By Vicki Mayer
Early within the twenty-first century, Louisiana, one of many poorest states within the usa, redirected hundreds of thousands in tax cash from the general public coffers so that it will turn into the pinnacle position website globally for the construction of Hollywood motion pictures and tv sequence. Why could lawmakers aid the sort of coverage? Why might electorate settle for the policy’s uncomfortable results on their financial system and culture? Almost Hollywood, approximately New Orleans addresses those questions via a learn of the neighborhood and daily reviews of the movie economic climate in New Orleans, Louisiana—a urban that has two times pursued the target of changing into a film creation capital. From the silent period to today’s Hollywood South, Vicki Mayer explains that the air of mystery of a movie financial system is inseparable from a winning experience of domestic, whilst it alterations that position irrevocably.
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Extra info for Almost Hollywood, Nearly New Orleans: The Lure of the Local Film Economy
The LLC is really agile, living fast and dying after the film is done and sold back to the studio. No matter. On location, I’m really useful, giving discounts on everything from the hired hands to the executive hotel suites where we stay. This is the most high-profile time in my life. The newspapers and trade press celebrate me as the star behind Hollywood South. It’s a whirlwind, though, as the production company is rushing to shoot and post-produce as quickly as possible. I’m also nervous, because in order to go further, the project has to wrap.
The tensions between cultural policy, cultural industries, and the local culture where they are located bring us back to the first time New Orleans flirted with building a film economy. In the city, politicians have largely regarded the film industry as a salve, not a parasite. After Hurricane Katrina, the national press pithily predicted that the storm had “washed away” film production in the state. 56 Within a year, the number of film projects in the city surpassed those in the year before the storm.
Bush called “voodoo economics” in 1980. 8 The tradable film tax credit personified in the Prologue is but one example of welfare for the wealthy because it promises a break for corporations and their richest beneficiaries by minimizing their fiduciary responsibilities to states. 9 At a time of general budgetary austerity, states cannot fill the holes in their budgets by simply adding together the incomes and property taxes of film-industry employees. Instead, government officials justify the guaranteed future losses to the state coffers with another promise: a self-sustaining satellite of the Hollywood film economy.
Almost Hollywood, Nearly New Orleans: The Lure of the Local Film Economy by Vicki Mayer