1 FilmL.A., Feature Film Report (Los Angeles: FilmL.A. Research, 2014), 13.
2 Michael Curtin and John Vanderhoef, “A Vanishing Piece of the Pi: The Globalization of Visual Effects Labor,” Television and New Media 16.3 (2015): 219–239.
3 Michael Curtin, Jennifer Holt, and Kevin Sanson, eds, Distribution Revolution: Conversations about the Digital Future of Film and Television (Berkeley: University of California Press, 2014), 159–163.
4 Curtin, Holt, and Sanson, Distribution Revolution, 191–192.
5 Felicia D. Henderson, “It’s Our Own Fault: How Post-strike Hollywood Continues to Punish Writers for Striking,” Popular Communication 8.3 (2010): 232–239.
6 “The Curse of Batman: Special Effects Expert Killed while Shooting Stunt Scene on Set of Latest Film,” Mail Online, November 4, 2008, www.dailymail.co.uk/news/article-1082689/The-CurseBatman-Special-effects-expert-killed-shooting-stunt-scene-set-latest-film.html.
7 Nellie Andreeva, “UPDATE: Stuntmen in ‘Expendables 2’ Fatal Accident Identified,” Deadline, October 31, 2011, http://deadline.com/2011/10/stuntman-dies-during-the-filming-of-the-expendables2-188158/
8 “Stuntmen Harry O’Connor Dies during Aerial Stunts for TripleX,” Aint It Cool News, April 7, 2002, www.aintitcool.com/node/11928
9 David S. Cohen and Ted Johnson, “‘Midnight Rider’ and the Fatal Flaws of Hollywood Safety,” Variety, March 11, 2014, http://variety.com/2014/biz/news/midnight-rider-accident-leaves-theindustry-pondering-the-fatal-flaws-in-on-set-safety-1201129615/.
10 Madhur Singh, “The Bollywood Strike Hits Festival Season,” Time, October 2, 2008, http:// content.time.com/time/world/article/0,8599,1846497,00.html; “1.5 Lakh Bollywood Workers Strike: Demand Regulated Working Hours,” October 1, 2008, http://articles.economictimes.indiatimes. com/2008–10–01/news/27725277_1_film-shooting-western-india-cine-employees-indefinite-strike; Randeep Ramesh, “Strike by 100,000 Film Workers Brings Bollywood to a Standstill,” Guardian, October 2, 2008, www.theguardian.com/world/2008/oct/02/4; “Bollywood Workers Strike ‘Over,’” BBC, October 3, 2008, http://news.bbc.co.uk/2/hi/south_asia/7651586.stm.
11 Andrew Ross, Nice Work If You Can Get It: Life and Labor in Precarious Times (New York: New York University Press, 2009), 2. Also see a special issue of Theory, Culture and Society edited by Rosalind Gil and Andy Pratt, 2008.
12 Doobo Shim, “South Korean Media Industry in the 1990s and the Economic Crisis,” Prometheus 20.4 (2002): 337–350; Chi-Yun Shin and Julian Stringer, New Korean Cinema (Oxford: Oxford University Press, 2005); Beng-Huat Chua and Koichi Iwabuchi, East Asian Pop Culture: Analysing the Korean Wave (Hong Kong: Hong Kong University Press, 2008).
13 Media companies generate a lot of internal research that they don’t make public for competitive reasons. They also contract proprietary studies from market research firms and management consultants and subscribe to independent market research services, such as Nielsen, NRG, Rentrak, as well as getting research input from talent agencies, MPA, and so on.
14 E&B Data, The Effects of Foreign Location Shooting on Canadian Film and Television Industry (Toronto: Department of Canadian Heritage, 2010); BaxStarr Consulting Group, Fiscal and Economic Impact Analysis of Louisiana’s Entertainment Incentives (New Orleans: Louisiana Economic Development Office, 2011); Screen Australia, Playing for Keeps: Enhancing Sustainability in Australia’s Interactive Entertainment Industry (Sydney: Screen Australia, 2011); Film Policy Review Panel, A Future for British Film (London: Department of Culture, Media and Sport, 2012).
15 Labor unions and guilds do not disclose research they commission to protect its value during contract negotiations. The most prominent exceptions are studies on employment practices and diversity. For example, “2014 DGA Episodic Television Diversity Hiring Report,” September 17, 2014, www. dga.org/News/PressReleases/2014/140917-Episodic-Director-Diversity-Report.aspx; Darnell Hunt, Turning Missed Opportunities Into Realized Ones: 2014 Hollywood Writers Report (Los Angeles: WGA, 2014), www.wga.org/uploadedFiles/who_we_are/HWR14.pdf; SAG-AFTRA, “2007 and 2008 Casting Data Reports,” www.sagaftra.org/files/sag/documents/2007–2008_CastingDataReports.pdf.
16 David Morley and Kevin Robins, Spaces of Identity: Global Media, Electronic Landscapes and Cultural Boundaries (New York: Routledge, 1995); Arjun Appadurai, Modernity at Large: Cultural Dimensions of Globalization (Minneapolis: University of Minnesota Press, 1996); John Tomlinson, Globalization and Culture (Chicago: University of Chicago Press, 1999); Michael Curtin, “Media Capitals: Toward the Study of Spatial Flows,” International Journal of Cultural Studies 6.2 (2003): 202–228; Homi K. Bhabha, The Location of Culture (New York: Routledge, 2004); Marwan Kraidy, Hybridity: The Cultural Logic of Globalization (Philadelphia: Temple University Press, 2005); Terhi Rantanen, The Media and Globalization (Thousand Oaks, CA: Sage, 2005); Nederveen Pieterse, Globalization and Culture: Global Melange, 2nd ed. (Lanham, MD: Rowman & Littlefield, 2009).
17 Toby Miller, Nitin Govil, John McMurria, Richard Maxwell, and Ting Wang, Global Hollywood 2 (London: British Film Institute, 2005).
18 Thomas H. Guback, The International Film Industry: Western Europe and America Since 1945 (Bloomington: Indiana University Press, 1969); Herbert I. Schiller, Mass Communication and American Empire, 2nd ed. (Boulder, CO: Westview, 1969).
19 Miller et al., Global Hollywood 2.
20 Susan Christopherson, “Behind the Scenes: How Transnational Firms Are Constructing a New International Division of Labor in Media Work,” Geoforum 37 (2006): 739–751.
21 Richard Florida, Cities and the Creative Class (New York: Routledge, 2005).
22 John Howkins, The Creative Economy (New York: Penguin, 2001).
23 Louis Story, “Michigan Town Woos Hollywood, but Ends Up with a Big Part,” New York Times, December 3, 2012, www.nytimes.com/2012/12/04/us/when-hollywood-comes-to-town.html.
24 Ben Goldsmith and Tom O’Regan, The Film Studio: Film Production in the Global Economy (Lanham, MD: Rowman & Littlefield, 2005); Terry Flew and Stuart Cunningham, “Creative Industries after the First Decade of Debate,” Information Society 26.2 (2010); Ben Goldsmith, Susan Ward, and Tom O’Regan, Local Hollywood: Global Film Production and the Gold Coast (Brisbane: University of Queensland Press, 2010); Doris Baltruschat, Global Media Ecologies: Networked Production in Film and Television (New York: Routledge, 2010); Terry Flew, The Creative Industries: Culture and Policy (London: Sage, 2012).
25 Angela McRobbie, British Fashion Design: Rag Trade or Image Industry? (New York: Routledge, 1998); Rosalind Gil, “Cool Creative and Egalitarian? Exploring Gender in Project-based New Media Work in Europe,” Information, Communication and Society 5.1 (2002): 70–89; Angela McRobbie, “From Holloway to Hollywood: Happiness at Work in the New Cultural Economy,” in Cultural Economy, edited by Paul du Gay and Michael Pryke (New York: Sage, 2002); Andy C. Pratt, “Hot Jobs in Cool Places: The Material Cultures of New Media Production Spaces: The Case of the South of Market, San Francisco,” Information, Communication, and Society 5.1 (2002): 27–50; Kate Oakley, “Include Us Out—Economic Development and Social Policy in the Creative Industries,” Cultural Trends 15 (2006): 255–273; Mark Banks, The Politics of Cultural Work (New York: Palgrave MacMillan, 2007); 97–114; Mark Banks, Rosalind Gil, Stephanie Taylor, eds., Theorizing Cultural Work: Labour, Continuity, and Change in the Cultural and Creative Industries (London: Routledge, 2013).
26 John Caldwell, Production Culture: Industrial Reflexivity and Critical Practice in Film and Television (Durham, NC: Duke University Press, 2008); Vicki Mayer, Miranda J. Banks, and John Caldwell, Production Studies: Cultural Studies of Media Industries (New York: Routledge, 2009); David Hesmondhalgh and Sarah Baker, Creative Labour: Media Work in Three Cultural Industries (New York: Routledge, 2011).
27 Vicki Mayer, Below the Line: Producers and Production Studies in the New Television Economy (Durham, NC: Duke University Press, 2011).
28 Michael Curtin and Kevin Sanson, “The Division of Labor in Television,” in The Sage Handbook of Television Studies, edited by Manuel Alvarado, Milly Buonanno, Herman Gray, and Toby Miller (Thousand Oaks, CA: Sage, 2015), 133–143.
29 Antonio Negri, The Politics of Subversion: A Manifesto for the Twenty-First Century (Cambridge: Polity, 1989), 79.
