Too many public art projects result in short-term, temporary interventions, often connected with an exhibition, biennial or event. "Locating the Producers" investigates how and why more longer-term, durational and accumulative projects have began to emerge in response to a single place. This dynamic and extensive publication provides the first in-depth examination of exemplary curatorial projects.

Location is vital to the efficiency and profitability of industrial activity. Industrial Location presents a comprehensive introduction to and critical review of this field of growing academic and business interest. In business, the right choices have to be made to produce profit. Industrial location is a fixed investment, crucial to the strategy and capital investment of any organization. Location also impacts upon non-investors, directly affecting employment, the environment, and economic activity in the locale. Focusing chiefly on the United States, but drawing on an international range of cases, the authors explain the economic, social and political forces which have shaped comtemporary patterns of industrialization and examines the changing nature of production and systems.

Locating Migrating Media details the extent to which media productions, both televisual and cinematic, have sought out new and cheaper shot locations, creative staff, and financing around the world. The book contributes to debates about media globalization, focusing on the local impact of new sites of media production. The book's chapters also question the role that film and television industries and local and regional governments play in broader economic develop and tax incentive schemes. While metaphors of transportation, mobility, fluidity and change continue to serve as key concepts and frames for understanding contemporary media industries, products and processes, the essays in this book look to local spaces, neighborhoods, cultural workers and stories to ground the global_that is, to interrogate the effect of media globalization before, during and after film and television shooting and onsite production. By locating migrating media, these chapters seek to determine the political, economic and cultural conditions that produce contemporary forms of televisual and cinematic storytelling, and how these processes affect the inhabitants, the 'look' and the very geopolitical future of local communities, neighborhoods, cities and regions. The focus on relocated screen production highlights the act of film- and television-making, both aesthetically and economically. To locate migrating media is therefore to determine the political and cultural economies of globalized sets and stages, be they in new studios or on city streets or, perhaps most importantly, in our imaginations.

Where economic activity will locate in the future is one of the most important questions in economics. Even though advances in technology have reduced the cost of transport, communication and information gathering and processing, hence curtailing the 'distance penalty', local proximity (clusters) of firms that produce similar, competing and/or related products together with supporting institutions still matter. Economies of scale, activity-specific backward and forward linkages (indivisible production), accumulated knowledge and skills, innovation, existence of sophisticated customers and a fall in transportation costs play relevant roles in the 'protection' of clusters and absolute locational advantages of certain locations. 'Global' competitiveness often depends on highly concentrated 'local' knowledge, capabilities and common tacit codes of behaviour, which can be found in a geographical concentration (cluster) of firms.

Budding filmmakers, television producers, directors, writers, and students get a crash course on the independent production scene in this riveting account of the business and its key players. Now revised to reflect the latest production trends in the entertainment industry, this book is packed with never-before-revealed secrets about the challenging and exciting role producers play in bringing a film or television pilot to the screen, told by two veteran, award-winning producers. Readers will learn what skills and traits they need to succeed as the mastermind behind an independent production, including insider tips on how to assemble and manage a talented ensemble of writers, directors, actors, and crew-members. The book also includes up-to-date contact information for film festivals and foreign distributors, as well as sample budgets, film partnership proposals, and other forms. Aspiring film and television artists will find the practical understanding and insight vital to success.

(Music Pro Guide Books & DVDs). Here, record producer Beinhorn reveals how to deal with interpersonal issues record producers face when they work with artists one on one or in small groups. The situations and solutions are based upon the author's personal and professional experience working with a variety of different artists, such as Herbie Hancock, the Red Hot Chili Peppers, Soul Asylum, Hole, Soundgarden, Ozzy Osbourne, Courtney Love, Marilyn Manson, Social Distortion, Korn, and Mew. Beinhorn's unique methods and perspective, applied to record producing and music making in the studio, opens the door to successful collaborative efforts. The author shows you how to find what he calls your sensory connection to the creativity process, which ultimately helps you find the intent behind your creative choices. You can read dozens of articles and books that feature a hundred different people talking about what microphones they used when they recorded Record X or how they set their stereo buss compressor, but you will never find out what prompted them to make these choices. Beinhorn's focus on collaborative effort enables record producers and artists to find solutions while working as a creative team. This perspective is especially valuable as it is transdisciplinary and can be applied to many occupations and modes of creativity outside of record production.

This is the laugh-out-loud story of two scheming men, Bialystock, a shady producer, and Bloom, his nervous accomplice. Together they come up with the ultimate con: raise more money than needed, produce a show that is bound to flop, and pocket the change. Of course, all best laid plans are subject to be mucked up.