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3.6: Notes

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    1 Allen Scott, On Hollywood (Princeton, NJ: Princeton University Press, 2005); and Toby Miller, Nitin Govil, John McMurria, and Richard Maxwell, Global Hollywood (London: British Film Institute, 2001).

    2 Vicki Mayer, Below the Line (Durham, NC: Duke University Press, 2011); and Matt Stahl, Unfree Masters (Durham, NC: Duke University Press, 2013).

    3 John Thornton Caldwell, Televisuality: Style, Crisis, and Authority in American Television (New Brunswick, NJ: Rutgers University Press, 1995); and John Thornton Caldwell, Production Culture: Industrial Reflexivity and Critical Practice in Film and Television (Durham, NC: Duke University Press, 2008).

    4 Henry Jenkins, Convergence Culture (New York: New York University Press, 2006).

    5 This is a play on Henry Jenkins, Spreadable Media (New York: New York University Press, 2013).

    6 John Caldwell, “Para-Industry,” Cinema Journal 52.3. (Spring 2013): 157–165.

    7 Scott, On Hollywood; and Michael Curtin, Playing to the World’s Biggest Audience (Berkeley: University of California Press, 2007).

    8 John Caldwell, “Convergence Television: Aggregating Form and Repurposing Content in the Culture of Conglomeration,” in Television after TV, ed. Lynn Spigel (Durham, NC: Duke University Press, 2004), 41–74.

    9 By contrast, screenwriters still write spec scripts for film without promise of payment, yet continue maintaining “long-odds” hope that someone might buy script to make a movie.

    10 See Erin Hill, “Women’s Work: Feminized Labor in Hollywood, 1930–1948” PhD diss., UCLA, 2014.

    11 One of the best explorations of cross-cultural spec-mediation is Aynne Kokas, “Shot in Shanghai: Western Film Co-Production in Post-WTO Mainland China,” PhD diss., UCLA, 2012.

    12 See example of crowd-sourced online-to-feature film project, Life in a Day. YouTube solicited thousands of user-shot videos to make its feature project. When the resulting aggregate project was screened online, then shown as a feature film in festivals, the project was boldly hyped as a “Ridley Scott Production,” clearly erasing its utopian collectivity.

    13 See John Caldwell, Televisuality (New Brunswick, NJ: Rutgers University Press, 1995); Anna Everett and John Caldwell, eds., New Media (New York: Routledge, 2003); and John Caldwell, Production Culture (Durham, NC: Duke University Press, 2008)

    This page titled 3.6: Notes is shared under a CC BY 4.0 license and was authored, remixed, and/or curated by John T. Caldwell (University of California Press) via source content that was edited to the style and standards of the LibreTexts platform.