Description
Book SynopsisTrade Review“Consumers in the 1930s understood the importance of the studio; In the Studio argues that contemporary scholars of film and media studies should follow suit. The volume makes an important contribution to these disciplines, helping to advance a new subfield by showing how an emphasis on the material spaces of production expands or nuances our understanding of cinema and television.”
* The Moving Image *
"It is certain that In the Studio’s holistic methodology will provide a blueprint for the still vital research on the material environments that shape our media."
* Screen *
Table of ContentsAcknowledgments
Introduction: Studio Perspectives
Brian R. Jacobson
PART ONE. FORMATIONS
1. “The Longed-For Crystal Palace”: Empire, Modernity, and Nikkatsu Mukōjima’s Glass
Studio, 1913–1923
Diane Wei Lewis
2. Regulating Light, Interiors, and the National Image: Electrification
and Studio Space in 1920s Brazil
Rielle Navitski
3. Ephemeral Studios: Exhibiting Televisual Spaces during the
Interwar Years
Anne-Katrin Weber
PART TWO. FOUNDATIONS
4. Estudios Churubusco: A Transnational Studio for a National Industry
Laura Isabel Serna
5. Pinewood Studios, the Independent Frame, and Innovation
Sarah Street
6. Backlots of the World War: Cinecittà, 1942–1950
Noa Steimatsky
PART THREE. ALTERNATIVE ROUTES
7. The Film Train Stops at Mosfilm: Aleksandr Medvedkin and the Operative Film Factory
Robert Bird
8. Postindustrial Studio Lifestyle: The Eameses in the Environment of 901
Justus Nieland
9. The Last Qualitative Scientist: Hollis Frampton and the Digital Arts Lab
Jeff Menne
PART FOUR. STUDIO FUTURES
10. Made-for-Broadcast Cities
Lynn Spigel
11. The Nature of the Firm and the Nature of the Farm: Lucasfilm, the Campus, and the
Contract
J. D. Connor
12. “Make It What You Want It to Be”: Logistics, Labor, and Land Financialization via
the Globalized Free Zone Studio
Kay Dickinson
Selected Bibliography
List of Contributors
Index
