Histories of 1970s American cinema have often positioned tax shelter financing as the economic base that allowed for a flourishing of the “New Hollywood,” a cinematic period characterized by auteurist breaks with the narrative and stylistic conventions that previously standardized Hollywood filmmaking. This article investigates how such tax shelters operated in practice and made the motion picture industry part of a growing tax shelter industry. Specifically, I detail the work of the tax shelter “packager,” an industry figure who emerged as a liaison between motion picture organizations and sources of financing. In so doing, I argue that, while tax shelter financing did not give outside investors or firms meaningful control over the content of 1970s films, this practice placed motion picture investment within the growing financialization of the American economy and attendant strategies of high-income tax avoidance.
{"title":"Between the Movie and the Money: Packaging the 1970s Motion Tax Shelter","authors":"Landon Palmer","doi":"10.3998/mij.455","DOIUrl":"https://doi.org/10.3998/mij.455","url":null,"abstract":"Histories of 1970s American cinema have often positioned tax shelter financing as the economic base that allowed for a flourishing of the “New Hollywood,” a cinematic period characterized by auteurist breaks with the narrative and stylistic conventions that previously standardized Hollywood filmmaking. This article investigates how such tax shelters operated in practice and made the motion picture industry part of a growing tax shelter industry. Specifically, I detail the work of the tax shelter “packager,” an industry figure who emerged as a liaison between motion picture organizations and sources of financing. In so doing, I argue that, while tax shelter financing did not give outside investors or firms meaningful control over the content of 1970s films, this practice placed motion picture investment within the growing financialization of the American economy and attendant strategies of high-income tax avoidance.","PeriodicalId":247207,"journal":{"name":"Media Industries","volume":"76 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128637921","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The materialization of television formats (e.g., The Masked Singer formats) has become a popular commodity in the global television trade. A television format is an idea, concept, or formula. How can buyers and sellers exchange intangible things such as formats? In this article, I examine the materialization process of formats, which enables the orderly exchange between buyers and sellers in marketplaces. By examining MIPFormats, the only global format conference held prior to Marché International des Programmes de Télévision, I argue that the format conference serves the distinct function of managing the format materialization process. I specifically highlight two aspects of the materialization process: objectification and singularization. Through three strategies—visualizing formats, educating format producers and creators, and establishing a normative framework—MIPFormats holds formats together as tradable items in the global television market.
{"title":"The Materialization of Television Formats","authors":"Joon-Weon Choi","doi":"10.3998/mij.417","DOIUrl":"https://doi.org/10.3998/mij.417","url":null,"abstract":"The materialization of television formats (e.g., The Masked Singer formats) has become a popular commodity in the global television trade. A television format is an idea, concept, or formula. How can buyers and sellers exchange intangible things such as formats? In this article, I examine the materialization process of formats, which enables the orderly exchange between buyers and sellers in marketplaces. By examining MIPFormats, the only global format conference held prior to Marché International des Programmes de Télévision, I argue that the format conference serves the distinct function of managing the format materialization process. I specifically highlight two aspects of the materialization process: objectification and singularization. Through three strategies—visualizing formats, educating format producers and creators, and establishing a normative framework—MIPFormats holds formats together as tradable items in the global television market.","PeriodicalId":247207,"journal":{"name":"Media Industries","volume":"4 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131053251","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In a chapter of Making Film in Egypt Chihab El Khachab describes a film set under construction at Studio Misr one week before the shooting of the film Décor is supposed to begin. El Khachab followed the production of Décor during the 18 months of fieldwork he conducted in Cairo, scrutinizing the everyday activities that the film makers anticipated would ultimately culminate in the final film product. On this particular day, carpenters work on what is to be the interior of the protagonist’s apartment, sawing and sand-ing planks that will later be painted yellow. As this happens, the assistant art director asks the location manager when the ceramic tiles that he requested for the set would be purchased. The line producer grows upset upon hearing that the tiles have not yet been acquired, and a runner is immediately sent to get them. Meanwhile, mem-bers of the production team distribute and look over the first call sheets in the shooting sched -ule, preparing to advance to the next phase in the film’s production. As the day closes, the chief builder approaches the location manager
{"title":"Book Review: El Khachab, Chihab. Making Film in Egypt: How Labor, Technology, and Mediation Shape the Industry (New York: The American University in Cairo Press, 2021.)","authors":"C. Cooley","doi":"10.3998/mij.2456","DOIUrl":"https://doi.org/10.3998/mij.2456","url":null,"abstract":"In a chapter of Making Film in Egypt Chihab El Khachab describes a film set under construction at Studio Misr one week before the shooting of the film Décor is supposed to begin. El Khachab followed the production of Décor during the 18 months of fieldwork he conducted in Cairo, scrutinizing the everyday activities that the film makers anticipated would ultimately culminate in the final film product. On this particular day, carpenters work on what is to be the interior of the protagonist’s apartment, sawing and sand-ing planks that will later be painted yellow. As this happens, the assistant art director asks the location manager when the ceramic tiles that he requested for the set would be purchased. The line producer grows upset upon hearing that the tiles have not yet been acquired, and a runner is immediately sent to get them. Meanwhile, mem-bers of the production team distribute and look over the first call sheets in the shooting sched -ule, preparing to advance to the next phase in the film’s production. As the day closes, the chief builder approaches the location manager","PeriodicalId":247207,"journal":{"name":"Media Industries","volume":"37 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-08-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116980335","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Book Review: Milne, Esther. Email and the Everyday: Stories of Disclosure, Trust, and Digital Labor (Cambridge: MIT Press, 2021.)","authors":"James N. Gilmore","doi":"10.3998/mij.2452","DOIUrl":"https://doi.org/10.3998/mij.2452","url":null,"abstract":"","PeriodicalId":247207,"journal":{"name":"Media Industries","volume":"45 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-08-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114091418","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article examines the German drama series Deutschland 83 and its unexpectedly low German viewership as a case study. Highlighting the benefit of integrating audience research into analyses of shifting industrial practices, this article illuminates the complexities of negotiating local tastes in an era of global content flows. Viewer feedback reveals the importance of understanding viewing behavior in the streaming age as a confluence of content-based preferences and expectations of a specific technologically afforded user experience. This shift in viewing behavior not only has implications for production practices and local producers but also informs how local private broadcasters adjust in order to remain competitive within the growing German television landscape.
{"title":"The Case of Deutschland 83: Global Internet-Distributed Television and its Effects on Local Viewing Behavior and Industry Practices","authors":"Kristina Brüning","doi":"10.3998/mij.393","DOIUrl":"https://doi.org/10.3998/mij.393","url":null,"abstract":"This article examines the German drama series Deutschland 83 and its unexpectedly low German viewership as a case study. Highlighting the benefit of integrating audience research into analyses of shifting industrial practices, this article illuminates the complexities of negotiating local tastes in an era of global content flows. Viewer feedback reveals the importance of understanding viewing behavior in the streaming age as a confluence of content-based preferences and expectations of a specific technologically afforded user experience. This shift in viewing behavior not only has implications for production practices and local producers but also informs how local private broadcasters adjust in order to remain competitive within the growing German television landscape.","PeriodicalId":247207,"journal":{"name":"Media Industries","volume":"45 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-08-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124298630","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Prior to the pandemic of 2020, what was being described as ‘the Netflix effect’ had brought a significant boost to the UK’s film and television industries. However, a significant increase in the amount of commissioning of ‘high end’ television production had been accompanied by widely reported concerns that these new opportunities were in danger of being lost due to an insufficient supply of new talent. It was argued that only a major investment in entry-level recruitment for an expected 30,000 new jobs would avert a “talent pipeline” crisis. In this article we question the accuracy of these assertions by reviewing the key evidence on which they were based. We examine how concerns about skills gaps and shortages came to be framed as a problem of pipeline supply, rather than as a problem of leakage, thereby avoiding more challenging and systemic retention issues related to employment practices within these industries. The article highlights the dangers inherent in policy research where there is a gravitational pull for evidence-based policy to be overridden by policy-based evidence.
{"title":"Britain’s Got Talent? A Critique of the “Talent Pipeline” Crisis in the UK’s Film and Television Industries","authors":"Christa van Raalte, Richard Wallis","doi":"10.3998/mij.282","DOIUrl":"https://doi.org/10.3998/mij.282","url":null,"abstract":"Prior to the pandemic of 2020, what was being described as ‘the Netflix effect’ had brought a significant boost to the UK’s film and television industries. However, a significant increase in the amount of commissioning of ‘high end’ television production had been accompanied by widely reported concerns that these new opportunities were in danger of being lost due to an insufficient supply of new talent. It was argued that only a major investment in entry-level recruitment for an expected 30,000 new jobs would avert a “talent pipeline” crisis. In this article we question the accuracy of these assertions by reviewing the key evidence on which they were based. We examine how concerns about skills gaps and shortages came to be framed as a problem of pipeline supply, rather than as a problem of leakage, thereby avoiding more challenging and systemic retention issues related to employment practices within these industries. The article highlights the dangers inherent in policy research where there is a gravitational pull for evidence-based policy to be overridden by policy-based evidence.","PeriodicalId":247207,"journal":{"name":"Media Industries","volume":"82 5 Pt 1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-08-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116410733","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Videogame researchers have long considered the role videogames play in different cultural, social, and political contexts around the world. However, when it comes to researching videogame production, literature on the nominally global videogame industry has primarily focused on the dominant sites of North America, Western Europe, and East Asia. In this article, we argue that entrenched conceptualizations of the global videogame industry risk applying Westerncentric models of success and growth that fail to account for how videogame industries emerge from the interplay of global distribution and local conditions. We contribute to a growing body of scholarship that strives to localize videogame production cultures through an analysis of how Iranian videogame developers navigate local cultural, economic, and regulatory contexts alongside global markets, platforms, and genres. By outlining the formative ambivalence with which Iranian developers engage both with and against the “global” videogame industry, we demonstrate the importance of accounting for different local (and translocal) videogame production cultures mediated by global enterprise.
{"title":"An Iranian Videogame Industry? Localizing Videogame Production Beyond The “Global” Videogame Industry","authors":"Mahsuumeh Daiiani, B. Keogh","doi":"10.3998/mij.89","DOIUrl":"https://doi.org/10.3998/mij.89","url":null,"abstract":"Videogame researchers have long considered the role videogames play in different cultural, social, and political contexts around the world. However, when it comes to researching videogame production, literature on the nominally global videogame industry has primarily focused on the dominant sites of North America, Western Europe, and East Asia. In this article, we argue that entrenched conceptualizations of the global videogame industry risk applying Westerncentric models of success and growth that fail to account for how videogame industries emerge from the interplay of global distribution and local conditions. We contribute to a growing body of scholarship that strives to localize videogame production cultures through an analysis of how Iranian videogame developers navigate local cultural, economic, and regulatory contexts alongside global markets, platforms, and genres. By outlining the formative ambivalence with which Iranian developers engage both with and against the “global” videogame industry, we demonstrate the importance of accounting for different local (and translocal) videogame production cultures mediated by global enterprise.","PeriodicalId":247207,"journal":{"name":"Media Industries","volume":"11 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-08-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115476445","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Book Review: Marzola, Luci. Engineering Hollywood: Technology, Technicians, and the Science of Building the Studio System (Oxford: Oxford University Press, 2021.)","authors":"C. Walker","doi":"10.3998/mij.2453","DOIUrl":"https://doi.org/10.3998/mij.2453","url":null,"abstract":"","PeriodicalId":247207,"journal":{"name":"Media Industries","volume":"61 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-08-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123214109","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Book Review: McClearen, Jennifer. Fighting Visibility: Sports Media and Female Athletes in the UFC (Champaign, IL: University of Illinois Press, 2021.)","authors":"Morgan C. Brooks","doi":"10.3998/mij.2454","DOIUrl":"https://doi.org/10.3998/mij.2454","url":null,"abstract":"","PeriodicalId":247207,"journal":{"name":"Media Industries","volume":"8 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-08-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122136110","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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