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Zusatztext Supply Chain Cinema is a vital contribution, arguing persuasively that global film production can now best be understood via supply chain logistics, with all the ‘just-in-time’ dynamics of inequity and extraction that this entails. Taking us on a journey to both the UK and the UAE, Dickinson foregrounds the voices and experiences of current and future film workers as they are swept up, trained up and then compelled to navigate the vagaries of the creative supply chain. Informationen zum Autor Kay Dickinson is Senior Lecturer in the School of Culture and Creative Arts at Glasgow University, UK. She is the author of Arab Film and Video Manifestos: Forty-Five Years of the Moving Image Amid Revolution (2018), Arab Cinema Travels: Transnational Syria, Palestine, Dubai and Beyond (British Film Institute, 2016), and Off Key: When Film and Music Won't Work Together ( 2008). Klappentext Why are big budget films typically made across an array of seemingly dissociated sites? Supply Chain Cinema shows how the production journeys of such films exemplify the principles of the supply chain, whose core imperative is to nimbly and opportunistically manufacturing wherever is most amenable and efficient.Through extensive on-site investigations and in-depth interviews with film professionals, Kay Dickinson delivers nuanced insight into working practices in the UK and the UAE. Among the sites she examines is Warner Bros' permanent base at Leavesden Studios near London. From tax breaks designed to attract foreign projects to infrastructures, logistical support and expertise offered, she considers why Hollywood giants elect to make more of their films in Britain than in the USA. Dickinson goes on to show how the UK's ambitions to enlarge its creative economies has opened up a host of competitive advantages with British higher education increasingly fashioned to conform to the needs of border-hopping enterprise, thus generating a workforce keenly adapted to the demands of blockbuster moviemaking. Vorwort This book investigates how big budget filmmaking has come to adopt supply chain practices, with a specific focus on how higher education produces workers compliant with that system. Zusammenfassung Why are big budget films typically made across an array of seemingly dissociated sites? Supply Chain Cinema shows how the production journeys of such films exemplify the principles of the supply chain, whose core imperative is to nimbly and opportunistically manufacturing wherever is most amenable and efficient.Through extensive on-site investigations and in-depth interviews with film professionals, Kay Dickinson delivers nuanced insight into working practices in the UK and the UAE. Among the sites she examines is Warner Bros’ permanent base at Leavesden Studios near London. From tax breaks designed to attract foreign projects to infrastructures, logistical support and expertise offered, she considers why Hollywood giants elect to make more of their films in Britain than in the USA. Dickinson goes on to show how the UK’s ambitions to enlarge its creative economies has opened up a host of competitive advantages with British higher education increasingly fashioned to conform to the needs of border-hopping enterprise, thus generating a workforce keenly adapted to the demands of blockbuster moviemaking. Inhaltsverzeichnis Introduction 1. Welcome (to) the Supply Chain: Competition, Adaptation and Compliance with Globalized Big Budget Cinema 2. Hollywood Offshores to British Shores: Warner Bros' Leavesden Studios Rides the Rise of the Creative Economy 3. Training Creative Wizardry: How British Filmmaking Education Attracts Supply Chain Cinema 4. Greasing the Wheels of Transnational Media Production: The United Arab Emirates' Post-Oil Vision for Education 5. Production Migrates to the Migrants: Precarious Film ...
