The lowest-priced, brand-new, unused, unopened, undamaged item in its original packaging (where packaging is applicable).Packaging should be the same as what is found in a retail store, unless the item is handmade or was packaged by the manufacturer in non-retail packaging, such as an unprinted box or plastic bag.See details for additional description.
I. Tools of the Trade 1. Chris Peterson, I Like My Bots Like I Like My People: Weird, Mixed, Always Acting 2. Mary Desjardins, Performance, Labor, and Stardom in the Era of the Synthespian 3. Patrick Vonderau, How Global is Hollywood? Division of Labor from a Prop-Making Perspective II. Being the Brand 4. Nina Huntemann, Working the Booth: Promotional Models and the Value of Affective Labor 5. Catherine Johnson and Paul Grainge, From Broadcast Design to 'On-Brand TV': Repositioning Expertise in the Promotional Screen Industries 6. Kristin J. Lieb, Pop Stars Perform 'Gay' for The Male Gaze: The Production of Fauxmosexuality in Female Popular Music Performances and Its Representational Implications III. Production Pedagogies 7. Eva Novrup Redvall, Craft, creativity, collaboration, and connections: Educating talent for Danish television drama series 8. Jonathan Corpus Ong, Charity Appeals as 'Poverty Porn'? Production Ethics in Representing Suffering Children and Typhoon Haiyan Beneficiaries in the Philippines 9. Eva Pjajcikova and Petr Szczepanik, Group Writing for Post-Socialist Television IV. Putting the Public Back in Public Service 10. James Bennett, Public Service as Production Cultures: A Contingent, Conjunctural Compact 11. Tiziano Bonini and Alessandro Gandini, Invisible workers in an Invisible Medium: An Ethnographic Approach to Italian Public and Private Freelance Radio Producers 12. Anna Zoellner, Detachment, Pride, Critique: Professional Identity in Independent Factual Television Production in Great Britain and Germany 13. Mary Elizabeth Luka, CBC ArtSpots and the Activation of Creative Citizenship V. Transnational Circuits 14. Alessandro Jedlowski, Avenues of Participation and Strategies of Control: Video Film Production and Social Mobility in Ethiopia and Southern Nigeria 15. Dennis Lo, From Experiencing Life to Life Experiences: Location Shooting Practices in Chinese and Taiwanese New Wave Cinemas 16. John Vanderhoef and Michael Curtin, The Crunch Heard Round the World: The Global Era of Digital Game Labor VI. Redefining the Industry 17. Nicholas Boston and Brooke Erin Duffy, What Actually Matters: Identity, Individualization, and Aspiration in the Work of Glossy Magazine Production 18. Alisa Perren, The Trick of the Trades: Media Industry Studies and the American Comic Book Industry 19. Naomi Sakr and Jeanette Steemers, Co-Producing Content for Pan-Arab Children's TV: State, Business and the Workplace 20. Deborah L. Jaramillo, Keep Big Government out of your Television Set: The Rhetoric of Self-Regulation Before the Television Code
Miranda Banks is Assistant Professor of Visual and Media Arts at Emerson College and a research fellow in the Emerson Engagement Lab. She is author of The Writers: A History of American Screenwriters and Their Guild and co-editor of Production Studies: Cultural Studies of Media Industries. Bridget Conor is a lecturer in the Centre for Culture, Media and Creative Industries at King's College London. She is the author of Screenwriting: Creative Labour and Professional Practice and the co-editor, with Rosalind Gill and Stephanie Taylor, of Gender and Creative Labour. Vicki Mayer is Professor of Communication at Tulane University. She has published widely on media production and producers, and is the author of Below the Line: Producers and Production Studies in the New Television Economy and Producing Dreams, Consuming Youth: Mexican Americans and Mass Media.