University of Illinois Urbana-Champaign

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

Yale, Camille K.

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Yale_Camille.pdf

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https://hdl.handle.net/2142/18481

Description

Title
Runaway film production: A critical history of Hollywood's outsourcing discourse
Author(s)
Yale, Camille K.
Issue Date
2011-01-14T22:52:20Z
Director of Research (if dissertation) or Advisor (if thesis)
Nerone, John C.
Doctoral Committee Chair(s)
Nerone, John C.
Committee Member(s)
  • Hay, James W.
  • Jones, Steven G.
  • McCarthy, Cameron R.
Department of Study
Inst of Communications Rsch
Discipline
Communications
Degree Granting Institution
University of Illinois at Urbana-Champaign
Degree Name
Ph.D.
Degree Level
Dissertation
Date of Ingest
2011-01-14T22:52:20Z
Keyword(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.”
Graduation Semester
2010-12
Permalink
http://hdl.handle.net/2142/18481
Copyright and License Information
Copyright 2010 Camille K. Yale

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