Beyond the Bottom Line : The Producer in Film and Television Studies

All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or any information storage or retrieval system, without prior permission in writing from the publishers. No responsibility for loss caused to any individual or organization acting on or refraining from action as a result of the material in this publication can be accepted by Bloomsbury or the author. ## Library of Congress Cataloging-in-Publication Data Beyond the bottom line : the producer in fi lm and television studies / edited by Andrew Spicer, A.T. McKenna, Christopher Meir. pages cm Includes bibliographical references and index. ISBN 978-1-4411-7236-5 (hardback) 1. Motion pictures-Production and direction. 2. Television--Production and direction. 3. Motion picture industry. 4. Television broadcasting. I. Spicer, Andrew, 1953editor of compilation. II. McKenna, A. T. (Anthony T.), editor of compilation. III. Meir, Christopher, editor of compilation. Cover Half-title Title Copyright Contents List of Illustrations Contributors Acknowledgements 1 Introduction Unreliable histories and self-made scapegoats Media industry studies Contributors and contexts Notes Part One: Theoretical and Historical Contexts 2 ‘A Judge of Anything and Everything’: Charles Urban and the Role of the ‘Producer-Collaborator’ in Early British Film The ‘producer-artist’ and ‘producer-collaborator’ ‘One happy family’: Producer-collaboration in Urban’s British production companies, 1897–1915 Film producers in early British fi lm history Notes 3 Mapping a Typology of the Film Producer – Or, Six Producers in Search of an Author The context of current film production in Norway Outlining a producer-oriented approach to adaptation studies A brief summary of Norwegian adaptations Adaptation as a key to a producer profile Business decisions as exercising creativity The archetypes: The blockbuster producer and the art cinema producer The intermediates Nurturing producers The accommodating producers The producer profile grid: Mapping a typology of the film producer Notes 4 The Independent Producer and the State: Simon Relph, Government Policy and the British Film Industry, 1980–2005 Introduction Becoming an independent producer: Skreba and Greenpoint British Screen: Market stimulation, not subsidy The achievements of British Screen National Lottery money and the film franchises The Film Consortium Supporting indigenous production: The Relph Report and trying to establish a studio Conclusion Acknowledgements Notes 5 Producing the Self: The Film Producer’s Labour and Professional Identity in the UK Creative Economy Introduction UK cultural policy and the cultivation of production Understanding the producer’s role Making a living Tensions between commerce and creativity in the producer’s role Conclusion Notes 6 Producer and Director? Or, ‘Authorship’ in 1950s Italian Cinema The general production context Lux: General characteristics and mode of operation Titanus: General characteristics and mode of operation The making of Senso : Producer and auteur The making of Rocco and His Brothers : Producer and auteur Conclusion Archive sources Notes 7 The Australian Screen Producer in Transition Theoretical background Surveying the producer Emerging themes Conclusion Notes Part Two: Media and Genre Contexts 8 The Producer in Animation: Creativity and Commerce from Bray Studios to Pixar 4,000 drawings: Early production processes and the rise of the animation producer The producer as author: The Fleischer brothers and Sullivan Studio The producer as artist: The development of Disney Studios The producer as curator: Leon Schlesinger and Warner Bros. Studios To Pixar and beyond Notes 9 ‘Trying to Ride a Naughty Horse’: British Television Comedy Producers ‘Another squeezed-out sausage’: Management and industry ‘That’s My Baby’: The parent–child relationship and emotional labour ‘Stand next to someone more talented’: Trust ‘Allowing them to play in the sandbox’: The individual and the team ‘Remember ... when you were 14 years old’ Notes 10 Keith Griffiths’ Poetics of Production Nurturing difference Experimental alchemy Production strategies Conclusion: New perimeters Acknowledgements Notes 11 The American Independent Producer and the Film Value Chain ‘We are all slashes – artists/entrepreneurs’ 9 : The film value chain ‘Quite a Cinderella story’? Frozen River and the value chain Development Financing and pre-sales Production: Shoot and post International sales and licensing Conclusion Acknowledgements Notes Part Three: National and Transnational Contexts 12 Lita Stantic: Auteur Producer/Producer of Auteurs Introduction The making of a producer Understanding Stantic’s career Lita Stantic: Coherence as trademark Auteur producer/producer of auteurs Stantic’s work as a producer Conclusion Notes 13 Beyond National Humiliation: Han Sanping and China’s Post-Olympics Historical Event Blockbusters The hot potato The de-reification of Chairman Mao Communists in the marketplace Conclusion: Holiday homework Acknowledgements Notes 14 The Producer and Belgian Cinema(s):The Case of Jean (and Jan) Van Raemdonck Introduction From Jean to Jan Mira , or the start of the Flemish pastoral film genre Attracting Flemish film support Transnational opportunities Professionalizing the industry Creative authority Conclusion Archives consulted Notes 15 Post-Imperial Co-Producers: Emile Sherman, Iain Canning and Contemporary Anglo-Australian Cinema Critical transnationalism, film and history and the producer From Dominion to ‘de-Dominionizing’: The Anglo-Australian cinematic relationship up to 1981 Emile Sherman, Iain Canning and See-Saw Films From domination to cooperation: See-Saw Films and contemporary Anglo-Australian cinema Anglo-Australian cinema and the Commonwealth Conclusions: Producers and transnational film networks Notes Index This Is The First Collection Of Original Critical Essays Devoted To Exploring The Misunderstood, Neglected And Frequently Caricatured Role Played By The Film Producer. The Editors' Introduction Provides A Conceptual And Methodological Overview, Arguing That The Producer's Complex And Multifaceted Role Is Crucial To A Film's Success Or Failure. The Collection Is Divided Into Three Sections Where Detailed Individual Essays Explore A Broad Range Of Contrasting Producers Working In Different Historical, Geographical, Generic And Industrial Contexts. Rather Than Suggest There Is A Single Type Of Producer, The Collection Analyses The Rich Variety Of Roles Producers Play, Providing Fascinating And Informative Insights Into How The Film Industry Actually Works. This Groundbreaking Collection Challenges Several Of The Conventional Orthodoxies Of Film Studies, Providing A New Approach That Will Become Required Reading For Scholars And Students-- 1 Introduction / Andrew Spicer, A.t. Mckenna, And Christopher Meir -- Part One: Theoretical And Historical Contexts - 2 'a Judge Of Anything And Everything': Charles Urban And The Role Of The 'producer-collaborator' In Early British Film / Joe Kember - 3 Mapping A Typology Of The Film Producer, Or Six Producers In Search Of An Author / Audun Engelstad And Jo Sondre Moseng - 4 The Independent Producer And The State: Simon Relph, Government Policy And The British Film Industry 1980-2005 / Andrew Spicer - 5 Producing The Self: The Film Producer's Labour And Professional Identity In The Uk Creative Economy / Paul Long And Simon Spink - 6 Producer And Director? Or, Authorship' In 1950s Italian Cinema / Pauline Small - 7 The Australian Screen Producer In Transition / Mark David Ryan, Ben Goldsmith, Stuart Cunnigham And Deb Verhoeven -- Part Two: Media And Genre Contexts - 8 The Producer In Animation: Creativity And Commerce From Bray Studios To Pixar / Donna Kornhaber - 9 'trying To Ride A Naughty Horse': British Television Comedy Producers / Brett Mills And Sarah Ralph - 10 Keith Griffiths' Poetics Of Production / Sonia Friel - 11 The American Independent Producer And The Film Value Chain / James Lyons -- Part Three: National And Transnational Contexts - 12 Lita Stantic: Auteur Producer/producer Of Auteurs / Constanza Burucua - 13 Beyond National Humiliation: Han Sanping And China's Post-olympics Historical Event Blockbusters / A. T. Mckenna - 14 The Producer And Belgian Cinema(s): The Case Of Jean (and Jan) Van Raemdonck / Gertjan Willems - 15 Post-imperial Co-producers: Emile Sherman, Iain Canning And Comtemporary Anglo-australian Cinema / Christopher Meir. -- Index. Edited By Andrew Spicer, A.t. Mckenna, And Christopher Meir. Includes Bibliographical References And Index.