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From Film Practice to Data ProcessProduction Aesthetics and Representational Practices of a Film Industry in Transition$
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Sarah Atkinson

Print publication date: 2018

Print ISBN-13: 9780748693580

Published to Edinburgh Scholarship Online: September 2018

DOI: 10.3366/edinburgh/9780748693580.001.0001

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PRINTED FROM EDINBURGH SCHOLARSHIP ONLINE (www.edinburgh.universitypressscholarship.com). (c) Copyright Edinburgh University Press, 2021. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in ESO for personal use.date: 17 September 2021

Digital Film Production People

Digital Film Production People

Chapter:
(p.21) Chapter 2 Digital Film Production People
Source:
From Film Practice to Data Process
Author(s):

Sarah Atkinson

Publisher:
Edinburgh University Press
DOI:10.3366/edinburgh/9780748693580.003.0002

This chapter presents a critical examination of the wider context of the film industry using Ginger & Rosa as a lens through which to examine the three main professional working frameworks that film industry professionals operate within - the network, the department and the project itself, the film. Drawing on interviews with established film professionals, the chapter examines these three distinctive, yet overlapping spheres, their intersections, their challenges and their moments of contradiction. The chapter extrapolates the organisational structure as specific to the Ginger & Rosa ‘project’ and examines in detail the structures and working relationships of three different departments–Camera/Electrical, Assistant Director (AD), Production and Post-production. These discussions draw out the complex interplay between, on the one side, a highly craft-based, traditional classical narrative film production, and, on the other, a production shaped by new digital technologies and interstitial work specific to the film-to-data moment. Through the mapping of a Personnel Structure and Working Relations model, the chapter examines how Sally Potter manages to nurture innovation and experimentalism within these seemingly inflexible structures through ‘collaborative’ and ‘transitional’ auteurism.’

Keywords:   Auteur, Collaborative auteurism, Transitional auteurism, Network, Project, Department, Film craft, Digital, Sally Potter

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