6. Backlots of the World War: Cinecittà, 1942–1950

Chapters in this book

1. Frontmatter i
2. Contents v
3. Acknowledgments vii
4. Introduction: Studio Perspectives 1
5. Part One. Formations
6. 1. “The Longed-For Crystal Palace”: Empire, Modernity, and Nikkatsu Mukōjima’s Glass Studio, 1913–1923 23
7. 2. Regulating Light, Interiors, and the National Image: Electrification and Studio Space in 1920s Brazil 42
8. 3. Ephemeral Studios: Exhibiting Televisual Spaces during the Interwar Years 63
9. Part Two. Foundations
10. 4. Estudios Churubusco: A Transnational Studio for a National Industry 85
11. 5. Pinewood Studios, the Independent Frame, and Innovation 103
12. 6. Backlots of the World War: Cinecittà, 1942–1950 122
13. Part Three. Alternative Routes
14. 7. The Film Train Stops at Mosfilm: Aleksandr Medvedkin and the Operative Film Factory 145
15. 8. Postindustrial Studio Lifestyle: The Eameses in the Environment of 901 166
16. 9. The Last Qualitative Scientist: Hollis Frampton and the Digital Arts Lab 192
17. Part Four. Studio Futures
18. 10. Made-for-Broadcast Cities 213
19. 11. The Nature of the Firm and the Nature of the Farm: Lucasfilm, the Campus, and the Contract 242
20. 12. “Make It What You Want It to Be”: Logistics, Labor, and Land Financialization via the Globalized Free Zone Studio 261
21. Selected Bibliography 281
22. List of Contributors 303
23. Index 307