When I was an adjunct in the English departments, I was far, far too lowly to participate in this economy, but my own frustrations with the games played to get that prestige definitely was still present (even while I was at that time still well to socially inept to really understand what was going on). This whole piece is quite interesting to me - really appreciate the analysis of the multiple worlds under your lens!
This is a really interesting piece on the prestige economy. As in, There's a whole book in this idea. You could have a whole chapter on publishing.
You might open your net a bit wider to include screenwriters, potential future filmmakers, given your earlier piece on trying to break in as a writer and finding a need for someone would write from an actual blue-collar perspective (as opposed to the perspective of someone middle-class or more who'd read a couple of Raymond Carver stories).
Great piece! You should check out my friend and Appalachia native Nicole Riegel (Holler, Dandelion) as a potential add to your blue-collar arthouse directors list.
Appreciate this greatly, the clarity and the sentiment. And love the prestige vs money breakdown. As a filmmaking group outside the industry, your message here is received.
When I was an adjunct in the English departments, I was far, far too lowly to participate in this economy, but my own frustrations with the games played to get that prestige definitely was still present (even while I was at that time still well to socially inept to really understand what was going on). This whole piece is quite interesting to me - really appreciate the analysis of the multiple worlds under your lens!
This is a really interesting piece on the prestige economy. As in, There's a whole book in this idea. You could have a whole chapter on publishing.
You might open your net a bit wider to include screenwriters, potential future filmmakers, given your earlier piece on trying to break in as a writer and finding a need for someone would write from an actual blue-collar perspective (as opposed to the perspective of someone middle-class or more who'd read a couple of Raymond Carver stories).
Great piece! You should check out my friend and Appalachia native Nicole Riegel (Holler, Dandelion) as a potential add to your blue-collar arthouse directors list.
I reached the same conclusion, so I’m doing comedy.
Appreciate this greatly, the clarity and the sentiment. And love the prestige vs money breakdown. As a filmmaking group outside the industry, your message here is received.