Person:
Loist, Skadi

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Loist

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Skadi

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2019 - 20202
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Author: Prommer, Elizabeth ×

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Now showing 1 - 2 of 2
  • Article
    Gendered Production Culture in the German Film Industry
    Loist, Skadi; Prommer, Elizabeth (2019)
    German cinema has in recent years experienced a revival of scrutiny for its evident gender inequality. Women directors receive less public funds, work with lower budgets, and their films have smaller releases; however, their films are often more successful artistically and are produced financially more efficiently. The lack of female talent in the industry, thus, can’t be a problem of quality as is often argued. Instead, industry structures fail to sustain female directors’ careers. This article presents findings from a series of extensive empirical studies on the German film industry. One of the key findings is that the producer is crucial to the gender balance of the team, evidenced by the fact that female producers work significantly more often with female authors and directors.
  • Article
    Disciplinary itineraries and digital methods: Examining the Kinomatics collaboration networks
    Verhoeven, Deb; Moore, Paul S.; Coles, Amanda; Coate, Bronwyn; Zemaityte, Vejune; Musial, Katarzyna; Prommer, Elizabeth; Mantsio, Michelle; Taylor, Sarah; Eltham, Ben; Loist, Skadi; Davidson, Alwyn (2020)
    The Kinomatics project () is an international, interdisciplinary project applying innovative digital practices to study creative industries, particularly the film industry. Kinomatics uses data-driven tools and methods to examine the social, cultural, and economic ‘relationality’ of film distribution as a complex, overlapping, co-constituting media infrastructure. What is unique to this project is the way we apply the same methods for the study of film circulation to evaluate our own collaboration networks and determine future research opportunities. We produce both research tools and analysis that is focused on intervening in, rather than just describing, the creative industries. Kinomatics derives this recursive approach to method from digital humanities. This article conceptualises our approach with a critical social network analysis of how our own collaborations are structured and open to being reshaped. Being mindful of our multi-disciplinary methods as dispersed ‘teams of teams’ emphasises the relational dimensions of our work. These connections represent a significant interpersonal investment that is not always evident in the formal measurement of academic success, such as co-authorship for example. In researching how cinema operates as a global cultural industry, Kinomatics team members aim to collaborate on a ‘global’ scale themselves, across geographic and disciplinary boundaries. This article will show how our migration across specialities in inter-team collaboration and co-authorship has contributed to new approaches and collaboration dynamics.