Titlebook: Behind the Screen; Inside European Prod Petr Szczepanik,Patrick Vonderau Book 2013 Petr Szczepanik and Patrick Vonderau 2013 Europe.film.fi

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Magdalena Kazubowski-Houston,Mark Auslandere of artworks.. As sociologists have begun to emphasize the organizational implications of material products, film studies have started to highlight the social dimensions of the way production is organized. In this chapter, I aim to pursue and combine these lines of thought to suggest that the socia

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https://doi.org/10.1007/978-3-030-14600-9ions of the past, I believed it was necessary to go back to the creative process, enter the “black box” of the “film under construction,” and unearth its layers of writing.. This first task was centered on several predefined phases of the genesis of films such as the commission, funding, and screenp

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’ self-determination’ and Violencethey provide universally applicable models. These studies therefore tend to disregard earlier historical precedents and alternative modes of production. One such alternative is provided by the screen industries of East-Central Europe. This region’s production systems were influenced heavily by the s

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Le Verrier’s Unfinished Business—Mercurylass, age, disability, sexuality, and location. It is perhaps not surprising, then, that these inequalities are also evident in the cultural and media industries. Across film, broadcasting, advertising, and new media, women, minority ethnic groups, and people from lower socioeconomic backgrounds are