Abstract
In Production Culture. Industrial Reflexivity and Critical Practice in Film and Television (2008), you have identified interviews with film/television workers as one of four key registers of analysis (apart from textual analysis, ethnographic field observation, and economic/industrial analysis). What was your worst experience doing practitioner interviews in Hollywood?
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Notes
Clifford Geertz, “Deep Play: Notes on the Balinese Cockfight,” In The Interpretation of Cultures (New York: Basic Books, 1973), 412–454.
Barbara Czarniawska, Shadowing: And Other Techniques for Doing Fieldwork in Modern Societies (Malmö: Liber, 2007).
James Clifford and George E. Marcus, Writing Culture. The Poetics and Politics of Ethnography (Berkeley: University of California Press, 1986).
Vicki Mayer, Miranda J. Banks, and John T. Caldwell, eds, Production Studies: Cultural Studies of Media Production (New York and London: Routledge, 2009).
See Patrick Vonderau, “Theorien zur Produktion: ein Überblick,” Montage AV. Zeitschrift für Theorie & Geschichte audiovisueller Kommunikation 22, no. 1 (2013): 9–32.
Tony Bennett, “The Work of Culture,” Cultural Sociology, no. 1 (2007): 31–47.
Cf. Sherry B. Ortner’s most recent book, Not Hollywood: Independent Film at the Twilight of the American Dream (Durham, NC, and London: Duke University Press, 2013).
John T. Caldwell, “Industrial Geography Lessons: Socio-professional Rituals and the Borderlands of Production Culture,” In Media Space: Place, Scale, and Culture in a Media Age, eds Nick Couldry and Anna McCarthy (London: Routledge, 2004), 163–190.
Hortense Powdermaker, Hollywood. The Dream Factory (New York: Little, Brown and Company, 1950)
and Leo C. Rosten, Hollywood: The Movie Colony, the Movie Makers (New York: Harcourt Brace, 1941).
John T. Caldwell, “Televisuality as a Semiotic Machine: Emerging Paradigms in Low Theory,” Cinema Journal 32, no. 4 (1993): 24–48.
Christian Metz, “La grande syntagmatique du film narratif,” Communications 8, no. 8 (1966): 120–124;
see also Metz, Film Language: A Semiotics of the Cinema. Translated by Michael Taylor (New York: Oxford University Press, 1974).
David Morley in an interview with Johannes von Moltke, “Radikale Verpflichtung zur Interdisziplinarität,” Montage AV. Zeitschrift für Theorie Geschichte audiovisueller Kommunikation 6, no. 1 (1997): 36–66.
Robert K. Merton, “Insiders and Outsiders: A Chapter in the Sociology of Knowledge,” American Journal of Sociology (July 1972): 9–47.
See also John T. Caldwell, “Para-industry: Researching Hollywood’s Blackwaters,” Cinema Journal 52, no. 3 (2013): 157–165.
Janet Wasko and Eileen R. Meehan, “Critical Crossroads or Parallel Routes? Political Economy and New Approaches to Studying Media lndustries and Cultural Products,” Cinema Journal 52, no. 3 (2013): 150–157.
David Morley, “Theoretical Orthodoxies: Textualism, Constructivism and the ‘New Ethnography’ in Cultural Studies,” In Cultural Studies in Question, ed. Marjorie Ferguson and Peter Golding (London: Sage, 1997), 121–137.
Clifford Geertz, Works and Lives: The Anthropologist as Author (Stanford, CA: Stanford University Press, 1988), 132–133.
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© 2013 Petr Szczepanik and Patrick Vonderau
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Vonderau, P. (2013). Borderlands, Contact Zones, and Boundary Games: A Conversation with John T. Caldwell. In: Szczepanik, P., Vonderau, P. (eds) Behind the Screen. Global Cinema. Palgrave Macmillan, New York. https://doi.org/10.1057/9781137282187_2
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DOI: https://doi.org/10.1057/9781137282187_2
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