Beyond the Bottom Line: The Producer in Film and Television Studies, editors Andrew Spicer, AT McKenna and Christopher Meir, Jun 2014
This chapter assesses the profound impact that digital forms of production are beginning to have ... more This chapter assesses the profound impact that digital forms of production are beginning to have on the role of the producer, using data from a major survey to assess changes in producers' understanding of their work in the context of rapid technological change.
The role of the screen producer is ramifying. Not only are there numerous producer categories, but the screen producer function is also found on a continuum across film, television, advertising, corporate video, and the burgeoning digital media sector. In recent years, fundamental changes to distribution and consumption practices and technologies should have had a correlate impact on screen production practices and on the role of existing screen producers. At the same time, new and recent producers are learning and practicing their craft in a field that has already been transformed by digitisation and media convergence. Our analysis of the work, experience and outlook of screen producers in this chapter is based on data collected in the Australian Screen Producer Survey (ASPS), a nation-wide survey conducted by the ARC Centre of Excellence for Creative Industries and Innovation, the media marketing firm Bergent Research, and the Centre for Screen Business at the Australian Film, Television and Radio School (AFTRS) in 2008/09 and 2011. We analyse the results to better understand the practice of screen production in a period of industry transition, and to recognise the persistence of established production cultures that serve to distinguish different industry sectors.
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Books by Ben Goldsmith
Accompanying the critical essays in this volume are more than one hundred new film reviews, complemented by full-colour film stills and significantly expanded references for further study. From The Piano to Red Dog, from Pictures to The Orator, Directory of World Cinema: Australia and New Zealand 2 completes this comprehensive treatment of two similar – but also different – consistently fascinating national cinemas.
This book will be of interest to practitioners, policymakers and industry leaders in the Creative Industries, in particular digital media, application development, design, journalism, media and communication. It will also appeal to academics and scholars of innovation, cultural studies, business management and labour studies.
—Provides detailed histories of numerous film studios in countries such as the United Kingdom (including a separate chapter on London's film studios), Ireland, Spain, Italy, Germany, the Czech Republic, Romania, South Africa, Australia, Mexico, Canada, and the United States.
—Looks at the international political economy of film production, the decentralization of production services, and the global-local connections for international film studios.
—Explores the current enthusiasm in various parts of the world to build, renovate or redevelop large-scale production infrastructure, specifically to host English-language feature films that are high budget and often special-effects driven.
—Elaborates the sometimes conflicting agendas at work in the competition for feature film production.
Papers by Ben Goldsmith
It is easy to see why Mr Hockey and his state treasurer counterparts have reportedly agreed to this move.
That doesn’t mean it’s a good idea.
This article is concerned with the many connections between creative work and workers, and education work and industries. Employment in the education sector has long been recognised as a significant element in creative workers’ portfolio careers. Much has been written, for example, about the positive contribution of ‘artists in schools’ initiatives. Australian census analyses reveal that education is the most common industry sector into which creative workers are ‘embedded’, outside of the core creative industries. However, beyond case studies and some survey research into arts instruction and instructors, we know remarkably little about in which education roles and sectors creative workers are embedded, and the types of value that they add in those roles and sectors. This article reviews the extant literature on creative work and workers in education, and presents the findings of a survey of 916 graduates from creative undergraduate degrees in Australia. The findings suggest that education work is very common among creative graduates indeed, while there are a range of motivating factors for education work among creative graduates, on average they are satisfied with their careers, and that creative graduates add significant creative-cultural and creative-generic value add through their work.
The role of the screen producer is ramifying. Not only are there numerous producer categories, but the screen producer function is also found on a continuum across film, television, advertising, corporate video, and the burgeoning digital media sector. In recent years, fundamental changes to distribution and consumption practices and technologies should have had a correlate impact on screen production practices and on the role of existing screen producers. At the same time, new and recent producers are learning and practicing their craft in a field that has already been transformed by digitisation and media convergence. Our analysis of the work, experience and outlook of screen producers in this chapter is based on data collected in the Australian Screen Producer Survey (ASPS), a nation-wide survey conducted by the ARC Centre of Excellence for Creative Industries and Innovation, the media marketing firm Bergent Research, and the Centre for Screen Business at the Australian Film, Television and Radio School (AFTRS) in 2008/09 and 2011. We analyse the results to better understand the practice of screen production in a period of industry transition, and to recognise the persistence of established production cultures that serve to distinguish different industry sectors.
Accompanying the critical essays in this volume are more than one hundred new film reviews, complemented by full-colour film stills and significantly expanded references for further study. From The Piano to Red Dog, from Pictures to The Orator, Directory of World Cinema: Australia and New Zealand 2 completes this comprehensive treatment of two similar – but also different – consistently fascinating national cinemas.
This book will be of interest to practitioners, policymakers and industry leaders in the Creative Industries, in particular digital media, application development, design, journalism, media and communication. It will also appeal to academics and scholars of innovation, cultural studies, business management and labour studies.
—Provides detailed histories of numerous film studios in countries such as the United Kingdom (including a separate chapter on London's film studios), Ireland, Spain, Italy, Germany, the Czech Republic, Romania, South Africa, Australia, Mexico, Canada, and the United States.
—Looks at the international political economy of film production, the decentralization of production services, and the global-local connections for international film studios.
—Explores the current enthusiasm in various parts of the world to build, renovate or redevelop large-scale production infrastructure, specifically to host English-language feature films that are high budget and often special-effects driven.
—Elaborates the sometimes conflicting agendas at work in the competition for feature film production.
It is easy to see why Mr Hockey and his state treasurer counterparts have reportedly agreed to this move.
That doesn’t mean it’s a good idea.
This article is concerned with the many connections between creative work and workers, and education work and industries. Employment in the education sector has long been recognised as a significant element in creative workers’ portfolio careers. Much has been written, for example, about the positive contribution of ‘artists in schools’ initiatives. Australian census analyses reveal that education is the most common industry sector into which creative workers are ‘embedded’, outside of the core creative industries. However, beyond case studies and some survey research into arts instruction and instructors, we know remarkably little about in which education roles and sectors creative workers are embedded, and the types of value that they add in those roles and sectors. This article reviews the extant literature on creative work and workers in education, and presents the findings of a survey of 916 graduates from creative undergraduate degrees in Australia. The findings suggest that education work is very common among creative graduates indeed, while there are a range of motivating factors for education work among creative graduates, on average they are satisfied with their careers, and that creative graduates add significant creative-cultural and creative-generic value add through their work.
The role of the screen producer is ramifying. Not only are there numerous producer categories, but the screen producer function is also found on a continuum across film, television, advertising, corporate video, and the burgeoning digital media sector. In recent years, fundamental changes to distribution and consumption practices and technologies should have had a correlate impact on screen production practices and on the role of existing screen producers. At the same time, new and recent producers are learning and practicing their craft in a field that has already been transformed by digitisation and media convergence. Our analysis of the work, experience and outlook of screen producers in this chapter is based on data collected in the Australian Screen Producer Survey (ASPS), a nation-wide survey conducted by the ARC Centre of Excellence for Creative Industries and Innovation, the media marketing firm Bergent Research, and the Centre for Screen Business at the Australian Film, Television and Radio School (AFTRS) in 2008/09 and 2011. We analyse the results to better understand the practice of screen production in a period of industry transition, and to recognise the persistence of established production cultures that serve to distinguish different industry sectors.