000			07157cam a22009017a 4500
001			19496032
003			LIBRIS
005			20210930193441.0
006			m d
007			cr -n---------
008			160607s2014 xxu o|||||||||||eng|c
020			_a9781441125125 (electronic)
020			_z9781441172365 (print)
035			_aEBL1728064
035			_a(OCoLC)883568876
035			_a(AU-PeEL)EBL1728064
040			_aAU-PeEL _beng _cAU-PeEL _dAU-PeEL _dGdig
050		4	_aPN1995.9.P7 -- .B49 2014eb
082	0	0	_a791.430232 _223
084			_aImac _2kssb/8 (machine generated)
245	1	0	_aBeyond the bottom line _h[Elektronisk resurs] : _bthe producer in film and television studies / _cedited by Andrew Spicer, A.T. McKenna, Christopher Meir
250			_a1st ed.
260			_aNew York : _bBloomsbury, _c2014.
300			_a1 online resource (306 p.)
500			_aDescription based upon print version of record.
505	0		_aCover -- 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
505	8		_aFilm 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
505	8		_aThe 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
505	8		_a5 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
505	8		_aThe 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
505	8		_aThe producer as curator: Leon Schlesinger and Warner Bros. Studios
520	8		_aThis 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.
600			_2LCC
650		0	_aMotion pictures _xProduction and direction
650		0	_aTelevision _xProduction and direction _0159028
650		0	_aMotion picture industry
650		0	_aTelevision broadcasting.
650		7	_aFilmproduktion _2sao _0145001
650		7	_aTv-produktion _2sao _0168064
650		7	_aFilmbranschen _2sao _0144990
650		7	_aTelevision _2sao _0159028
650		0	_aMotion pictures _xProduction and direction
650		0	_aTelevision broadcasting
650		0	_aMotion picture industry
650		0	_aTelevision _xProduction and direction
655		0	_aElectronic books.
700	1		_aSpicer, Andrew, _d1953- _eeditor of compilation
700	1		_aMcKenna, A. T. _q(Anthony T.), _eeditor of compilation
700	1		_aMeir, Christopher, _eeditor of compilation
776	0	8	_iPrint: _aSpicer, Andrew _tBeyond the bottom line : the producer in film and television studies _d2014 _z9781441172365
856	4	0	_uhttp://ezproxy.ub.gu.se/login?url=http://GU.eblib.com/patron/FullRecord.aspx?p=1728064 _zTillg�nglig f�r G�teborgs universitet / Online access for the University of Gothenburg
942			_2lcc _cBK
999			_c3483 _d3483