Rowman & Littlefield Publishers
Pages: 248
•
Trim: 6 x 9¼
978-0-7425-3680-7 • Hardback • May 2005 • $159.00 • (£123.00)
978-0-7425-3681-4 • Paperback • April 2005 • $66.00 • (£51.00)
978-0-7425-8002-2 • eBook • May 2005 • $62.50 • (£48.00)
Ben Goldsmith is a lecturer in the Centre for Screen Studies and Research at the Australian Film, Television, and Radio School in Sydney, Australia. Tom O'Regan is professor of media and cultural studies in the School of English, Media Studies, and Art History at the University of Queensland.
Chapter 1 Acknowledgments
Chapter 2 Introduction
Chapter 3 1 International Production and Globalization
Chapter 4 2 Types of Studio
Chapter 5 3 Studios, the "Location Interest," and Policy
Chapter 6 4 Studios, Stargates, and Urban Reimagining
Chapter 7 5 Extreme Dreams in Satellite Locations: The Rise of the Greenfields Studio
Chapter 8 6 From National to International Film Studios
Chapter 9 7 Still Exceptional? London's Film Studios
Chapter 10 8 "The Same but Different!": Canadian Studios and International Production
Chapter 11 9 Still the Center: Studios and the United States
Chapter 12 Bibliography
Chapter 13 Index
Chapter 14 About the Authors
The book's strategy—positioning the studio at the centre of current international production—permits a very persuasive and useful analysis of where the industry (in the largest sense) is now and how it got here.
— R. J. Thompson, La Trobe University; Media International Australia
The global film industry is evidently on the verge of a major sea-change as more and more shooting activities decentralize from traditional centers of production—above all Hollywood–to other locations, all over the world. Goldsmith and O'Regan provide us with the first systematic in-depth assessment of this trend and its implications for the future of the global landscape of film-making activities.
— Allen J. Scott, University of California, Los Angeles
—Provides detailed histories of numerous film studios in countries such as the United Kingdom (including a separate chapter on London's film studios), Ireland, Spain, Italy, Germany, the Czech Republic, Romania, South Africa, Australia, Mexico, Canada, and the United States.
—Looks at the international political economy of film production, the decentralization of production services, and the global-local connections for international film studios.
—Explores the current enthusiasm in various parts of the world to build, renovate or redevelop large-scale production infrastructure, specifically to host English-language feature films that are high budget and often special-effects driven.
—Elaborates the sometimes conflicting agendas at work in the competition for feature film production.