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New International Division of Cultural Labour in the Context of Outsourcing of Hollywood Film and Television Production
The New International Division of Cultural Labour (NIDCL) comes from the idea of the New International Division of Labour (NIDL) which is a result of the movement of industries from advanced first world countries to developing ones such as India and China. This is of course, is a result of globalisation across many platforms throughout the world, as advances in technology, transportation and infrastructure allow developed countries to relocate to developing ones in order to benefit in lower manufacturing costs and cheaper labour. Globalisation is a term used to describe the move of businesses, products, manufacturing and aspects of culture to an international scale, therefore, the NIDL refers to the globalisation of labour. The NIDCL however is more to do with the cultural industries across the world, such as television and film production, and essentially refers to the globalisation of Hollywood. “The idea of New International Division of Labour (NIDL) derives from re-theorizations of economic dependency theory that followed the inflationary chaos of the 1970’s.” (Miller, Ledger, p102, 2001). Despite the term being called the “New” International Division of Cultural Labour, it is far from a “new” concept. Hollywood has been availing of foreign production for decades now, in fact since the 1920’s (Mosco, Schiller, pp208, 2001) and between 1950 and 1973 a mere sixty percent of Hollywood productions were actually being produced in Hollywood itself and half of the revenue that Hollywood makes comes from overseas, with fifty-five percent of this coming from Western Europe (Miller, Ledg...
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...ller, T., Ledger, M.C., 2001. Runaway production, runaway consumption, runaway citizenship: The new international division of cultural labour. UK: Taylor and Frances Publishing.
Elmer, G., Davis, C.H., Marchessault, J., McCullough, J., 2010. Locating migrating media. Plymouth, UK: Lexington Books.
McGuigan, J. 2004. Rethinking cultural policy. Berkshire, UK: McGraw-Hill International.
Wasko, J. 2003. How Hollywood works. UK: Sage Publications.
Articles
Brooker, W. 2007. Vancouver Nowhere. International Journal of Cultural Studies. 10 (423), 427.
Johnson-Yale, C. 2008. So-Called Runaway Film Production”: Countering Hollywood's Outsourcing Narrative in the Canadian Press, Critical Studies in Media Communication. 25:2, 113-134.
McDonald, A. 2006. Through the looking glass: Runaway productions and ‘Hollywood economics’. Bepress Legal Series: 1830. 8-58.
However, after the dust settled, it was widely accepted that the blacklist was unjust, which enabled many film workers to pursue the movie studios in civil courts through the 1950’s for unpaid contracts and wages (Lewis, 2008). While the studios were initially impacted by the Paramount decision, the breadth of competition and independent successes of smaller studios gave rise to the advancement of innovative filmmaking that may not have been possible if it were not for the Paramount decision. Filmmaking is one of the riskiest and most profitable ventures in modern day society, and without these events, the studios and the film workers may not share the successes that they do
I will begin my essay by looking closely at the narrative of Sunset Boulevard to see where and how the film represents the Hollywood Studio System. At the beginning of the film the audience is introduced to Joe Gillis, a script writer who is struggling to pay his rent as he in unable to sell his scripts to the ‘majors’ of Hollywood. The film follows Joe to ‘Paramount Pictures’ one of the major studios in Hollywood, which the film pays a large self reference to as the producers of Sunset Boulevard as well as representing the studio system.
Miller, P. J. (2014, January 13). What is Canadian About Canadian Media? Wilfred Laurier University, Waterloo, Ontario, Canada.
Taras, D. (2001). Power and betrayal in the Canadian media (2nd ed.) Peterborough, ON:Broadview Press.
Many people might have a diverse opinion on the extend of the American cultural influence on Canada, but the truth is, these two countries share a long common border, they use frequently the same language, they watch the same movies, listen to the same music and collaborate on other numerous levels, including economic and political activity. In this paper, I would like to show the extent of the influence on Canadian popular culture that comes from the United States. For my analysis I have chosen four segments of popular culture: television, printed media, music and films. In these are the main sectors where we can see the biggest evidence of this phenomenon. In the first part I would like to shortly introduce the history of this issue. The second part is the analysis of the four sectors.
[2] Regardless of how careful the director, producer, and actors are at being loyal to the subject matter, then, the question still remains whether or not Hollywood is a legitimate resource for historical matter. Is it possible for a dramatic, high priced and glitzy medium to be honest and true to its subject matter in such a way that viewers are not confused but more educated walking out than they were walking in? Is the Movie Theater any place for history to be learned? Directors fight and argue that indeed Hollywood is equally as reliable and legitimate a source as other "texts." The movies provide a more immediate resource, allowing history to change from the dreaded school subject to an appea...
Sterritt, David. “HOLLYWOOD'S HOLOCAUST”. Tikkun 24.3 (2009): 60-62. Literary Reference Center. Web. 10 Oct. 2013.
Nowell-Smith, Geoffrey. “Introduction.” Hollywood and Europe: Economics, Culture, National Identity: 1945-95. Ed. Geoffrey Nowell-Smith and Steven Ricci. London: British Film Institute, 1998. 1-18. Print.
... middle of paper ... ... Larry Ceplair and Englund stated in the book The Inquisition in Hollywood, “The destruction of the motion picture Left not only transformed the political atmosphere in Hollywood, but also adversely affected the kind of product which the studios turned out. “ In the early 20th century Hollywood reframed from producing politically controversial films in fear of becoming a target of McCarthy or the HUAC.
Outsourcing emerged on the financial arena during the 1980s and has since then been spreading. Outsourcing production was furthered with the process of globalization which provided a new component leading to the strengthening of resources, skill and labor specializations across the world. The process of outsourcing is using the skill and abilities of a third-party to accommodate society on the foundation of labor. As stated earlier, it was during the 1980s that the process kicked off mainly due to the efforts of corporations when they began to hire labor forces across the world. Even though outsourcing has come out from its developing stages, there are still following effects on the US economy.
Nestingen, Andrew K, and Trevor G Elkington. Transnational Cinema in a Global North: Nordic Cinema in Transition. Detroit: Wayne State University Press, 2005: 73-111.
Flew, T., & Smith, R. (Canadian). (2011). New: Media An Introduction. Don Mills, Ontario: Oxford University Press p.
Thompson, K 2003, ‘The struggle for the expanding american film industry’, in Film history : an introduction, 2nd ed, McGraw-Hill, Boston, pp. 37-54
Marchetti, Gina, and Tan Kam. Hong Kong film, Hollywood and the new global cinema no film is an island. London: Routledge, 2007. Print.
... ed (BFI, 1990) we read … “contrary to all trendy journalism about the ‘New Hollywood’ and the imagined rise of artistic freedom in American films, the ‘New Hollywood’ remains as crass and commercial as the old…”