How is hollywood movies contributing to internationalization

This study demonstrates that these films' financial and geographic characteristics and the relationship between a film's story setting and its shooting location were key causal forces that shaped how a Hollywood foreign production was organized. The dissertation also builds a historical account of the factors that facilitated a Hollywood film company's ability to export production to Great Britain, Italy and France. It argues that Hollywood's overseas productions resulted in a more flexible and transcultural movie-making process, in which filmmakers continued production practices established in the Hollywood studio system while adapting to the conditions of foreign film industries.

Finally, applying a historical approach to film style, this study investigates the creative choices that arose when Hollywood filmmakers confronted the challenges of working in real-world locales. It makes the case that these filmmakers brought foreign location shooting in line with the conventions of Hollywood story and style while also treating locations as bold expressive elements of a film's visual design.

Drawing on historical evidence gathered in Los Angeles and Europe e. Ultimately, this project historicizes the ongoing debates about "runaway" production and serves as a model of analysis for studying the transnational flow of labor, production practices and stylistic ideas. Skip to main content. Email Facebook Twitter. For improved accessibility of PDF content, download the file to your device.

Thumbnails Document Outline Attachments. Highlight all Match case. To do this, I went through every print issue of Daily Variety from to , which took many months. But it was worth it. Nair: Film history is always shaped by what film historians can access in the archives at any given point in time. Was there any discovery that brought into view the institutional and corporate structures and negotiations—sometimes imperceptible to the historian—that shape film history?

I hope that studios and media companies will make their records accessible for the future of film and media history. Of course, legal and privacy issues become a deterrent. So balancing studio papers with governmental records became a critical way to assemble an international production history. My favorite part of working on this book was doing research at archives and special collections. One question that came up for me was why studios were filing correspondence and keeping these records after a film was released.

Following the paper trail of various productions, it became clear that one reason was an attempt to collect production knowledge on paper that future production organizers could access. This motive was especially vital on overseas shoots, where filmmakers were encountering new working conditions.

For example, Paramount production manager C. This process of institutional record keeping became a way to archive production knowledge. For me, it was a small but consequential piece in unraveling how global production functioned as an industry strategy.

Yet, one of the striking insights of Runaway Hollywood is its processual view of capitalism, on the ground. Were these as surprising to you as they were to me? Steinhart: In explaining the development of runaway production, besides tracking the tangible effects of capitalism on film workers, I also wanted to demonstrate that capital-intensive productions were messy and risky overseas. Productions like Mutiny on the Bounty [Lewis Milestone, Carol Reed, ] revealed that a big-budget operation could be overwhelmed by weather problems, scheduling mistakes, and labor issues.

I found that the filmmakers who went abroad did encounter a whole new set of logistical challenges they had to overcome. Sometimes they applied Hollywood methods; sometimes they revised these methods.

But over time, the experience of working abroad coalesced into production knowledge that was shared … [in] a form of standardization … [and] a pattern of stability and change [that] … reflected the way that revisionist histories of the studio system had characterized the production process. I tried to figure out how multinational crews communicated and collaborated with each other, or how Hollywood filmmakers dealt with new on-set protocols, like the British tea break. What do their voices reveal about the political economy of filmmaking and contribute to media industry and production studies, as well as to film studies in general?

I found that someone like French script supervisor Sylvette Baudrot was essential to Hollywood films shooting in Europe. She spoke multiple languages, and she could integrate Hollywood and foreign practices.

Ultimately, I wanted to demonstrate what the runaway production phenomenon could tell us about postwar Hollywood. By tracking workers, I could show that Hollywood companies asserted their global power by functioning in an adaptable manner through the specific practices of Hollywood personnel who fulfilled the needs of overseas film industries, such as hiring foreign crews. By studying below-the-line workers, it becomes evident that the relationship between Hollywood and foreign industries was more nuanced since foreign labor could sometimes reshape Hollywood studio practices.

Shining a light on the contributions and agency of below-the-line crew members therefore felt crucial. You write, for example, that it was an unfinished roof at the studio that led MGM to light a banquet scene with the sunlight that was streaming in [85]. How can the close analysis of a film on-screen—its images, sounds, stories—fruitfully engage with the documentary traces you uncovered of profilmic space, its histories, accidents, and contingencies?

Steinhart: I pursued this question when I started the project. Global Hollywood. London: BFI Publishing, Mingant, Nolwenn. Her current research areas are the presence of foreign languages in contemporary Hollywood films and the relationship between Hollywood and the Arab world.

She has published several articles on the British film industry. The identity of British cinema, film policy in Britain and the relationships between cinema and television are some of her current research interests. Voir la notice dans le catalogue OpenEdition. Plan du site — Flux de syndication. Navigation — Plan du site. Global Film and Television Industries Today. Nolwenn Mingant et Cecilia Tirtaine. Texte Bibliographie Notes Citation Auteurs. Bibliographie Christie, Ian.

Notes 1 Toby Miller et al. Haut de page. Austin: University of Texas Press, , pages. In visibilizing the Subaltern 8. Suivez-nous Flux RSS.