About this product

Product Identifiers

PublisherBfi Publishing

ISBN-101839024623

ISBN-139781839024627

eBay Product ID (ePID)27060624870

Product Key Features

Number of Pages192 Pages

LanguageEnglish

Publication NameSupply Chain Cinema : Producing Global Film Workers

SubjectFilm / General, Film / Direction & Production, Film / History & Criticism

Publication Year2024

TypeTextbook

AuthorKay Dickinson

Subject AreaPerforming Arts

SeriesInternational Screen Industries Ser.

FormatHardcover

Dimensions

Item Height0.7 in

Item Weight18.1 Oz

Item Length9.5 in

Item Width6.4 in

Additional Product Features

Intended AudienceScholarly & Professional

Dewey Edition23

ReviewsSupply Chain Cinema is a critical reconceptualization of blockbuster film production and a scathing indictment of the ways in which higher education and skills training schemes have become complicit in producing a workforce amendable to demands of global capital. This is essential reading and a cautionary tale that troubles how governments and universities are responding to the creative economy., " Supply Chain Cinema is a critical reconceptualization of blockbuster film production and a scathing indictment of the ways in which higher education and skills training schemes have become complicit in producing a workforce amendable to demands of global capital. This is essential reading and a cautionary tale that troubles how governments and universities are responding to the creative economy." --Kevin Sanson, Queensland University of Technology, Australia " Supply Chain Cinema is a vital contribution, arguing persuasively that global film production can now best be understood via supply chain logistics, with all the 'just-in-time' dynamics of inequity and extraction that this entails. Taking us on a journey to both the UK and the UAE, Dickinson foregrounds the voices and experiences of current and future film workers as they are swept up, trained up and then compelled to navigate the vagaries of the creative supply chain." --Bridget Conor, University of Auckland, New Zealand

Dewey Decimal791.430685

Table Of ContentIntroduction 1. Welcome (to) the Supply Chain: Competition, Adaptation and Compliance with Globalized Big Budget Cinema 2. Hollywood Offshores to British Shores: Warner Bros' Leavesden Studios Rides the Rise of the Creative Economy 3. Training Creative Wizardry: How British Filmmaking Education Attracts Supply Chain Cinema 4. Greasing the Wheels of Transnational Media Production: The United Arab Emirates' Post-Oil Vision for Education 5. Production Migrates to the Migrants: Precarious Film Labour in the UAE's Free Zones Conclusion Bibliography Index

SynopsisWhy are big budget films typically made across an array of seemingly dissociated sites? Supply Chain Cinema shows how movie blockbuster' production journeys exemplify the principles of a supply chain, whose core imperative is to route manufacturing to locations, the United Kingdom and the United Areb Emirates, Kay Dickinson explores how 'supply chain cinema' impacts film professionals and those aspiring to work in the sector. Dickinson ivestigates why Hollywood studios elect to make more of their films in the UK than in the USA, arguing that Britain's desire to grow its creative economy has rendered a casualised workforce all the more keenly adapted to the structures and demands of blockbuster production. She explores how the film industry, in concert with the UK government, has influenced film-making education to fit its needs. Finally, she assesses how the UAE has geared up its creative economy policy and education systems, largely through English-language franchised universities, to train a supply chainready workforce., Why are big budget films typically made across an array of seemingly dissociated sites? Supply Chain Cinema shows how the production journeys of such films exemplify the principles of the supply chain, whose core imperative is to nimbly and opportunistically manufacturing wherever is most amenable and efficient. Through extensive on-site investigations and in-depth interviews with film professionals, Kay Dickinson delivers nuanced insight into working practices in the UK and the UAE. Among the sites she examines is Warner Bros' permanent base at Leavesden Studios near London. From tax breaks designed to attract foreign projects to infrastructures, logistical support and expertise offered, she considers why Hollywood giants elect to make more of their films in Britain than in the USA. Dickinson goes on to show how the UK's ambitions to enlarge its creative economies has opened up a host of competitive advantages with British higher education increasingly fashioned to conform to the needs of border-hopping enterprise, thus generating a workforce keenly adapted to the demands of blockbuster moviemaking.

LC Classification NumberPN1995.9.P7D5 2024