Angeles. His research and teaching focus on contemporary film and television, technologies, and c... more Angeles. His research and teaching focus on contemporary film and television, technologies, and creative labor. Caldwell (MFA Cal Arts, PhD Northwestern) has authored and edited several books, including
Die verborgene Arbeit von Stuntfrauen* Miranda J. Banks 1996 fiel Lucy Lawless, die Fernsehheldin... more Die verborgene Arbeit von Stuntfrauen* Miranda J. Banks 1996 fiel Lucy Lawless, die Fernsehheldin Xena, bei der Probe eines Sketches für die Unterhaltungssendung The Tonight Show vom Pferd und brach sich das Becken. Einige Monate später berichteten die Zeitungen, dass Lawless zurück am Set sei, ihre Stunts jedoch zeitweilig von Doubles übernommen würden (Graham 1997; vgl. anon. 1996). Sie unterstellten also, dass Lawless ihre Stunts normalerweise selbst ausführt. Dabei werden Action-Szenen im Fernsehen meist gedoubelt, und Xena: Warrior Princess (Xena-Die Kriegerprinzessin, 1995-2001) bildete hier keine Ausnahme. Tatsächlich wurden sieben verschiedene Frauen benötigt, um Xena zu erschaffen: neben Lucy Lawless selbst und ihrem Haupt-Double Zoë Bell fünf weitere, spezialisiert auf Stunts mit Pferden, den Einsatz mit der Waffe oder Nacktauftritte. Jede Einzelne wurde engagiert, um die Illusion zu erschaffen, dass die Figur Xena nur von einer Schauspielerin verkörpert wirdder Hauptdarstellerin, die scheinbar alle Action-Szenen selbst darstellt. In Action-Abenteuer-Serien spielt der Star zwar die Hauptrolle, aber nicht zwangsläufig verkörpert er sie auch in ihren heldenhaftesten Momenten. Es ist das Stunt-Double, das einer Figur wie Xena Leben verleiht und sie in eine einzigartige, starke Frau verwandelt. Die Montage löscht das Double aus, indem sie einen nahtlosen Übergang * [Anm. d. Hg.:] Bei dem vorliegenden Text handelt es sich um eine gekürzte und von der Autorin für Montage AV überarbeitete Fassung des Kapitels «Production: Toughness, Feminity, and the Stunt Double» (175-237) aus ihrer 2006 an der University of California, Los Angeles (UCLA) eingereichten Dissertation, Bodies of Work. Rituals of Doubling and the Erasure of Film/TV Production Labor.
Feminist media studies has observed a series of significant milestones in recent years: 2015 mark... more Feminist media studies has observed a series of significant milestones in recent years: 2015 marked the fortieth anniversary of Laura Mulvey's landmark essay “Visual Pleasure and Narrative Cinema”; Camera Obscura , a groundbreaking journal in our field, celebrated its own fortieth anniversary in
The version presented here may differ from the published version or from the version of the recor... more The version presented here may differ from the published version or from the version of the record. Please see the repository URL above for details on accessing the published version and note that access may require a subscription.
Since the 1970s, the percentage of students in the United States majoring in film and media has i... more Since the 1970s, the percentage of students in the United States majoring in film and media has increased almost 300 percent, a number ten times more than the overall increase in college degrees. Media production as practiced in university settings is generally more equitable than the media industries, but that does not mean that these pre-industry spaces exist without deep-seated biases, power dynamics, and privileges. This article identifies challenges and opportunities facing media production education around issues of equity and access. The author argues that these pre-industry programs are uniquely positioned to educate the next generation of media makers about creative collaboration across differences and challenge the industry's status quo. The author posits four interventions to make media education more equitable and offers a case study of a pedagogical intervention, Room at the Top, a massively multiplayer card game that addresses bias and power in creative collaboration.
This article examines the precarity of labor for women working in US broadcast television during ... more This article examines the precarity of labor for women working in US broadcast television during the long 1970s, focusing on interventions by government agencies, trade unions, and individual writers and producers, with a particular focus on the Writers Guild of America (WGA) 1974 Women's Committee Report, the first major statistical survey to track the representation of women as creatives within American television. This article puts qualitative and quantitative data in direct conversation: where one captures the nuances of personal experience and the other highlights the extent of inequality, together they help fill gaps in understanding the long history of struggles for equity in media production.
This article explores the role of stunt women in film and television production, and considers th... more This article explores the role of stunt women in film and television production, and considers their contribution to the construction of on-screen action heroines. Combining feminist theory with interviews with professional stunt women, the article illuminates stunt women's strategically hidden professional labour: on the set, on the screen, and in the popular press.
Last year the voice of Hollywood went silent. Jack Valenti, Hollywood lobbyist and head of the Mo... more Last year the voice of Hollywood went silent. Jack Valenti, Hollywood lobbyist and head of the Motion Picture Association of America for almost forty years, died at the age of eighty-five in Washington, DC Officially, Valenti spoke as the voice of Hollywood in Washington, but ...
Angeles. His research and teaching focus on contemporary film and television, technologies, and c... more Angeles. His research and teaching focus on contemporary film and television, technologies, and creative labor. Caldwell (MFA Cal Arts, PhD Northwestern) has authored and edited several books, including
Die verborgene Arbeit von Stuntfrauen* Miranda J. Banks 1996 fiel Lucy Lawless, die Fernsehheldin... more Die verborgene Arbeit von Stuntfrauen* Miranda J. Banks 1996 fiel Lucy Lawless, die Fernsehheldin Xena, bei der Probe eines Sketches für die Unterhaltungssendung The Tonight Show vom Pferd und brach sich das Becken. Einige Monate später berichteten die Zeitungen, dass Lawless zurück am Set sei, ihre Stunts jedoch zeitweilig von Doubles übernommen würden (Graham 1997; vgl. anon. 1996). Sie unterstellten also, dass Lawless ihre Stunts normalerweise selbst ausführt. Dabei werden Action-Szenen im Fernsehen meist gedoubelt, und Xena: Warrior Princess (Xena-Die Kriegerprinzessin, 1995-2001) bildete hier keine Ausnahme. Tatsächlich wurden sieben verschiedene Frauen benötigt, um Xena zu erschaffen: neben Lucy Lawless selbst und ihrem Haupt-Double Zoë Bell fünf weitere, spezialisiert auf Stunts mit Pferden, den Einsatz mit der Waffe oder Nacktauftritte. Jede Einzelne wurde engagiert, um die Illusion zu erschaffen, dass die Figur Xena nur von einer Schauspielerin verkörpert wirdder Hauptdarstellerin, die scheinbar alle Action-Szenen selbst darstellt. In Action-Abenteuer-Serien spielt der Star zwar die Hauptrolle, aber nicht zwangsläufig verkörpert er sie auch in ihren heldenhaftesten Momenten. Es ist das Stunt-Double, das einer Figur wie Xena Leben verleiht und sie in eine einzigartige, starke Frau verwandelt. Die Montage löscht das Double aus, indem sie einen nahtlosen Übergang * [Anm. d. Hg.:] Bei dem vorliegenden Text handelt es sich um eine gekürzte und von der Autorin für Montage AV überarbeitete Fassung des Kapitels «Production: Toughness, Feminity, and the Stunt Double» (175-237) aus ihrer 2006 an der University of California, Los Angeles (UCLA) eingereichten Dissertation, Bodies of Work. Rituals of Doubling and the Erasure of Film/TV Production Labor.
Feminist media studies has observed a series of significant milestones in recent years: 2015 mark... more Feminist media studies has observed a series of significant milestones in recent years: 2015 marked the fortieth anniversary of Laura Mulvey's landmark essay “Visual Pleasure and Narrative Cinema”; Camera Obscura , a groundbreaking journal in our field, celebrated its own fortieth anniversary in
The version presented here may differ from the published version or from the version of the recor... more The version presented here may differ from the published version or from the version of the record. Please see the repository URL above for details on accessing the published version and note that access may require a subscription.
Since the 1970s, the percentage of students in the United States majoring in film and media has i... more Since the 1970s, the percentage of students in the United States majoring in film and media has increased almost 300 percent, a number ten times more than the overall increase in college degrees. Media production as practiced in university settings is generally more equitable than the media industries, but that does not mean that these pre-industry spaces exist without deep-seated biases, power dynamics, and privileges. This article identifies challenges and opportunities facing media production education around issues of equity and access. The author argues that these pre-industry programs are uniquely positioned to educate the next generation of media makers about creative collaboration across differences and challenge the industry's status quo. The author posits four interventions to make media education more equitable and offers a case study of a pedagogical intervention, Room at the Top, a massively multiplayer card game that addresses bias and power in creative collaboration.
This article examines the precarity of labor for women working in US broadcast television during ... more This article examines the precarity of labor for women working in US broadcast television during the long 1970s, focusing on interventions by government agencies, trade unions, and individual writers and producers, with a particular focus on the Writers Guild of America (WGA) 1974 Women's Committee Report, the first major statistical survey to track the representation of women as creatives within American television. This article puts qualitative and quantitative data in direct conversation: where one captures the nuances of personal experience and the other highlights the extent of inequality, together they help fill gaps in understanding the long history of struggles for equity in media production.
This article explores the role of stunt women in film and television production, and considers th... more This article explores the role of stunt women in film and television production, and considers their contribution to the construction of on-screen action heroines. Combining feminist theory with interviews with professional stunt women, the article illuminates stunt women's strategically hidden professional labour: on the set, on the screen, and in the popular press.
Last year the voice of Hollywood went silent. Jack Valenti, Hollywood lobbyist and head of the Mo... more Last year the voice of Hollywood went silent. Jack Valenti, Hollywood lobbyist and head of the Motion Picture Association of America for almost forty years, died at the age of eighty-five in Washington, DC Officially, Valenti spoke as the voice of Hollywood in Washington, but ...
Uploads
Papers by Miranda Banks