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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.

\"Gain the skills you need to succeed in the television industry and master the production process, from shooting and producing, to editing and distribution. This new and updated 17th edition of Television Production offers a thorough and practical guide to professional TV production techniques. Learn how to anticipate and quickly overcome commonly encountered problems in television production as author Jim Owens details each role and process, including the secrets of top-grade camerawork, persuasive lighting techniques, and effective sound treatment, as well as the subtle processes of scenic design, directing, and the art of video editing. Updated throughout, containing a range of new figures and diagrams, the 17th edition of this classic text includes: - A discussion of the changing definition of 'television' and how new technology alters viewing habits; - Interviews with professionals in the industry about the challenges they face during the production process and the advice they would give to those trying to break into the production and television industries; - A review of production practices and techniques for VR; - A description of the latest cameras and equipment, including LED lighting and remote production; - Guidance and techniques for low-budget, DIY-style productions; - A comprehensive resource page for instructors, containing slides and testing materials to aid in the learning process can be found at www.routledge.com/cw/owens.\"-- Provided by publisher.

\" Blows the lid on so many TV secrets \" Tom Archer, Controller Factual, BBC \" If every first-time producer read this before pitching a program, I guarantee a greater success rate\" Gary Lico, President/CEO, CABLEready, USA In recent years there has been an explosion of broadcast and cable channels with a desperate need for original factual/reality programming to fill their schedules: documentaries, observational series, makeover formats, reality competitions. Yet television executives receive a daily avalanche of inappropriate pitches from pushy, badly prepared producers. Only 1 in 100 proposals are considered worth a second look, and most commissioners never read past the first paragraph. Greenlit explains how to develop, research, pitch and sell your idea for any type of factual or reality television show. It gives the inside track on: - What channel executives are really looking for in a pitch - The life stories of hit factual shows such as The Apprentice, Deadliest Catch and Strictly Come Dancing - Advice from channel commissioners, development producers and on-screen talent on both sides of the Atlantic - Eleven steps that will increase your chance of winning a commission In a rapidly expanding TV market, Greenlit is packed with resource lists, sample proposals, case studies and exercises designed to boost your skills and develop commission-winning proposals.

The Art and Craft of TV Directing offers a broad and in-depth view of the craft of TV Directing in the form of detailed interviews with dozens of the industry’s most accomplished episodic television directors. Author Jim Hemphill provides students with essential information on the complexities of working in episodic TV, highlighting the artistic, technical, and interpersonal skills required, and exploring a variety of entry points and approaches to provide a comprehensive overview of how to begin and sustain a career as a television director. The book discusses how to merge one’s personal style with the established visual language of any given show, while also adhering to tight budgets and schedules and navigating the complicated politics of working with showrunners, networks, and producers. The book also features interviews with a range of directors, from feature directors who have moved into episodic TV (Kimberly Peirce, Mark Pellington) to directors who have made the transition from other disciplines such as acting (Andrew McCarthy, Lea Thompson), hair and makeup (Stacey K. Black), and stunts (David M. Barrett). This book provides unprecedented access to the experiences and advice of contemporary working episodic television directors, and is an ideal resource for students studying television directing, early career professionals looking for advice, and working directors looking to make the transition from feature directing to episodic TV directing.

\"This companion to the first three seasons of the award-winning, celebrated TV drama is packed with script selections (including all three pilots), candid behind-the-scenes photography, pitch documents, and interviews with cast and crew.\"-- Publisher's description.

With the increased international demand for TV drama and rise of global streamers as multi-territory buyers, small successful independent producers of European TV fiction have increasingly become takeaway targets for established and financially strong multinational media conglomerates. Against the background of corporate takeovers and consolidation, an important question is whether and how corporate ownership in the television production sector influences the independence of production companies and content creation, with potential implications for cultural diversity. This article relies upon data analysis of 192 TV drama productions in Denmark and Flanders, Belgium, to better understand the relationship between different corporate configurations of TV drama production companies and their access to domestic and transnational financiers. The study examines independent and consolidated companies engaged in productions across varied financing models, which include financing from public and private broadcasters, transnational streamers, and other financiers. The analysis on financiers involved in production indicates that in both markets transnational streamers financed the largest share of TV drama series from integrated production companies. In Flanders, global streaming platforms only produced fiction series in collaboration with domestic broadcasters as co-financiers, whereas in Denmark, streamers predominantly acted as sole financiers for TV drama productions. The findings indicate that traditional financiers in Flanders and Denmark are crucial in financing content produced by stand-alone indies. The article makes a theoretical contribution by examining the under-researched relationships between producers and financiers at the meso-level, focusing on production companies' ownership structures, the types of financiers involved in productions, and the potential implications for cultural diversity.

\"This is the first collection of original critical essays devoted to exploring the misunderstood, neglected and frequently caricatured role played by the film producer. The editors' introduction provides a conceptual and methodological overview, arguing that the producer's complex and multifaceted role is crucial to a film's success or failure. The collection is divided into three sections where detailed individual essays explore a broad range of contrasting producers working in different historical, geographical, generic and industrial contexts. Rather than suggest there is a single type of producer, the collection analyses the rich variety of roles producers play, providing fascinating and informative insights into how the film industry actually works. This groundbreaking collection challenges several of the conventional orthodoxies of film studies, providing a new approach that will become required reading for scholars and students\"-- Provided by publisher.

In recent years, several South Korean film and television productions have captured worldwide attention, notably exemplified by the 2019 film Parasite, which clinched the Academy Award for Best Picture as the first non-English-language work. Among them, the original Netflix series Squid Game stands out as a representative example, reaching No. 1 on Netflix’s Top 10 lists in 94 countries. The internationalization of these works has led to further enhancement of this country’s cultural diplomacy capabilities. As one of the creators of Squid Game, Netflix seems to impact this process. However, how much of a role it has played is still up for discussion. The principal objective of this article is to evaluate Netflix’s role in the internationalization of South Korean film and television productions, because on this basis, there will be a possibility to explore the potential replicability of this successful experience in other contexts and regions. Through a combination of quantitative and qualitative research methodologies, we investigated the development of its film and television industry since 1997. Our findings highlight Netflix’s role as a “megaphone” and a “signpost” for South Korean content on the global stage. Otherwise, it’s also necessary to recognize that the well-established and mature development of the Korean film and television industry itself is also an important reason for Netflix’s surprising success in South Korean content.