DOCSLIB.ORG

Fame in Hollywood North

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Fame in Hollywood North A Theoretical Guide to Celebrity Cultures in Canada Samita Nandy, PhD The views and opinions expressed herein are those of the authors and do not necessarily reflect the positions of the publisher. © 2015 Samita Nandy, Ph.D. All rights reserved Front and back cover photographs and design: © 2015 WaterHill Publishing, Toronto ISBN: 978-0-9939938-3-1 Contents Acknowledgments ........................................................................................ v List of Acronyms ........................................................................................ vii List of Figures ............................................................................................ viii 1 Introduction ............................................................................................... 1 Defining Fame and Celebrities ................................................................. 3 Social Function of Celebrities in a Nation ............................................... 6 Structure of the Book ............................................................................. 10 2 Celebrity Cultures in Canada ................................................................... 16 National Identity in Canadian Media ..................................................... 17 Study and Meaning of Fame in Canada ................................................. 21 3 Technological Nationalism - The North in Canadian Popular Culture .. 31 Technological Nationalism .................................................................... 33 Canada as a Nation, Nationalism, and National Identity .................... 33 The Theory of Technological Nationalism ..................................... 36 Conditions of the Rhetoric of Technological Nationalism ............. 38 The Ambivalence of the Canadian Nation...................................... 41 Canadian Symbols of Nature in Popular Culture ................................... 45 Technological Nationalism in Popular Culture .................................. 45 National Representations of Nature – The North ........................... 46 Romanticism and Authenticity of the North ................................... 50 The Problem with Canadian National Identity and the North ............ 54 Technological Nationalism and Cultural Productions .................... 57 Conclusion ............................................................................................. 60 i 4 Hollywood North as the Context of Celebrities ...................................... 62 Ideas and Origins of ‘Hollywood North’ ............................................... 64 The Meaning of Hollywood North in Canadian Popular Culture .......... 67 Hollywood North as a Place ............................................................... 67 Hollywood North as a Cultural Construct/Symbol ............................ 71 Celebrities in Hollywood North ......................................................... 74 Conclusion ............................................................................................. 80 5 Celebrities at the Toronto International Film Festival............................. 84 Origin and Function of TIFF .................................................................. 85 TIFF as a Media Event Supporting Stardom ......................................... 87 Representations of Stardom at TIFF .................................................. 93 Stardom in Gentrification of Yorkville .............................................. 98 Conclusion ........................................................................................... 101 6 Canada’s Walk of Fame ........................................................................ 104 CWOF – Origin and Differences with Hollywood Walk of Fame ...... 106 The Myth of Inferiority in CWOF Discourses ..................................... 110 CWOF as National Pride and Heritage ................................................ 117 Contrasts of the Strong Frontier and Inferiority Complex ................... 127 Conclusion ........................................................................................... 128 7 Celebrities in Canadian Reality TV Shows ........................................... 131 Canadian Reality TV Programs ........................................................... 131 Battle of the Blades .............................................................................. 133 Canadian Idol ....................................................................................... 139 So You Think You Can Dance Canada ............................................... 150 Conclusion ........................................................................................... 154 8 Online Celebrities in Canada ................................................................. 157 Online Fame – General Concepts ........................................................ 157 Justin Bieber......................................................................................... 161 Lisa Ray ............................................................................................... 168 Maria Aragon ....................................................................................... 175 Conclusion ........................................................................................... 180 9 Canadian Meanings of Fame ................................................................. 183 The North ............................................................................................. 183 ii The Lack .............................................................................................. 185 The American Better ‘Other’ ............................................................... 187 Meanings of Fame in Canada ............................................................... 188 Directions for Future Research on Canadian Celebrity Cultures ......... 197 Conclusion ........................................................................................... 201 Bibliography ..............................................................................................203 Index ..........................................................................................................228 iii 1 Introduction Historically, Canadians have not been much good at celebrity culture. Oh, we have talent, and plenty of it, but we’ve never had a knack for constructing the celebrity-industrial complex that surrounds it (Gillmore, 2014). Red carpets, limousines, TV cameras and klieg lights, movers and shakers in tuxes and evening gowns [are] somehow almost...un- Canadian. Now, I don’t mean to be impolite (that would be really un-Canadian), but this is a country that tends to measure its cultural worth based on its American reception (Salem, 2002). Fame is not a very Canadian word (Harris, 1998a). Fame, a mildly famous Canadian once declared, is mainly the privilege of being pestered by strangers. That observation, by Montreal poet Louis Dudek, seems to sum up the Canadian attitude toward fame: a bit of nuisance, an imposition, something that is best avoided but, once acquired (usually outside the country) must be borne with forbearance (Harris, 1998a). In television interviews, public seminars, and personal conversations, I have often been asked: what is it about fame that appeals to me as a topic of interest in cultural studies? It is neither the glamour nor the scandals: I do not even follow celebrity news. Could it be, then, the deep social impacts of fame? Could it be the creative forces underlying fame? In the context of this book, could it be the capability of fame to construct and support a nation? Let us address these questions with positive responses, why not? 1 S. Nandy Yet, there is a negative connotation associated with fame, but such “infamy” paradoxically helps to construct fame and to maintain the social fabric. One may argue that people engage in celebrity gossip and scandals based on taboo issues. These cultural practices and narrative devices play a sociological function in integrating society on grounds of ethics and morality. But the irony is that celebrities are often consumed on unethical grounds. Celebrity gossips function as narrative devices to negotiate ideological tensions and manage social norms and behaviour. Indeed, celebrity bashing is a pleasurable practice in fame, but it shifts attention away from merit-based talent that has been characteristic of legendary heroes since historical times. The construction of celebrities is ubiquitous and pervasive in modern culture. One can trace the historical roots of celebrity culture back to the Egyptian, Greek, and Roman eras, when hero worship was prevalent. In the wake of the Industrial Revolution and the rise of mass communication, fame has played a significant role in shaping how fans engage in pleasures and identification, how they develop para-social relations with celebrities, and the ways in which artists understand the production and representation of their own talent in popular culture. Like glamour, fame carries splendour, allure, sexual appeal, and questions of authenticity that can be partially fulfilled only when it remains an illusion. While these ongoing questions of authenticity are integral to the negotiation and maintenance of desire for celebrities, they rarely address the talent that allows some public personalities to shine and become popular in the arts and entertainment industry while most others remain anonymous. The anonymity
Recommended publications
  • Amid the Coronavirus Pandemic, Remember “Thanks for the Memory” Oscar-Winning

    Amid the Coronavirus Pandemic, Remember “Thanks for the Memory” Oscar-Winning

    Back to Newsroom (/newsroom) Leo Robin Music Amid the Coronavirus Pandemic, Remember "Thanks for the Memory" Oscar-Winning Lyricist Leo Robin Who Served on The Hollywood Office of Music War Council During WWII - The Hollywood Walk of Fame Should Install #LeosLostStar" Awarded to Him 30 Years Ago Tuesday, April 28, 2020 3:18 PM SHERMAN OAKS, CA / ACCESSWIRE / April 28, 2020 / Turning on the radio back in 1944 you would have heard the most celebrated jazz musicians such as Louis Armstrong and Lionel Hampton and vocalists such as Frank Sinatra, Judy Garland, Dinah Washington and actress Marlene Dietrich singing the wartime song "No Love, No Nothin'." Lyricist Leo Robin wrote the heartfelt lyrics to this song during World War II when romantic and sentimental songs about the girls left behind captured the mood of the country. In The Great Jazz and Pop Vocal Albums, Will Friedwald gives his interpretation, "this no-frills love song is refreshingly straightforward. No frills, no love, no nothin', in fact -- it's all about the deprivation of the 'love-sick girl' on the home front is suffering; [...] there's an obvious parallel with wartime rationing and shortages. It was near impossible to get sugar, rubber, tires, or gasoline, among other goods and the same thing applied to love, she's not getting any of that either." Today's songwriters and musicians amid the Coronavirus pandemic follow in the footsteps of those during World War II in writing and performing songs that capture the mood of the country during this new war against what President Trump calls the "invisible enemy." For example, Alicia Keys, a 15-time Grammy winner, debuted her new powerful anthem "Good Job" to honor the unsung heroes in her own life during a CNN global town hall addressing the latest developments in the Covid-19 pandemic.
  • Private Broadcasting and the Path to Radio Broadcasting Policy in Canada

    Private Broadcasting and the Path to Radio Broadcasting Policy in Canada

    Media and Communication (ISSN: 2183–2439) 2018, Volume 6, Issue 1, Pages 13–20 DOI: 10.17645/mac.v6i1.1219 Article Private Broadcasting and the Path to Radio Broadcasting Policy in Canada Anne Frances MacLennan Department of Communication Studies, York University, Toronto, M3J 1P3, Canada; E-Mail: [email protected] Submitted: 6 October 2017 | Accepted: 6 December 2017 | Published: 9 February 2018 Abstract The largely unregulated early years of Canadian radio were vital to development of broadcasting policy. The Report of the Royal Commission on Radio Broadcasting in 1929 and American broadcasting both changed the direction of Canadian broadcasting, but were mitigated by the early, largely unregulated years. Broadcasters operated initially as small, indepen- dent, and local broadcasters, then, national networks developed in stages during the 1920s and 1930s. The late adoption of radio broadcasting policy to build a national network in Canada allowed other practices to take root in the wake of other examples, in particular, American commercial broadcasting. By 1929 when the Aird Report recommended a national net- work, the potential impact of the report was shaped by the path of early broadcasting and the shifts forced on Canada by American broadcasting and policy. Eventually Canada forged its own course that pulled in both directions, permitting both private commercial networks and public national networks. Keywords America; broadcasting; Canada; commission; frequencies; media history; national; networks; radio; religious Issue This article is part of the issue “Media History and Democracy”, edited by David W. Park (Lake Forest College, USA). © 2018 by the author; licensee Cogitatio (Lisbon, Portugal). This article is licensed under a Creative Commons Attribu- tion 4.0 International License (CC BY).
  • A Film Documentary About Carry on Sergeant Trenton's Heyday As

    A Film Documentary About Carry on Sergeant Trenton's Heyday As

    Volume 23 Number 1 www.hastingshistory.ca Issue 321 January 2018 A Film Documentary About Carry On Sergeant Trenton’s Heyday as Hollywood North By Bill Kennedy This year celebrates the 100th anniversary of Hollywood North, a colloquialism for Trenton from the days when it was the movie-making capital of Canada. At the Historical Society’s November public event, the history of that glamorous period was brought back to life in a book and film presentation by Doug Knutson of Wind- swept Productions and author Peggy Dy- mond Leavey. Doug Knutson and Peggy Dymond Leavey show off the poster of When she set out to research her book The Hollywood North. Photo by Bill Kennedy Movie Years, Leavey decided that she would write it from the perspective of how the town’s movie-making industry affected local father, a World War I veteran himself and a noted citizens. Back then, American movie stars walking British cartoonist who had gained fame with his Trenton streets and attending local hockey games drawings of “Old Bill,” a curmudgeonly soldier of was not an extraordinary sight. Roles as extras were the trenches who helped boost the morale of British frequently available. During the making of the clas- and allied troops. The assistant director was pioneer- sic World War I silent film Carry On Sergeant, one ing Canadian filmmaker Gordon Sparling. In Knut- of the extras Leavey interviewed recalled seeing son’s documentary film about Carry On Sergeant, some of his own friends walking across the Trenton Sparling, who was in his nineties at the time, remi- bridge wearing German army uniforms.
  • Hollywood Hotel – the Hotel of Hollywood®

    Hollywood Hotel – the Hotel of Hollywood®

    Hollywood Hotel – The Hotel of Hollywood® Media Contacts: Relevance PR Karen Gee-McAuley / 818-541-7724 [email protected] Hannah Hurdle 805-601-5331 [email protected] Address: 1160 North Vermont Avenue Los Angeles, CA 90029 Reservations: 323-746-1248 www.thehollywoodhotel.com Social Media: Facebook: https://www.facebook.com/thehollywoodhotel Twitter: https://twitter.com/hollywoodhotel1 Pinterest: http://www.pinterest.com/hollywoodhotel/ Instagram: hollywoodhotel Established: 1903 Introduction: Situated in the heart of Hollywood, Hollywood Hotel fuses old Hollywood glamour with a modern take on deluxe amenities and newly refreshed, comfortable rooms in a centrally-located urban setting. Hollywood Hotel pays homage to the City of Angels’ creative and artistic spirit, incorporating exquisite design elements and a sense of beauty and inspiration into every guest’s stay, with a nod to the hotel’s Hollywood roots. From elegant and contemporary décor to state-of-the-art extras, thoughtful amenities and unparalleled service, Hollywood Hotel makes each guest’s stay a masterpiece. Hollywood Hotel Fact Sheet Page 2 Location: Hollywood Hotel is located in the District of Hollywood in the City of Los Angeles and is the only Hollywood hotel located most closely to the world-famous Route 66. The hotel is steps away from shopping, world-class dining and cutting edge culture and nightlife. The hotel is only minutes away from the Greek Theater, Los Angeles Zoo, the world-famous Hollywood sign, Hollywood Walk of Fame, Griffith Park Observatory, Grauman’s Chinese Theater, Gene Autry National Center and Lake Hollywood. The hotel is also adjacent to the hip streets of Los Feliz, Silver Lake (voted “Best Hipster City” by Forbes) and Echo Park (backdrop for the film “The Kids Are All Right”), filled with restaurants, one-of-a-kind boutiques and nightclubs.
  • The Role of Hydro Quebec in the Rise of Consulting Engineering

    The Role of Hydro Quebec in the Rise of Consulting Engineering

    Document generated on 10/01/2021 11:59 a.m. Scientia Canadensis Canadian Journal of the History of Science, Technology and Medicine Revue canadienne d'histoire des sciences, des techniques et de la médecine The Role of Hydro Quebec in the Rise of Consulting Engineering in Montreal 1944-1992 An essay in oral history and company genealogy Martha Whitney Langford and Chris Debresson Volume 16, Number 1 (42), 1992 URI: https://id.erudit.org/iderudit/800343ar DOI: https://doi.org/10.7202/800343ar See table of contents Publisher(s) CSTHA/AHSTC ISSN 0829-2507 (print) 1918-7750 (digital) Explore this journal Cite this article Whitney Langford, M. & Debresson, C. (1992). The Role of Hydro Quebec in the Rise of Consulting Engineering in Montreal 1944-1992: An essay in oral history and company genealogy. Scientia Canadensis, 16(1), 76–108. https://doi.org/10.7202/800343ar Copyright © Canadian Science and Technology Historical Association / This document is protected by copyright law. Use of the services of Érudit Association pour l'histoire de la science et de la technologie au Canada, 1992 (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ The Role of Hydro Quebec in the Rise of Consulting
  • Runaway Film Production: a Critical History of Hollywood’S Outsourcing Discourse

    Runaway Film Production: a Critical History of Hollywood’S Outsourcing Discourse

    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Illinois Digital Environment for Access to Learning and Scholarship Repository RUNAWAY FILM PRODUCTION: A CRITICAL HISTORY OF HOLLYWOOD’S OUTSOURCING DISCOURSE BY CAMILLE K. YALE DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Communications in the Graduate College of the University of Illinois at Urbana-Champaign, 2010 Urbana, Illinois Doctoral Committee: Professor John C. Nerone, Chair and Director of Research Professor James W. Hay Professor Steven G. Jones, University of Illinois at Chicago Professor Cameron R. McCarthy ABSTRACT Runaway production is a phrase commonly used by Hollywood film and television production labor to describe the outsourcing of production work to foreign locations. It is an issue that has been credited with siphoning tens of millions of dollars and thousands of jobs from the U.S. economy. Despite broad interest in runaway production by journalists, politicians, academics, and media labor interests, and despite its potential impact on hundreds of thousands—and perhaps millions—of workers in the U.S., there has been very little critical analysis of its historical development and function as a political and economic discourse. Through extensive archival research, this dissertation critically examines the history of runaway production, from its introduction in postwar Hollywood to its present use in describing the development of highly competitive television and film production industries in Canada. From a political economic perspective, I argue that the history of runaway production demonstrates how Hollywood’s multinational media corporations have leveraged production work to cultivate goodwill and industry-friendly trade policies across global media markets.
  • An Over-The-Top Exemption It’S Time to Fairly Tax and Regulate the New Internet Media Services

    An Over-The-Top Exemption It’S Time to Fairly Tax and Regulate the New Internet Media Services

    Canadian Centre for Policy Alternatives June 2016 An Over-the-Top Exemption It’s Time to Fairly Tax and Regulate the New Internet Media Services John Anderson www.policyalternatives.ca RESEARCH ANALYSIS SOLUTIONS About the Author John Anderson is an independent researcher and consultant. He is a former director of parliamenta- ry affairs for the Official Opposition, before which ISBN 978-1-77125-294-2 he was Director of Government Affairs and Public Policy for the Canadian Co-operative Association. This report is available free of charge at www. John has also been a senior policy analyst at the Na- policyalternatives.ca. Printed copies may be or- tional Council of Welfare and the vice-president of dered through the CCPA National Office for $10. strategic partnerships and research for the Cana- dian Council on Social Development. He was Co- PleAse mAke A donAtIon... ordinator of the Technology Adjustment Research Help us to continue to offer our Program at the Ontario Federation of Labour and publications free online. has worked for CBC The National and Newsworld. With your support we can continue to produce high He received his education at McGill University, the quality research — and make sure it gets into the hands University of Sussex and the London School of Eco- of citizens, journalists, policy makers and progres- nomics. He has taught at McMaster, Western, Brock sive organizations. Visit www.policyalternatives.ca and York universities. or call 613-563-1341 for more information. Acknowledgements The opinions and recommendations in this report, and any errors, are those of the authors, and do not The author wishes to thank everyone who agreed necessarily reflect the views of the publishers or to be interviewed for this project, as well as those funders of this report.
  • Canadian Films: What Are We to Make of Them?

    Canadian Films: What Are We to Make of Them?

    Canadian Films: What Are We to Make of Them? By Gerald Pratley Spring 1998 Issue of KINEMA This technically fine picture was shot in British Columbia, but care seems to have been taken toeradicate any sign of Canadian identity in the story’s setting, which is simply generic North American. Film critic Derek Elley in his review of Mina Shum’s Drive, She Said in Variety, Dec. 22, 1997. NO MATTER to what segment of society individuals may belong within the public at large most of those interested in the arts are contemplating what to make of Canadian cinema. Among indigent artists, out- of-work actors, struggling writers, publishers and bookshop proprietors, theatregoers and movie enthusiasts, the question being asked is, what do we expect from Canadian movies? The puzzle begins when audiences, after being subjected to a barrage of media publicity and a frenzy of flag waving, which would have us believe that Canadian movies and tv programmes are among the best in the world, discover they are mostly embarrassingly bad. Except that is, films made in Québec. Yet even here the decline into worthlessness over the past twoyears has become apparent. It is noticeable that, when the media in the provinces other than Québec talk about Canadian films, they are seldom thinking of those in French. This means that we are forced, whentalking about Canadian cinema, into a form of separation because Québec film making is so different from ”ours”, making it impossible to generalize over Canadian cinema as a whole. If we are to believe everything the media tells us then David Cronenberg, whose work is morbid, Atom Egoyan, whose dabblings leave much to be desired, Guy Maddin, who is lost in his own dreams, and Patricia Rozema, who seldom seems to know what she is doing, are among the world’s leading filmmakers.
  • Film Sector Fact Sheet (PDF)

    Film Sector Fact Sheet (PDF)

    Coquitlam Film Sector ith its diverse and friendly neighbourhoods, natural splendor and close I have been working with the City proximity to downtown Vancouver, Coquitlam is “picture perfect” for W of Coquitlam for over 14 years and filmmakers. Easy accessibility, unique locations and plentiful parking make it a have always found the Film Office welcoming place for filming productions. As one of the largest cities in Metro to be friendly and professional. Vancouver, Coquitlam is always a top choice for popular TV series, features and They go above and beyond to help student-led productions. On average, 120 film and television productions are production in any way they can. shot each year in Coquitlam and nearly 1,700 people employed in the industry Tammie Barker, live within the city. Assistant Location Manager Film Office The Film Office has been Coquitlam provides a friendly, one-stop service to the film sector. In addition outstanding in balancing to processing all necessary applications and permits, the Film Liaison is a productions creative-goals with valuable and knowledgeable resource to find that perfect location for your wider community-interests. This focus has made Coquitlam a production. The City of Coquitlam sustains its competitive advantage in the favoured destination for film- film sector by aiding the growth and development of local production facilities makers. and other film-related businesses. Ken Brooker, Feature Film Productions Unique filming Locations Location Manager > Bad Times at the El Royale The spectacular
  • Local Radio Stations' Online Revenues

    Local Radio Stations' Online Revenues

    Benchmarking: Local Radio Stations’ Online Revenues 2 Benchmarking: Local Radio Stations’ Online Revenues Analysis of Online Sales, Plus Online Advertising Estimates for 210 Markets Special Report for Arbitron Inc. Compiled by Borrell Associates Inc. We would like to thank Arbitron Inc. for its eagerness to help the radio industry understand the changing media landscape. With Arbitron’s assistance we were able to expand our sample size, reaching out to 2,338 stations contributing data. We would also like to thank the hundreds of broadcast executives who participate in our ongoing surveys. Their willingness to share information and their insights has helped us—and the industry—better understand a rapidly changing media environment. Borrell Associates Leadership Team: Colby Atwood [email protected] Gordon Borrell [email protected] Kip Cassino [email protected] Peter Conti Jr. [email protected] 1643 Merrimac Trail, Suite B, Williamsburg, VA 23185 Phone: 757-221-6641 www.borrellassociates.com © 2012 Arbitron Inc. Benchmarking: Local Radio Stations’ Online Revenues 3 Table of Contents Introduction ................................................................................................................................................. 4 Chapter 1: The Local Online Advertising Landscape ............................................................................. 5 Figure 1.1: Local Online Advertising: 21.3% Uptick Forecast for 2012 .................................... 5 Figure 1.2: Radio’s
  • Hollywood Walk of Fame Master Plan Community Meeting Presentation

    Hollywood Walk of Fame Master Plan Community Meeting Presentation

    Hollywood Walk of Fame Master Plan Community Meeting Presentation November 19, 2020 *50% SCHEMATIC DESIGN DRAFT - SUBJECT TO CHANGE HOLLYWOOD WALK OF FAME MASTER PLAN Welcome & Introductions Community Presentation Page 2 of 59 November 19, 2020 *50% SCHEMATIC DESIGN DRAFT - SUBJECT TO CHANGE The Master Plan is being developed with consensus, guidance and advocacy from many parties Client Team Design Team Community & City Partners Neighborhood Councils Community Organizations City Deparments Central Hollywood Neighborhood Council Hollywood Partnership Los Angeles Bureau of Street Lighting Hollywood Hills West Neighborhood Council Hollywood Chamber of Commerce Los Angeles Bureau of Street Services Hollywood Studio District Neighborhood Council Hollywood Heritage Los Angeles Department of Transportation Hollywood United Neighborhood Council Hollywood Historic Trust Los Angeles County Metro Los Angeles Office of Historic Resources Los Angeles Police Department (LAPD) Los Angeles Fire Department (LAFD) Page 3 of 59 HOLLYWOOD AGENDA WALK OF FAME MASTER PLAN 1. Project Update 2. Vision 3. Traffic & Mobility 4. Street Design 5. Street Trees 6. Street Amenities Community Presentation Page 4 of 59 November 19, 2020 *50% SCHEMATIC DESIGN DRAFT - SUBJECT TO CHANGE HOLLYWOOD WALK OF FAME MASTER PLAN 1. Project Status Update Community Presentation Page 5 of 59 November 19, 2020 *50% SCHEMATIC DESIGN DRAFT - SUBJECT TO CHANGE HOLLYWOOD PROJECT PURPOSE WALK OF FAME MASTER PLAN To improve the Walk of Fame experience for those who live in, work in and visit the area. THE STREET IS FOR EVERYONE! Community Presentation Page 6 of 59 November 19, 2020 *50% SCHEMATIC DESIGN DRAFT - SUBJECT TO CHANGE HOLLYWOOD COMMUNITY OUTREACH OVERVIEW WALK OF FAME MASTER PLAN Community Presentation Page 7 of 59 November 19, 2020 *50% SCHEMATIC DESIGN DRAFT - SUBJECT TO CHANGE HOLLYWOOD PROJECT SCHEDULE WALK OF FAME MASTER PLAN WHERE WE ARE TODAY ARE WE WHERE DEC.
  • The Animation Industry: Technological Changes, Production Challenges, and Global Shifts

    The Animation Industry: Technological Changes, Production Challenges, and Global Shifts

    THE ANIMATION INDUSTRY: TECHNOLOGICAL CHANGES, PRODUCTION CHALLENGES, AND GLOBAL SHIFTS DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Hyejin Yoon, M.A. ***** The Ohio State University 2008 Dissertation Committee: Approved by Professor Edward J. Malecki, Adviser Professor Nancy Ettlinger Adviser Graduate Program in Geography Professor Darla K. Munroe ABSTRACT Animated films have grown in popularity as expanding markets (such as TV and video) and new technologies (notably computer graphics imagery) have broadened both the production and consumption of cartoons. As a consequence, more animated films are produced and watched in more places, as new “worlds of production” have emerged. The animation production system, specialized and distinct from film production, relies on different technologies and labor skills. Therefore, its globalization has taken place differently from live-action film production, although both are structured to a large degree by the global production networks (GPNs) of the media conglomerates. This research examines the structure and evolution of the animation industry at the global scale. In order to investigate these, 4,242 animation studios from the Animation Industry Database are used. The spatial patterns of animation production can be summarized as, 1) dispersion of the animation industry, 2) concentration in world cities, such as Los Angeles and New York, 3) emergence of specialized animation cities, such as Annecy and Angoulême in France, and 4) significant concentrations of animation studios in some Asian countries, such as India, South Korea and the Philippines. In order to understand global production networks (GPNs), networks of studios in 20 cities are analyzed.