After World War II, as cultural and industry changes were reshaping Hollywood, movie studios shifted some production activities overseas, capitalizing on frozen foreign earnings, cheap labor, and appealing locations. Hollywood unions called the phenomenon “runaway” production to underscore the outsourcing of employment opportunities. Examining this period of transition from the late 1940s to the early 1960s, Runaway Hollywood shows how film companies exported production around the world and the effect this conversion had on industry practices and visual style. In this fascinating account, Daniel Steinhart uses an array of historical materials to trace the industry’s creation of a more international production operation that merged filmmaking practices from Hollywood and abroad to produce movies with a greater global scope.
By:
Daniel Steinhart
Imprint: University of California Press
Country of Publication: United States
Dimensions:
Height: 229mm,
Width: 152mm,
Spine: 23mm
Weight: 544g
ISBN: 9780520298637
ISBN 10: 0520298632
Pages: 296
Publication Date: 26 February 2019
Audience:
Professional and scholarly
,
Undergraduate
Format: Hardback
Publisher's Status: Active
Acknowledgments Prologue: Movie Ruins Introduction: “Have Talent, Will Travel” part i: foundations 1 • All the World’s a Studio: Th e Design and Debates of Postwar “Runaway” Productions Case Study. Tax Evasion, Red-Baiting, and the White Whale: Moby Dick (1956) part i i: production 2 • London, Rome, Paris: Th e Infrastructure of Hollywood’s Mode of International Production 3 • Lumière, Camera, Azione!: Th e Personnel and Practices of Hollywood’s Mode of International Production Case Study. When in Rome: Roman Holiday (1953) part i i i: style 4 • A Cook’s Tour of the World: Th e Art of International Location Shooting Case Study. Mental Spaces and Cinematic Places: Lust for Life (1956) Epilogue: Sunken Movie Relics Appendix: Hollywood’s International Productions, 1948–1962 Notes Index
Daniel Steinhart is Assistant Professor of Cinema Studies at the University of Oregon. His work on film and media has appeared in Cinema Journal, NECSUS: European Journal of Media Studies, InMedia: The French Journal of Media Studies, and various edited collections.