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Below the Line: Producers and Production Studies in the New Television Economy
 
 

Below the Line: Producers and Production Studies in the New Television Economy [Kindle Edition]

Vicki Mayer

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Product Description

Review

"This is an immensely original and innovative book on production processes and labouring practices within the world of television. Long overlooked within media studies until now, this ethnographic and interview-based analysis of groups including television assembly-line workers and soft-core TV producers marks a new departure for scholarship into precarious working lives in the global media." Angela McRobbie, author of The Aftermath of Feminism: Gender, Culture and Social Change "At a moment when production studies and critical media studies are thriving, Below the Line has the potential to not merely refresh academic work of this kind but to re-conceive it in a way that is completely attuned to the global political media economy and the complications and paradoxes of labour within it." Diane Negra, co-editor of Interrogating Postfeminism: Gender and the Politics of Popular Culture "Vicki Mayer's excellent and extraordinarily thoughtful scholarship, commitment, and political imagination link aspects of the television and media industries that have simply not been considered together so well before."oNick Couldry, author of Why Voice Matters: Culture and Politics after Neoliberalism

Product Description

Below the Line illuminates the hidden labor of people who not only produce things that the television industry needs, such as a bit of content or a policy sound bite, but also produce themselves in the service of capital expansion. Vicki Mayer considers the work of television set assemblers, soft-core cameramen, reality-program casters, and public-access and cable commissioners in relation to the globalized economy of the television industry. She shows that these workers are increasingly engaged in professional and creative work, unsettling the industry’s mythological account of itself as a business driven by auteurs, manned by an executive class, and created by the talented few. As Mayer demonstrates, the new television economy casts a wide net to exploit those excluded from these hierarchies. Meanwhile, television set assemblers in Brazil devise creative solutions to the problems of material production. Soft-core videographers, who sell televised content, develop their own modes of professionalism. Everyday people become casters, who commodify suitable participants for reality programs, or volunteers, who administer local cable television policies. These sponsors and regulators boost media industries’ profits when they commodify and discipline their colleagues, their neighbors, and themselves. Mayer proposes that studies of production acknowledge the changing dynamics of labor to include production workers who identify themselves and their labor with the industry, even as their work remains undervalued or invisible.

Product details

  • Format: Kindle Edition
  • File Size: 736 KB
  • Print Length: 256 pages
  • Publisher: Duke University Press Books (25 April 2011)
  • Sold by: Amazon Media EU S.à r.l.
  • Language: English
  • ASIN: B00EHNTEE4
  • Text-to-Speech: Enabled
  • X-Ray:
  • Word Wise: Not Enabled
  • Amazon Bestsellers Rank: #1,182,843 Paid in Kindle Store (See Top 100 Paid in Kindle Store)
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Amazon.com: 1.0 out of 5 stars  1 review
1 of 1 people found the following review helpful
1.0 out of 5 stars Awful writing, even for academia 2 Mar 2014
By Laura H. Marshall - Published on Amazon.com
Format:Paperback|Verified Purchase
I'm in academia myself and have a considerable vocabulary, yet found myself startled and downright mystified by her choices of words throughout this book--choices that often made little sense and seemed calculated to impress the reader. At the same time, the writing is stilted and awkward, sentences strung together as if they simply fell into place on the page rather than because they made linguistic sense. The section on "producers" of "soft-core porn" at Mardi Gras is disingenous, with no critique of the possible unethical behavior of the alleged "producers" who are presented as "professionals" even as most of them admit to shooting video of drunken women who are often coerced into revealing themselves "for fun" or because it gets them invited to parties.

This is a thinly-veiled approximation of research, though much time may have been spent putting it together. The writing, at least, could have much improved if the author had spent as much time striving for clarity as she did fighting to fit impressive words into odd circumstances.
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