Review: Specworld: Folds, Faults, and Fractures in Embedded Creator Industries, by John Thornton Caldwell

Abstract

Book Review| June 01 2023 Review: Specworld: Folds, Faults, and Fractures in Embedded Creator Industries, by John Thornton Caldwell Specworld: Folds, Faults, and Fractures in Embedded Creator Industries, by John Thornton Caldwell J. D. Connor J. D. Connor J. D. CONNOR is an associate professor in the Division of Cinema and Media Studies at the University of Southern California. He is the author of Hollywood Math and Aftermath: The Economic Image and the Digital Recession and The Studios after the Studios: Neoclassical Hollywood, 1970–2010. Search for other works by this author on: This Site PubMed Google Scholar BOOK DATA John Thornton Caldwell, Specworld: Folds, Faults, and Fractures in Embedded Creator Industries. Oakland: University of California Press, 2023. $85 cloth; $29.95 paper. 400 pages. Film Quarterly (2023) 76 (4): 101–103. https://doi.org/10.1525/fq.2023.76.4.101 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Facebook Twitter LinkedIn Email Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation J. D. Connor; Review: Specworld: Folds, Faults, and Fractures in Embedded Creator Industries, by John Thornton Caldwell. Film Quarterly 1 June 2023; 76 (4): 101–103. doi: https://doi.org/10.1525/fq.2023.76.4.101 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentFilm Quarterly Search BOOK DATA John Thornton Caldwell, Specworld: Folds, Faults, and Fractures in Embedded Creator Industries. Oakland: University of California Press, 2023. $85 cloth; $29.95 paper. 400 pages. There’s a way to approach John Thornton Caldwell’s Specworld: Folds, Faults, and Fractures in Embedded Creator Industries as another of his characteristically decisive interventions in cinema and media studies driven by his decades of ethnographic work. Specworld is that, but that isn’t how it manifests, nor is that why—for most readers of Film Quarterly—it matters. What he calls “specwork” he describes as a “widely dispersed conceptualizing process” that “may be as central to the core of television/media production today as the industrial and material production of series, formats, and network programming once was” (57). Specworld is the third in the author’s trilogy of ethnographies that include Televisuality and Production Culture. Caldwell’s efforts take their place in a century of thinking through... You do not currently have access to this content.