By Vicki Mayer
Early within the twenty-first century, Louisiana, one of many poorest states within the usa, redirected thousands in tax funds from the general public coffers in order to turn into the head place website globally for the creation of Hollywood movies and tv sequence. Why might lawmakers help this kind of coverage? Why might voters 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 studies of the movie economic system in New Orleans, Louisiana—a urban that has two times pursued the target of changing into a film construction capital. From the silent period to today’s Hollywood South, Vicki Mayer explains that the air of secrecy of a movie economic climate is inseparable from a winning feel of domestic, while it adjustments that position irrevocably.
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Additional resources for Almost Hollywood, Nearly New Orleans: The Lure of the Local Film Economy
55 FIGURE 1. A grocery clerk sports a photoplay-camera hairstyle to promote his aspirations to be a director in Hollywood South. Photo by Vicki Mayer. Yet, even if Louisiana’s creative economy strategies are common in any global analysis, their unsurprising outcomes have been clouded by the stories of an exceptional New Orleans. 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.
According to Chris Stelly, the current executive director of the state’s Office of Entertainment Industry Development, 2011 marked the bellwether for the film economy, surpassing $1 billion in film project investment. ”52 Along the way, the aspirations of the policy have been modified significantly. Statewide strategic plans no longer sought a permanent economic cluster by 2009. ”54 One of the devilish details, of course, is when the future will arrive. Supporters of the Louisiana program say that their “historic” advantage—two decades in 2018—will eventually prevail.
Turns out, however, there’s no shortage of firms and their executives who would love even a 5 percent discount on their taxes for a year. The bigger the buyer’s tax liability, the higher my value as the market tilts to the highest bidder. The broker also wants to see me off for as close as possible to my original promised value. That generally means the broker is seeking the richest person or most taxed company to take as many credits as possible without a hassle. My dance card is likely to be full of potential suitors from energy and chemical, oil and gas, and other infamous industries—but I actually don’t know who will take me home.
Almost Hollywood, Nearly New Orleans: The Lure of the Local Film Economy by Vicki Mayer