Comments for MEA - The Media Education Association Resource Network http://themea.org The Media Education Association Resource Network Fri, 14 Oct 2011 14:13:34 +0000 hourly 1 http://wordpress.org/?v=3.2.1 Comment on TrueTube and Moviestorm launch schools competition by Matt Northam http://themea.org/2011/truetube-and-moviestorm-launch-schools-competition/comment-page-1/#comment-134 Matt Northam Fri, 14 Oct 2011 14:13:34 +0000 http://themea.org/?p=1987#comment-134 Sounds great! Sounds great!

]]> Comment on Volume 3 – issue 1 MLC Conference Special by POV Volume 3 no.1 MLC conference special | MEA - The Media Education Association Resource Network http://themea.org/pov/volume-3-issue-1-mlc-conference-special/comment-page-1/#comment-39 POV Volume 3 no.1 MLC conference special | MEA - The Media Education Association Resource Network Mon, 10 Jan 2011 14:35:09 +0000 http://themea.org/#comment-39 [...] 11 January…see the videos! download the presentations! read the comments. It’s all here and ready to go! VN:R_U [1.8.8_1072]Rating: 5.0/5 (2 votes cast)POV Volume 3 no.1 MLC conference [...] [...] 11 January…see the videos! download the presentations! read the comments. It’s all here and ready to go! VN:R_U [1.8.8_1072]Rating: 5.0/5 (2 votes cast)POV Volume 3 no.1 MLC conference [...]

]]> Comment on Statement from Screen England in response to Ed Vaizey’s announcement of proposals to form Creative England by Cary Bazalgette http://themea.org/2010/statement-from-screen-england-in-response-to-ed-vaizey%e2%80%99s-announcement-of-proposals-to-form-creative-england/comment-page-1/#comment-38 Cary Bazalgette Wed, 15 Dec 2010 18:56:42 +0000 http://themea.org/?p=1693#comment-38 Note the complete absence of the word "education" here. Nobody needs to learn about film, evidently. What we're all waiting to hear is whether, following the demise of the UK Film Council, the BFI will honour its 60-year track record (yes, this is its 60th anniversary of appointing its first Education Officer, not that we've heard that from them) in developing education about film and television and helping to make the UK a world leader in this field. Note the complete absence of the word “education” here. Nobody needs to learn about film, evidently. What we’re all waiting to hear is whether, following the demise of the UK Film Council, the BFI will honour its 60-year track record (yes, this is its 60th anniversary of appointing its first Education Officer, not that we’ve heard that from them) in developing education about film and television and helping to make the UK a world leader in this field.

]]> Comment on Cary receives Jessie McCanse award by Joy Simpson http://themea.org/2010/cary-receives-jessie-mccanse-award/comment-page-1/#comment-36 Joy Simpson Wed, 24 Nov 2010 20:49:36 +0000 http://themea.org/?p=1676#comment-36 Congratulations Cary and very well deserved. Congratulations Cary and very well deserved.

]]> Comment on Volume 2 – Issue 2 + 3 by Literacy…two steps back? | MEA - The Media Education Association Resource Network http://themea.org/pov/volume-2-issue-2-3/comment-page-1/#comment-32 Literacy…two steps back? | MEA - The Media Education Association Resource Network Tue, 23 Nov 2010 17:09:33 +0000 http://themea.org/#comment-32 [...] gathered in the MEA’s Persistence of Vision project (see three articles in PoV Vol 2 nos2/3, at http://themea.org/pov/volume-2-issue-2-3/) – indicating that it’s literacy teachers’ neglect of pre-children’s audio-visual [...] [...] gathered in the MEA’s Persistence of Vision project (see three articles in PoV Vol 2 nos2/3, at http://themea.org/pov/volume-2-issue-2-3/) – indicating that it’s literacy teachers’ neglect of pre-children’s audio-visual [...]

]]> Comment on Cary receives Jessie McCanse award by News | MEA - The Media Education Association Resource Network http://themea.org/2010/cary-receives-jessie-mccanse-award/comment-page-1/#comment-31 News | MEA - The Media Education Association Resource Network Tue, 23 Nov 2010 13:46:47 +0000 http://themea.org/?p=1676#comment-31 [...] soon of everything that happened at this one!  Cary Bazalgette presented with Jessie MCCanse award here. There were nearly 500 tweets at the conference, most on #2010mlc VN:R_U [1.8.8_1072]Rating: 0.0/5 [...] [...] soon of everything that happened at this one!  Cary Bazalgette presented with Jessie MCCanse award here. There were nearly 500 tweets at the conference, most on #2010mlc VN:R_U [1.8.8_1072]Rating: 0.0/5 [...]

]]> Comment on Global and Local Hollywood – by Ben Goldsmith, Susan Ward and Tom O’Regan by Ben Goldsmith http://themea.org/2010/global-and-local-hollywood/comment-page-1/#comment-30 Ben Goldsmith Thu, 18 Nov 2010 21:10:43 +0000 http://themea.org/?p=1005#comment-30 Thanks for your comment, Roy. At no point do we suggest that international production is solely developing within the Hollywood model. Of course there are other models of both production and distribution, as you note. And yes, the international market is very important in terms of world box office. What we are trying to do in this article and in the book from which it comes is to account for the contemporary phenomenon of globally dispersed 'Hollywood' (large budget, English language) production. The reason that we call it international production (without implying that this encompasses all forms of production involving partners from more than one country) is to contest the commonly (mis)used term 'runaway production' which implies that production is running from somewhere (California) to other places. This is the sense in which 'runaway production' is used within the US, but it does not acknowledge the fact that many projects are 'born international', that is, from conception they involve people, places and industries beyond Hollywood, and for economic, creative or practical reasons would not be made in Hollywood even if the opportunity arose. As far as not seeing industries in Asia or parts of Europe formulating themselves as 'Local Hollywoods', I would respond by saying: look at the history of production in Prague since the mid-1990s, or Malta, or the purchase of studio facilities in Bulgaria by the American production company Nu Image/Millennium Films, or the many, many tax incentives and financial inducements aimed at international producers that have been introduced in countries such as France, Hungary, Singapore or Indonesia. The reference to India is also significant: for many years parts of Indian films have been made outside India, usually fantasy dance sequences. Scotland and Switzerland have been favourite locations. Over the last few years, in terms of simple numbers there have been more Indian films shot in Australia than films from any other country. It would certainly be instructive to chart the flows of Indian production around the world, but this is neither our expertise nor the focus of our book. It would also be fascinating to chart international French production, and the various schemes in France that have long existed to support production by international filmmakers. Many French films and television programs have been made at Mosfilm Studios in Moscow, for example. But once again, this is neither our expertise nor the focus of the book. It would be wonderful if other scholars took on these challenges. Our book describes a contemporary phenomenon that has not previously been fully addressed - the measures that are being taken in many places around the world to attract international production. It does not claim to be comprehensive, or exhaustive. And finally, as for teachers and students reading this and thinking that the Hollywood model is the only game in town: this is not what we are describing or suggesting, and it is rather unfair to hold this against our work. Even a cursory reading of books about production cultures in, say, the UK, Australia, Ireland, France, South Korea, China etc. etc. will be enough to indicate to students and teachers that there are different models of production around the world, and that even in those places where international production is a significant or majority part of total production, it exists alongside and often symbiotically with other modes and models of production. So unless our book is the only one that students and teachers read and use (fantastic for our egos and perhaps our bank balances, but also a fantasy), then I cannot see that Roy's scenario will ever eventuate. Thanks for your comment, Roy. At no point do we suggest that international production is solely developing within the Hollywood model. Of course there are other models of both production and distribution, as you note. And yes, the international market is very important in terms of world box office. What we are trying to do in this article and in the book from which it comes is to account for the contemporary phenomenon of globally dispersed ‘Hollywood’ (large budget, English language) production. The reason that we call it international production (without implying that this encompasses all forms of production involving partners from more than one country) is to contest the commonly (mis)used term ‘runaway production’ which implies that production is running from somewhere (California) to other places. This is the sense in which ‘runaway production’ is used within the US, but it does not acknowledge the fact that many projects are ‘born international’, that is, from conception they involve people, places and industries beyond Hollywood, and for economic, creative or practical reasons would not be made in Hollywood even if the opportunity arose. As far as not seeing industries in Asia or parts of Europe formulating themselves as ‘Local Hollywoods’, I would respond by saying: look at the history of production in Prague since the mid-1990s, or Malta, or the purchase of studio facilities in Bulgaria by the American production company Nu Image/Millennium Films, or the many, many tax incentives and financial inducements aimed at international producers that have been introduced in countries such as France, Hungary, Singapore or Indonesia. The reference to India is also significant: for many years parts of Indian films have been made outside India, usually fantasy dance sequences. Scotland and Switzerland have been favourite locations. Over the last few years, in terms of simple numbers there have been more Indian films shot in Australia than films from any other country. It would certainly be instructive to chart the flows of Indian production around the world, but this is neither our expertise nor the focus of our book. It would also be fascinating to chart international French production, and the various schemes in France that have long existed to support production by international filmmakers. Many French films and television programs have been made at Mosfilm Studios in Moscow, for example. But once again, this is neither our expertise nor the focus of the book. It would be wonderful if other scholars took on these challenges. Our book describes a contemporary phenomenon that has not previously been fully addressed – the measures that are being taken in many places around the world to attract international production. It does not claim to be comprehensive, or exhaustive. And finally, as for teachers and students reading this and thinking that the Hollywood model is the only game in town: this is not what we are describing or suggesting, and it is rather unfair to hold this against our work. Even a cursory reading of books about production cultures in, say, the UK, Australia, Ireland, France, South Korea, China etc. etc. will be enough to indicate to students and teachers that there are different models of production around the world, and that even in those places where international production is a significant or majority part of total production, it exists alongside and often symbiotically with other modes and models of production. So unless our book is the only one that students and teachers read and use (fantastic for our egos and perhaps our bank balances, but also a fantasy), then I cannot see that Roy’s scenario will ever eventuate.

]]> Comment on Global and Local Hollywood – by Ben Goldsmith, Susan Ward and Tom O’Regan by Roy Stafford http://themea.org/2010/global-and-local-hollywood/comment-page-1/#comment-29 Roy Stafford Sun, 31 Oct 2010 13:19:05 +0000 http://themea.org/?p=1005#comment-29 This is a very useful piece in bringing together research and theoretical work on Hollywood in a global context. However, I've read through it several times and there is something about it which makes me feel uneasy. Possibly I'm getting a sense that it is trapped in the conception of international film production as developing only within the definition of the Hollywood model. I have two thoughts on that. First, my understanding is that 'Hollywood' effectively means the six majors and how they control distribution (rather than production) within the domestic and international film markets. Second, there are other models of both production and distribution. The 'International' market represents approx. 65% of worldwide box office (probably more given the difficulty of compiling statistics in some territories) and local production is reviving in several key territories. The result is the development of several 'contra-flows' of product that are not controlled by Hollywood. The conception of 'Local Hollywoods' in the piece above seems problematic to say the least. I'm not arguing that the MPAA doesn't still have clout in trade agreements (e.g. I'd love to know what convinced the Koreans to reduce quotas ensuring distribution of their own product in their domestic markets), but I don't see industries in Asia or parts of Europe formulating themselves as 'Local Hollywoods'. I'm also struck that there is only one reference to India in the piece. Perhaps I'm paranoid but I worry that teachers and students reading this will think that the Hollywood model is the only game in town. This is a very useful piece in bringing together research and theoretical work on Hollywood in a global context. However, I’ve read through it several times and there is something about it which makes me feel uneasy. Possibly I’m getting a sense that it is trapped in the conception of international film production as developing only within the definition of the Hollywood model. I have two thoughts on that. First, my understanding is that ‘Hollywood’ effectively means the six majors and how they control distribution (rather than production) within the domestic and international film markets. Second, there are other models of both production and distribution. The ‘International’ market represents approx. 65% of worldwide box office (probably more given the difficulty of compiling statistics in some territories) and local production is reviving in several key territories. The result is the development of several ‘contra-flows’ of product that are not controlled by Hollywood. The conception of ‘Local Hollywoods’ in the piece above seems problematic to say the least. I’m not arguing that the MPAA doesn’t still have clout in trade agreements (e.g. I’d love to know what convinced the Koreans to reduce quotas ensuring distribution of their own product in their domestic markets), but I don’t see industries in Asia or parts of Europe formulating themselves as ‘Local Hollywoods’. I’m also struck that there is only one reference to India in the piece.

Perhaps I’m paranoid but I worry that teachers and students reading this will think that the Hollywood model is the only game in town.

]]> Comment on New Issue of ECFA journal by Cary Bazalgette http://themea.org/2010/new-issue-of-ecfa-journal/comment-page-1/#comment-28 Cary Bazalgette Fri, 29 Oct 2010 17:00:21 +0000 http://themea.org/?p=1466#comment-28 The Eight and a Half Foundation (see also my post in the Film Debates group) is trying to encourage UK distributors to take on new films and they say they're getting some interest (apparently some are saying "we'd like to work with you because you're not Film Club"!). The Eight and a Half Foundation (see also my post in the Film Debates group) is trying to encourage UK distributors to take on new films and they say they’re getting some interest (apparently some are saying “we’d like to work with you because you’re not Film Club”!).

]]> Comment on New Issue of ECFA journal by Roy Stafford http://themea.org/2010/new-issue-of-ecfa-journal/comment-page-1/#comment-27 Roy Stafford Fri, 29 Oct 2010 14:00:20 +0000 http://themea.org/?p=1466#comment-27 Thanks for posting this Cary. It prompts mixed emotions seeing the coverage of UK festivals focusing on children's films but then realising that most of the films they will screen are made in Europe and probably won't get UK distribution. Thanks for posting this Cary. It prompts mixed emotions seeing the coverage of UK festivals focusing on children’s films but then realising that most of the films they will screen are made in Europe and probably won’t get UK distribution.

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