Beyond the Bottom Line

Andrew Spicer, Professor of Cultural Production at the University of the West of England, UK, has published widely on British cinema, masculinity and film noir, most recently The Man Who Got Carter: Michael Klinger, Independent Production and the British Film Industry, 1960-1980, co-authored with A.T. McKenna. He is currently working on a study of Sean Connery. A.T. McKenna teaches Media and International Communications at the University of Nottingham in Ningbo, China. His work has appeared in the Historical Journal of Film, Radio and Television, Journal of British Cinema and Television, and the Journal of Popular Film and Television. He is currently working on a monograph on Joseph E. Levine. Christopher Meir is Lecturer in Film at the University of the West Indies, St. Augustine in Trinidad and Tobago. He edited a special issue of the Historical Journal of Film, Radio and Television on film marketing and has published on Jeremy Thomas. He is currently completing Scottish Cinema: Texts and Contexts.

A pioneering and timely volume emphasizing historical and transnational perspectives, Beyond the Bottom Line brings the myths and realities of the producer’s many roles into clear focus. Offering well developed case studies and conceptual clarification, the contributors deepen and extend the ongoing conversation about practitioner’s agency in thoughtful and productive ways.

• Table of ContentsList of Illustrations Notes on Contributors Acknowledgements 1. Introduction – Andrew Spicer, A.T. McKenna and Christopher Meir Part I – Theoretical and Historical Contexts 2. Joe Kember, University of Exeter, UK, “A Judge of Anything and Everything”: Charles Urban and the Role of the “Producer-Collaborator” in Early British Film3. Audun Engelstad and Jo Sondre Moseng, Lillehammer University College, Norway, Mapping a Typology of the Film Producer – Or, Six Producers in Search of an Author4. Andrew Spicer, University of the West of England, UK, The Independent Producer and the State: Simon Relph, Government Policy and the British Film Industry, 1980-2005 5. Paul Long, Birmingham City University, UK and Simon Spink, UK, Producing the Self: The Film Producer’s Labor and Professional Identity in the UK Creative Economy6. Pauline Small, Queen Mary, University of London, UK, Producer and Director? Or, “Authorship” in 1950s Italian Cinema7. Mark David Ryan, Ben Goldsmith, and Stuart Cunningham, Queensland University of Technology, Australia, and Deb Verhoeven, Deakin University, Australia, The Australian Screen Producer in TransitionPart II – Media and Genre Contexts 8. Donna Kornhaber, University of Texas at Austin, USA, The Producer in Animation: Creativity and Commerce from Bray Studios to Pixar9. Brett Mills and Sarah Ralph, University of East Anglia, UK, “Trying to Ride a Naughty Horse”: British Television Comedy Producers10. Sonia Friel, Norwich University of the Arts, UK, Keith Griffiths’ Poetics of Production 11. James Lyons, University of Exeter, UK, The American Independent Producer and the Film Value ChainPart III – National and Transnational Contexts 12. Constanza Burucúa, Western University, Canada, Lita Stantic: Auteur Producer/Producer of Auteurs13. A.T. McKenna, University of Nottingham, China, Beyond National Humiliation: Han Sanping and China’s Post-Olympics Historical Event Blockbusters14. Gertjan Willems, Ghent University, Belgium, The Producer in Belgian Cinema(s): The Case of Jean (and Jan) Van Raemdonck15. Christopher Meir, University of the West Indies, St. Augustine, Trinidad and Tobago, Post-Imperial Co-Producers: Emile Sherman, Iain Canning and Contemporary Anglo-Australian Cinema