Crafting dead map atlanta military base cord12/23/2023 But while much reporting around this issue focused on the most popular show on television’s place, and AMC Networks released a statement against the legislation, it is notable that AMC never suggested their intention to move the series out of the state should it be signed into law. The same doesn’t necessarily hold for arguably Georgia’s most high-profile long-term tenant, AMC’s The Walking Dead. Perry can’t just pick up his studio and move it to another state-mobility in Perry’s case would require abandoning existing infrastructure, which is not impossible but is neither easily nor logically deployed as leverage in this scenario. Georgia resident Tyler Perry is among those who spoke out against the legislation, but he made no promises to vacate the state because he was not realistically in an easy position to do so: his relationship with Georgia comes through his growing Tyler Perry Studios, which is among the infrastructural developments that have helped build the state into a major production center. As we parse through the larger list, it reveals the shifting scale of mobility depending on context. It’s a victory for common sense, perhaps, but it’s worth noting that of those organizations linked to the media industry’s protest of the legislation, not all took such a hard line. Deal vetoing the bill, as announced earlier today. Ultimately, this pressure-along with, one hopes, common sense, but let’s not get too optimistic here-led to Gov. The matter-of-factness with which mobile production was deployed by these industry forces speaks to its entrenchment: these projects have been mobile since they were conceived, and remain mobile in the case that the political situation of a given location changes as it did here. Netflix, who issued a similar ultimatum after recently producing two films and a TV project-with two more TV series upcoming-in the state, does not even frame it as any kind of inconvenience: regarding the two future projects, they simply state “we will move our productions elsewhere,” which could mean relocating to nearby Louisiana to take advantage of similar if not identical production incentives. 2 in the region, which gave greater weight to their ultimatum: if Georgia passed this bill, they said they would “plan to take our business elsewhere.”ĭisney actively leveraged the realities of mobile production: there are numerous other cities and states that could sustain the production of future Marvel films, many of which have been filmed in London to begin with. Disney, through subsidiary Marvel Studios, is releasing the Atlanta-filmed Cap tain America: Civil War in May, and is currently producing Guardians of the Galaxy Vol. As with other similar bills around the country, Georgia’s bill has faced intense criticism for enabling discrimination against LGBT individuals, but it was the criticism from within the film and television industry that started making national headlines. The Walt Disney Company, Netflix, and a wide range of producers came forward in opposition to a “religious liberty bill” on Governor Nathan Deal’s desk after being approved by lawmakers in March. ![]() In an environment where Vancouver, Montreal, Toronto, New York, Louisiana, and Los Angeles-among others-are all actively and aggressively pursuing blockbuster films and ongoing television series, production is no longer “running away”: we are in an age of mobile production ( which I wrote about at length for Media Industries Journal last year), where a project could land in-and then later move to-any number of locations given the infrastructure in place across the continent (or beyond), depending on the specific circumstances of the production and changes in a location’s production-and, often interrelated, political-climate.Ĭhange often comes in the form of reduced production incentives as determined by state legislators (as happened recently in North Carolina), but in recent weeks the political climate in Georgia made news for a different reason. States like Georgia have been the beneficiary of this now historical development, with generous tax incentives attracting blockbuster films and ongoing television series to an increasingly substantial production base supported by both local laborers and soundstages like Pinewood’s Atlanta Studios.īut while Georgia’s relationship with film and television could be understood as a byproduct of runaway production, its future depends on its ability to navigate a new production reality. The geographical movements of film and television production have long been understood through the concept of runaway production, an “exodus” of film and television projects from Hollywood to production centers across the United States, Canada, and around the world due to local production incentives and the growing infrastructure supported by them.
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