This article continues to operationally define and test the resource-based view of the firm in a study of the major U.S. film studios from 1936 to 1965. We found that property-based resources in th...

The Resource-Based View of the Firm in Two Environments: The Hollywood Film Studios From 1936 to 1965

Richard Abel, author of two distinguished works on French film and theory, teaches at Drake University. Carolyn Anderson teaches at the University of Massachusetts, Amherst. Edward D. Castillo is a California Cahuilla Indian and chair of Native American Studies at Sonoma State University. Darius Cooper teaches at San Diego Mesa College. David Desser, our Book Review Editor, teaches at the University of Illinois, Urbana.

http://www.composingdigitalmedia.org/mca_f14/MCA_reads/williams,linda_filmbodies.pdf

Film Bodies: Gender, Genre, and Excess

The paper advances a relational perspective to studying creativity at the individual level. Building on social network theory and techniques, we examine the role of social networks in shaping individuals’ ability to generate a creative outcome. More specifically, we argue that individuals who occupy an intermediate position between the core and the periphery of their social system are in a favorable position to achieve creative results. In addition, the benefits accrued through an individual’s intermediate core/periphery position can also be observed at the team level, when the same individual works in a team whose members come from both ends of the core/periphery continuum. We situate the analysis and test our hypotheses within the context of the Hollywood motion picture industry, which we trace over the period 1992–2003. The theoretical implications of the results are discussed.

https://pubsonline.informs.org/doi/pdf/10.1287/orsc.1070.0350

A Core/Periphery Perspective on Individual Creative Performance: Social Networks and Cinematic Achievements in the Hollywood Film Industry

Creative destruction is a central element of the competitive dynamic of capitalism. This phenomenon assumes concrete form in relation to specific geographical and historical conditions. One such set of conditions is investigated here under the rubric of the creative field, i.e. the locationally-differentiated web of production activities and associated social relationships that shapes patterns of entrepreneurship and innovation in the new economy. The creative field operates at many different levels of scale, but I argue that the urban and regional scale is of special interest and significance. Accordingly, I go on to describe how the creative field functions as a site of (a) entrepreneurial behavior and new firm formation, (b) technical and organizational change, and (c) the symbolic elaboration and re-elaboration of cultural products. All of these activities are deeply structured by relations of spatial-cum-organizational proximity and separation in the system of production. The creative field, however, is far from being a fully self-organizing entity, and it is susceptible to various kinds of breakdowns and distortions. Several policy issues raised by these problems are examined. The paper ends by addressing the question as to whether industrial agglomeration is an effect of producers’ search for creative synergies, or whether such synergies are themselves simply a contingent outcome of agglomeration.

Entrepreneurship, Innovation and Industrial Development: Geography and the Creative Field Revisited

Scott A. J. (2002) A new map of Hollywood: the production and distribution of American motion pictures, Reg. Studies 36, 957–975. In this paper, I offer a reinterpretation of the economic geography of the so-called new Hollywood. The argument proceeds in six main stages. First, I briefly examine the debate on industrial organization in Hollywood that has gone on in the literature since the mid-1980s, and I conclude that the debate has become unnecessarily polarized. Second, I attempt to show how an approach that invokes both flexible specialization and systems-house forms of production is necessary to any reasonably complete analysis of the organization of production in the new Hollywood. Third, and on this basis, I argue that the Hollywood production system is deeply bifurcated into two segments comprising: (1) the majors and their cohorts of allied firms on the one hand; and (2) the mass of independent production companies on the other. Fourth, I reaffirm the continuing tremendous agglomerative attracti...

A new map of Hollywood: the production and distribution of American motion pictures.

An excessively obvious cinema

Space in the classical film

Writing the History of American Film Reception

Graphic stories: Representing the status of female faculty

Practically from its origins, and especially once it had been consolidated as a spectacle for mass consumption, American cinema had to deal with censorship by different authorities at local, state and federal levels. The industry responded to the problems arising from such censorship by introducing self-regulation, expressed in the Motion Picture Production Code, popularly known as the Hays Code. In addition to their influence on the subjects chosen and how these were treated, these mechanisms of censorship and self-regulation had a highly significant influence on the filmic form. What role did censorship play in the transition from the cinema of attractions to a more narrative model? Was it a determining factor in the establishment of the Institutional Mode of Representation? How did the Production Code interact with other systems and formulas associated with classical cinema, such as the star system or the different film genres? How did the progressive relaxation and subsequent abandonment of the Code affect the mise-en-scène of films? How did classical cinema handle problematic elements related to filmic form resulting from the restrictions of the Code? In this section, six internationally renowned scholars address these questions and offer their views on the subject.

Janet Staiger

Papers

An excessively obvious cinema

Space in the classical film

Writing the History of American Film Reception

Graphic stories: Representing the status of female faculty

(Dis)Agreements: Censorship and the configuration of cinematic classicism