napier
TRANSCRIPT
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Understanding the film and TV sector in North East England
using social network analysis
Jon SwordsNorthumbria University
Presentation to Employment Research Institute, Edinburgh Napier University (5th December, 2012)
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StructureBackground
Previous research
Change over last decade
Beyond the region
Examining project networks
Early conclusions
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North East CrisesEconomic powerhouse in industrial revolution
25% of global ship production early 20th century
Manufacturing boom post war
Microchip manufacture in 1990s
Creative industries?
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Creative Industries in North East England
Much of the region’s creative industries are characterised as:
-operating self contained and regionally bounded working practices-being isolated cognitively and physically from creative hubs -using passive or serendipitous engagement strategies to engage non- locally -facing barriers to engage non-locally
(Swords and Wray, 2010)
Swords, J. & Wray, F. (2010) "The Connectivity of the Creative Industries in North East England: The Problems of Physical and Relational Distance" Local Economy 25(4) 305–318
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• “There is no industry anymore…if I don’t find a new project soon I’m moving to Glasgow.”
• (Producer D)
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What’s happened?Why did it happened?What are the consequences?
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Productions made (at least in part) in NE
Productions involving NE based production companies
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Impacts of Decline
Regional firms 3.5x more likley to film locally
“Very little creativity on set, mainly routines tasks and fetching and carrying. Intensive creative period is pre-production.”
(Producer H)
Loss of capacity
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Source: Draco2008 @ Flickr
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Moving beyond the region
Bounded regional space of workers vs multi-scalar relational spaces of production networks
“...the key domains of finance, distribution and exhibition that exert a massive influence on the organizational structures and geography of the industry.”
(Coe and Johns, 2004: 188)
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Johns, J. (2010) "Manchester's Film and Television Industry: Project Ecologies and Network Hierarchies" Urban Studies, 47(5) 1059–1077
Geographies of the project network of a feature film shot in Liverpool
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Skeletal Remains of Project Ecologies
“project ecologies denote relational space which affords the personal, organizational, and institutional resources for performing projects. This relational space encompasses social layers on multiple scales, from the micro-level of interpersonal networks to the meso-level of wider institutional settings.”
(Grabher and Ibert, 2010: 176)
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Crew lists
Companies involved
Other organisations
...for productions linked to north east England
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Visualising Project Ecologies
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Deciphering the NetworkTwo ways:
1. centrality measures
2. the layout
Split between film and TV
Caravan productions
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All data, 1971-2011
TV productions
Films
Key
Split between film and TV
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Explaining the split
Divisions of labour
Specialisms
Career trajectories
Bridging examples
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1980s 1990s
2000s
TV productions
Films
Key
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2000-05 2006-11
TV productions
Films
Key
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Caravans
Productions which travel from location to location to film
Minimal impact on local industry (e.g. Atonement)
Source: pierre c. 38 @ Flickr
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Using SNA+ overcomes missing geographic data
+ useful to identify key (powerful?) nodes
+ help identify areas for further investigation (School for Seduction)
+ nice visualisations
- partial data
- SNA measures skewed
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Competing Narratives
1. Buoyant industry connected to Hollywood and London?
• branch plant relationship?
2. Declining industry hemorrhaging jobs?
• yes, but... more resilient firms?
• Growing short film focus.
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Creative De-industrialisation?
Decisions leading to decline:
• cancellation of series• (dis)investment decisions• choosing overseas locations• loss of regional bodies
...are made outside the region.
History repeating?