 20th Century Fox Television • Kelly Summers, Former Vice President, Global Business Development and New Media Strategy, Walt Disney Studios • Thomas Gewecke, Chief Digital Officer and Executive Vice President, Strategy and Business Development, Warner Bros. Entertainment • Ted Sarandos, Chief Content Officer, Netflix • Felicia D. Henderson, Writer-Producer, Soul Food, Gossip Girl • Dick Wolf, Executive Producer and Creator, Law & Order

\"Precarious Creativity examines the seismic changes confronting media workers in an age of globalization and corporate conglomeration. This pathbreaking anthology peeks behind the hype and supposed glamor of screen media industries to reveal the intensifying pressures and challenges confronting actors, editors, electricians, and others. The authors take on pressing conceptual and methodological issues while also providing insightful case studies of workplace dynamics regarding creativity, collaboration, exploitation, and cultural difference. Furthermore, it examines working conditions and organizing efforts on all six continents, offering broad-ranging and comprehensive analysis of contemporary screen media labor in such places as Lagos, Prague, Hollywood, and Hyderabad. The collection also examines labor conditions across a range of job categories that includes, for example, visual effects, production services, and adult entertainment. With contributions from such leading scholars as John Caldwell, Vicki Mayer, Herman Gray, and Tejaswini Ganti, Precarious Creativity offers timely critiques of media globalization while also intervening in broader debates about labor, creativity, and precarity\"--Provided by publisher.

As patterns of media use become more integrated with mobile technologies and multiple screens, a new mode of viewer engagement has emerged in the form of connected viewing, which allows for an array of new relationships between audiences and media texts in the digital space. This exciting new collection brings together twelve original essays that critically engage with the socially-networked, multi-platform, and cloud-based world of today, examining the connected viewing phenomenon across television, film, video games, and social media. The result is a wide-ranging analysis of shifting business models, policy matters, technological infrastructure, new forms of user engagement, and other key trends affecting screen media in the digital era. Connected Viewing contextualizes the dramatic transformations taking place across both media industries and national contexts, and offers students and scholars alike a diverse set of methods and perspectives for studying this critical moment in media culture.

As patterns of media use become more integrated with mobile technologies and multiple screens, a new mode of viewer engagement has emerged in the form of connected viewing, which allows for an array of new relationships between audiences and media texts in the digital space. This exciting new collection brings together twelve original essays that critically engage with the socially-networked, multi-platform, and cloud-based world of today, examining the connected viewing phenomenon across television, film, video games, and social media. The result is a wide-ranging analysis of shifting business models, policy matters, technological infrastructure, new forms of user engagement, and other key trends affecting screen media in the digital era. Connected Viewing contextualizes the dramatic transformations taking place across both media industries and national contexts, and offers students and scholars alike a diverse set of methods and perspectives for studying this critical moment in media culture. Jennifer Holt is Associate Professor of Film and Media Studies at the University of California, Santa Barbara. Kevin Sanson is Research Director of the Carsey-Wolf Center’s Media Industries Project at the University of California, Santa Barbara. \"The book pitches itself as an introductory text for use in courses dealing with contemporary media studies and as such is a strong work. This makes it an excellent snapshot of the world of media technologies from 2010 to 2013. Summing Up: Highly recommended. Upper-division undergraduates through professionals/practitioners.\" —P. L. Kantor, formerly, Southern Vermont College, in CHOICE \"What counts as media entertainment—the modes of accessing it, the cultural routines around it, and the new ways to profit from it—is fast outstripping our critical frames of reference. The exhilarating challenge to throw an explanatory net over this refractory field has been taken up with relish by Connected Viewing .\" —Stuart Cunningham, Queensland University of Technology \"Jennifer Holt and Kevin Sanson provide a compelling and wide-ranging examination of the contemporary media environment that presents issues ripe for new types of research, while also giving scholars, students, and industry executives alike a multifaceted understanding of how—and why—people participate in viewing and sharing activities the way they do.\" —Sam Ford, co-author of Spreadable Media \"Introduction: Mapping Connections\" - Jennifer Holt and Kevin Sanson I: Industry Structure and Strategies 1. \"Regulating Connected Viewing: Media Pipelines and Cloud Policy\" - Jennifer Holt 2. \"Second-Screen Theory: From the Democratic Surround to the Digital Enclosure\" - Hye-Jin Lee and Mark Andrejevic 3. \"Windows into the Digital World: Distributor Strategies and Consumer Choice in an Era of Connected Viewing\" - Elissa Nelson 4. \"The Personal Media Collection in an Era of Connected Viewing\" - Gregory Steirer II: Technology and Platforms 5. \"Beyond Piracy: Understanding Digital Markets\" - Patrick Vonderau 6. \"Transparent Intermediaries: Building the Infrastructures of Connected Viewing\" - Joshua Braun 7. \"American Media Behind the Great Fire Wall: Chinese Social Media and Hollywood Film Distribution in the PRC\" - Aynne Kokas 8. \"Online Distribution of Film and Television in the UK: Behavior, Taste and Value\" - Elizabeth Evans and Paul McDonald III: Content and Engagement 9. \"Connected Viewing, Connected Capital: Fostering Gameplay Across Screens\" - Matthew Thomas Payne 10. \"Connected Viewing on the Second Screen: The Limitations of the Living Room\" - Ethan Tussey 11. \"Streaming U: College Students and Connected Viewing\" - Max Dawson and Chuck Tryon 12. \"The Contours of On-Demand Viewing\" - Sharon Strover and William Moner

As patterns of media use become more integrated with mobile technologies and multiple screens, a new mode of viewer engagement has emerged in the form of connected viewing, which allows for an array of new relationships between audiences and media texts in the digital space. This exciting new collection brings together twelve original essays that critically engage with the socially-networked, multi-platform, and cloud-based world of today, examining the connected viewing phenomenon across television, film, video games, and social media. The result is a wide-ranging analysis of shifting business models, policy matters, technological infrastructure, new forms of user engagement, and other key trends affecting screen media in the digital era. Connected Viewing contextualizes the dramatic transformations taking place across both media industries and national contexts, and offers students and scholars alike a diverse set of methods and perspectives for studying this critical moment in media culture.

As the media industries adapt to technological change and consumers continuously resist and reshape institutional imperatives, the term connected viewing points to an impending revolution in how screen media is created, circulated, and consumed. It refers specifically to a multiplatform entertainment experience, and relates to a larger trend across the media industries to integrate digital technology and socially networked communication with traditional screen media practices. These developments have resulted in the migration of our media and our attention from one screen to many, directed the flow of entertainment content in new patterns, and upended traditional business models. Because of the dramatic ways the phenomenon of connected viewing has affected the contemporary media landscape, it also provides a crucial frame through which we can understand the evolution of film, television, and gaming in the digital era.

In the past five years, the scramble to manage the digital future of film and television has sparked both turmoil and transformation, forcing industry leaders to reconsider established maxims about how screen media are created, circulated, and consumed. We see it almost every day in the headlines of trade papers and the mainstream press. For example, the 2007 Writers Guild strike hinged on payments and residuals for network and cable television content being streamed online. After a long and bitter conflict, the writers finally settled when the studios agreed to pay them more for digitally distributed work. Although the strike