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Runaway film production: A critical history of Hollywood’s outsourcing discourse

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Title: Runaway film production: A critical history of Hollywood’s outsourcing discourse
Author(s): Yale, Camille K.
Director of Research: Nerone, John C.
Doctoral Committee Chair(s): Nerone, John C.
Doctoral Committee Member(s): Hay, James W.; Jones, Steven G.; McCarthy, Cameron R.
Department / Program: Inst of Communications Rsch
Discipline: Communications
Degree Granting Institution: University of Illinois at Urbana-Champaign
Degree: Ph.D.
Genre: Dissertation
Subject(s): runaway production media industries globalization outsourcing media history
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. More critically, I argue that the history of runaway production tells the story of the development of a Hollywood labor diaspora: a globally dispersed labor force bound by a common cultural identity as Hollywood labor, but divided by their unequal relationship to the discursive mythology of Hollywood as the industry’s authentic “homeland.”
Issue Date: 2011-01-14
URI: http://hdl.handle.net/2142/18481
Rights Information: Copyright 2010 Camille K. Yale
Date Available in IDEALS: 2011-01-14
Date Deposited: December 2
 

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