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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.
The Levin Institute - The State University of New York. "Pop Culture." Globalization101. The Levin Institute - The State University of New York, 2014. Web. 18 Apr. 2014.
The research question that will be evaluated is, to what extent was the Catholic Church the leading establishment to alter production policies in Hollywood during the great depression? While the Great Depression was a time of grief, it was additionally an era of new opportunities. The institution of Hollywood and the Catholic Church were two separate entities during the Great Depression. The two institutions disagreed on how society should conduct itself, through the means of entertainment. However, arguably, the Catholic Church wasn’t the only organization that altered the ethics of Hollywood. The time period that will be evaluated will be from the late 1920s to the late 1930s, seeing how Hollywood was reformed during that time period. The research question should be sufficiently answered by finding in depth information through articles and studies on the two separate entities, and other possible influences during this particular era. Also, by analyzing the effects of the institution’s individual contributions on society itself, there will be added evidence to the research question.
[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...
McCrisken, T. B., & Pepper, A. (2005). American History and Contemporary Hollywood Film. New Brunswick, New Jersey: Rutgers University Press.
Varma, Rahul. “State of Denial: Cultural Diversity as a Resource for Alternative Globalization.” Canadian Theatre Review, Vol. 157. January 2014. Web.
Sterritt, David. “HOLLYWOOD'S HOLOCAUST”. Tikkun 24.3 (2009): 60-62. Literary Reference Center. Web. 10 Oct. 2013.
Paul ATTALLAH and Leslie Reagan SHADE, ed (2002). Mediascapes: New Patterns in Canadian Communication. Thomson/Nelson.
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.
Sklar, Robert. Movie-made America: A Social History of American Movies. New York: Random House, 1975. 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…”
Lewis, J. (2008). American Film: A History. New York, NY. W.W. Norton and Co. Inc. (p. 405,406,502).
Modernization in the 1980s paved the way for the Hong Kong New Wave, as the studio system set up in the 1950s was dismantled, the film industry experienced more freedom. Since decolonization was heavily present 75% of Hong Kong’s box office revenue were home grown movies, while the meager 15% was left for the foreign market. As one can see the political context of Ho...
Although in shambles, It did not take long for film to make a resurgence in France. Domestic production was boosted following the introduction of The Centre National de la Cinématographe, a government organization that provided assistance to the industry in the form of loans and training. Imported films, especially those from America, began flowing into France following its liberation by Allied forces, and moviegoers were suddenly exposed to years of new films they had been previously cut off from all at once. As the market for films began to heat up, French filmmakers were presented with two choices; continue producing films adapted from relatively outdated literary works in the classic French tradition, or imitate the Hollywood Studio system of production, creating big-budget features for an international audience with the assistance of the CNC. These contrasting styles of filmmaking...
...Y, Emily (December 17, 2000). “ An American Guide to Canadian Media” Online at: http://www.icomm.ca/emily/cancon.html , consulted on February 12, 2004.
...cate American entertainment films. But what was the cost to the development of Canada's supposed "cultural identity" and the perogative of the Canadian filmmaker to make a film without mimicking Classic Hollywood style and theme? Toward the mid-1980s, following the demise of the Capital Cost Allowance tax shelter in 1982, the "success" of a Canadian film was determined less by its forecast box office potential. The trend in the late 1970s and the early 1980s towards what Ted Magder calls the "If you can't beat `em join `em" (Magder, 169) relationship with the commercial Hollywood production infrastructure, was met in the mid-1980s by an equally vehement movement, which maintained that the infiltration of American culture and the adoption of their economic or "big-business" approach was precisely the problem with the Canadian film industry, and hence Canadian films.