The Velvet Light Trap
Issue #80 - "Production Cultures"
Submission deadline: August 15, 2016
Submit to: thevelvetlighttrap-AT-gmail.com
In the introduction to their edited book on production studies, Vicki Mayer, Miranda Banks, and John T. Caldwell argue that “the off-screen production of media is itself a cultural production, mythologized and branded much like the onscreen textual culture that media industries produce.” This has never been more true than in the current moment.
The production process – aided by the proliferation of social media – has become increasingly visible. Long before movies, games, comic book issues, or television series are released, audiences have already been exposed to, and have opined over, casting choices, false starts, locations, script drafts, and various other aspects of the production process. Additionally, the development of cinematic universes has caused the cultures of production to become increasingly complex, resulting in productions that are both more global and transmedia-minded. This raises new questions about power and labor as new relationships are forged between production capitals, and workers who have traditionally functioned independently of each other must come together to create transmedia stories. In addition, the newly-heightened visibility of the production process, and the consolidation of the production studies field, emphasizes the need to reexamine and evaluate production cultures of the past.
This issue of The Velvet Light Trap seeks historical and contemporary studies of media production. Submissions should engage with the above issues of increased complexity, visibility, and ubiquity, in addition to new questions. We invite scholars to submit work that not only deepens our current understanding of production studies, but also challenges our assumptions about what production cultures are, and the types of questions that should be asked about them. We would also ask scholars to consider how issues of gender, race, and sexuality function beyond the screen and contextualize these issues within the production process.
Topics may include but are not limited to:
- Relationships between producers and consumers
- Negotiating professional identity
- Evolution of production
- Production communities
- Creative hierarchies within cinematic universes
- Industry lore related to specific productions
- Issues of gender, race, sexuality, and/or disability
- Labor relations, unions, and guilds
- Below-the-line labor
- Failed productions/Fired producers
- Disputes between producers and creators
- Unpaid labor and intern culture
- Contracts and other legal issues
- Labor of practical effects
- Genre-specific work identities
- Video game production cultures
- Stunt work
- Production and publicity of star texts
- Gender and exploitation in music cultures
- Production of user-generated media
- Cultures of documentary film production
- Cultures of live production (sports, news, live musicals)
More submission guidelines available at the journal website.