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Making Movies: Reflexivity, the Aute...

Malle, Jackson Francis.

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Making Movies: Reflexivity, the Auteur, and the Pragmatics of Contemporary Film Production.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Making Movies: Reflexivity, the Auteur, and the Pragmatics of Contemporary Film Production./
Author:	Malle, Jackson Francis.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 2018,
Description:	332 p.
Notes:	Source: Dissertations Abstracts International, Volume: 79-11, Section: A.
Contained By:	Dissertations Abstracts International79-11A.
Subject:	Cultural anthropology. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=10816441
ISBN:	9780355936018

Making Movies: Reflexivity, the Auteur, and the Pragmatics of Contemporary Film Production.
Malle, Jackson Francis.

Making Movies: Reflexivity, the Auteur, and the Pragmatics of Contemporary Film Production. - Ann Arbor : ProQuest Dissertations & Theses, 2018 - 332 p.

Source: Dissertations Abstracts International, Volume: 79-11, Section: A.

Thesis (Ph.D.)--State University of New York at Binghamton, 2018.

This item must not be sold to any third party vendors.

The movie business is paradigmatic of the on-demand economy in that it is hi-tech, involves venture capitalist and private equity, and relies on global distribution channels as the demand for content grows, increasingly diverted to internet-enabled streaming services. My ethnography goes between immersion in the sites within which a movie is made-each composed of hundreds of locations (mini-sites), and the day-to-day operations that take place there-and a more macro-level analysis of the industry. Observations of a specific shoot from the perspective of a catering chef, my entry to film/television production, are coupled with insights gleaned from more recent projects as a screenwriter and as a producer. These opportunities provided inroads not only to achieve a competency in the pragmatics of moviemaking today, but also to observe how a critical introspection is expressed among film people, that resonates with, and at times disavows, the understandings of critics and scholars. A methodological preoccupation of this dissertation is to complement analysis of the general conditions of film production, with the insights of individuals involved in other phases of the process from script to screen. Observations drawn from fieldnotes of the workplace, examples of expertise in action, lend descriptive detail, as do the stories of cast and crewmembers taken from in-depth interviews conducted in Los Angeles and New York. Two themes-the salience of the auteur in film criticism, and theories of reflexivity within the social sciences-have helped me make sense of the insights of the people I met and worked with. Specifically, I argue that auteurist marketing strategies and reflexive approaches in film/television production are responses to the forces that have altered the traditional landscapes of finance and distribution, which have led industry members to reevaluate what they had previously thought about their craft. Several distinctions emerge in the text: Hollywood vs. Indie, profit vs. artistic motivation, collective vs. singular vision, and creative vs. technical expression. I examine these perceived oppositions by showing their rootedness in the language of people working in the industry today, and I assert that they have become increasingly malleable during this particularly transformative period.

ISBN: 9780355936018Subjects--Topical Terms:

2122764
Cultural anthropology.
Subjects--Index Terms:

Auteur theory

Making Movies: Reflexivity, the Auteur, and the Pragmatics of Contemporary Film Production.
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500 $a Publisher info.: Dissertation/Thesis.
500 $a Advisor: Holmes, Douglas R.
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506 $a This item must not be sold to any third party vendors.
520 $a The movie business is paradigmatic of the on-demand economy in that it is hi-tech, involves venture capitalist and private equity, and relies on global distribution channels as the demand for content grows, increasingly diverted to internet-enabled streaming services. My ethnography goes between immersion in the sites within which a movie is made-each composed of hundreds of locations (mini-sites), and the day-to-day operations that take place there-and a more macro-level analysis of the industry. Observations of a specific shoot from the perspective of a catering chef, my entry to film/television production, are coupled with insights gleaned from more recent projects as a screenwriter and as a producer. These opportunities provided inroads not only to achieve a competency in the pragmatics of moviemaking today, but also to observe how a critical introspection is expressed among film people, that resonates with, and at times disavows, the understandings of critics and scholars. A methodological preoccupation of this dissertation is to complement analysis of the general conditions of film production, with the insights of individuals involved in other phases of the process from script to screen. Observations drawn from fieldnotes of the workplace, examples of expertise in action, lend descriptive detail, as do the stories of cast and crewmembers taken from in-depth interviews conducted in Los Angeles and New York. Two themes-the salience of the auteur in film criticism, and theories of reflexivity within the social sciences-have helped me make sense of the insights of the people I met and worked with. Specifically, I argue that auteurist marketing strategies and reflexive approaches in film/television production are responses to the forces that have altered the traditional landscapes of finance and distribution, which have led industry members to reevaluate what they had previously thought about their craft. Several distinctions emerge in the text: Hollywood vs. Indie, profit vs. artistic motivation, collective vs. singular vision, and creative vs. technical expression. I examine these perceived oppositions by showing their rootedness in the language of people working in the industry today, and I assert that they have become increasingly malleable during this particularly transformative period.
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653 $a Film production
653 $a Reflexivity
653 $a Visual culture
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