Intro
Atlanta has a rich, albeit relatively brief, history of film. We will delve into that history, investigating key events that shaped Atlanta into one of the top locations on the continent for film, from Deliverance to The Walking Dead. We will discuss what sets Atlanta's film industry apart from other major locations. Finally, we will analyze how film has spurned urbanization and cultural growth in Atlanta.
some background
It’s not hard to see that the film industry has become an important part of Georgia as a whole—and Atlanta in particular—in recent years. Like much of Atlanta, its history is relatively short but far from insignificant. First garnering attention with 1972 film Deliverance, it has since seen steady growth, until it boomed in 2002 and on due to new tax incentives. Georgia has been ranked #4 in the United States (#5 in North America) for film production since 2012, and has since risen to #3. The film industry in Georgia represents over half a billion dollars in revenue. This raises questions about how those funds actually affect the state’s economy.
And there are questions of social and cultural responsibility here, too. The film industry has the potential to push Georgia in more progressive direction, as has been done time and time again. Recently, Hollywood executives were among those that spoke against the “Religious Liberty bill,” that would have curtailed LGBT rights. Nathan Deal has since vetoed it. For a more continuous example, Independent Media Artists of Georgia, Etc (Better known as IMAGE) sponsors Out on Film, which promotes LGBT-focused films. They also sponsor well as several other events.
And there are questions of social and cultural responsibility here, too. The film industry has the potential to push Georgia in more progressive direction, as has been done time and time again. Recently, Hollywood executives were among those that spoke against the “Religious Liberty bill,” that would have curtailed LGBT rights. Nathan Deal has since vetoed it. For a more continuous example, Independent Media Artists of Georgia, Etc (Better known as IMAGE) sponsors Out on Film, which promotes LGBT-focused films. They also sponsor well as several other events.
the atlanta film festival
First and foremost, the Atlanta Film Festival is an annual celebration of independent films that has taken place since 1977. Among the country’s largest and longest-running film festivals, this spectacle has attracted audiences upwards of 25,000, and has had nearly 4000 submissions yearly. The event’s parent organization was first founded in 1976 as the IMAGE Film & Video center, which first came into being as a result of nearby media artists and producers’ needs. This was the first media arts center in Georgia, and it first kicked off the “Atlanta Independent Film & Video Festival” on May 14, 1977.
The festival is now run by the Atlanta Film Society. Dedicated to the promotion and education of film in the United states, the organization aims to unite Atlanta through “the power of the moving image.” The event screens around 200 films yearly, and it has had numerous celebrity guests, further validating its success as an independent film festival. The festival itself celebrates individuality, as there are several awards catering specifically to female directors of movies with strong female leads, LGBT figures, and numerous other juried awards.
The Atlanta Film Festival greatly relates to our in-class reading of Hall's "Cultural Identity and Diaspora," in that the subculture of media and film enthusiasts within Atlanta was much weaker prior to the opening of the Atlanta Film Festival. Although those interested enough in film to dedicate a festival to it were few and far between, this group of individuals eventually banded together around a common interest to make something great.
The festival is now run by the Atlanta Film Society. Dedicated to the promotion and education of film in the United states, the organization aims to unite Atlanta through “the power of the moving image.” The event screens around 200 films yearly, and it has had numerous celebrity guests, further validating its success as an independent film festival. The festival itself celebrates individuality, as there are several awards catering specifically to female directors of movies with strong female leads, LGBT figures, and numerous other juried awards.
The Atlanta Film Festival greatly relates to our in-class reading of Hall's "Cultural Identity and Diaspora," in that the subculture of media and film enthusiasts within Atlanta was much weaker prior to the opening of the Atlanta Film Festival. Although those interested enough in film to dedicate a festival to it were few and far between, this group of individuals eventually banded together around a common interest to make something great.
the business end
In 2012 alone there were 330 productions in Georgia, with a 3.1 billion dollar impact on Georgia’s economy, a 30% increase from 2011. 25,000 new jobs have been created, as well as an opportunity for many seasoned employees to be able to settle down somewhere that isn’t New York or California (Stevens). The 2008 Industry Investment Act, a law much encouraged by Turner Broadcasting Systems, which resides in Atlanta, offered up to 30% tax credits on any production in the state. If a company spends over $50,000 on a production in Georgia they can receive 20% tax credit, but if they add the Georgia Film logo to the final product there is an additional 10% added. In 2012, Georgia’s government paid back $75 million to film companies (Paupeck).
The idea of the law was to rekindle the budding film industry Atlanta had in the 1970's and 1980's, and to be competitive in the film industry, especially with states like Louisiana and North Carolina considering similar programs (Dominey). The new tax laws have certainly been a success in bringing in new industry, with many major studios like Atlanta Film Studios, Screen Gems, Pinewood, and many major productions taking place here, like the popular TV show Walking Dead and blockbuster movies like Hunger Games and Ant-Man, as well as upcoming productions like Guardians of the Galaxy 2 or Fast 8 (Michaud). Films produced in Atlanta are here now because of the studio infrastructure and community of talented film personnel to support them. Unlike Atlanta’s early films which viewed the city through a lens of stereotypical southern culture, Atlanta is now being used as simply a city, a stand in for anywhere else in the world (Dominey).
There is however a question of how much the program actually benefits Georgia. Since specific data is not available to the public it is a bit difficult to come up with a solid answer, but many experts have expressed concerns that Georgia may not be getting their money back. Others have argued that the new jobs and opportunities, as well as the increasing international recognition of Atlanta outweigh any negatives. Indeed, the film industry means Atlanta is increasingly in the spotlight, which can certainly benefit local artists and filmmakers, if their voices can be heard over the din of big Hollywood companies. The developing of infrastructure in Atlanta helps the entire creative community though. With tax credits for big movie studios come tax credits for music videos and small gaming companies and an overall desire of the people of Atlanta to be taken seriously as a cultural capital, not only by consumers of culture around the world but by themselves (Michaud). The changing portrayal of Atlanta, and Georgia as a whole, in the media is helpful in that it not only breaks down old stereotypical views but motivates strives for more real positive change.
The idea of the law was to rekindle the budding film industry Atlanta had in the 1970's and 1980's, and to be competitive in the film industry, especially with states like Louisiana and North Carolina considering similar programs (Dominey). The new tax laws have certainly been a success in bringing in new industry, with many major studios like Atlanta Film Studios, Screen Gems, Pinewood, and many major productions taking place here, like the popular TV show Walking Dead and blockbuster movies like Hunger Games and Ant-Man, as well as upcoming productions like Guardians of the Galaxy 2 or Fast 8 (Michaud). Films produced in Atlanta are here now because of the studio infrastructure and community of talented film personnel to support them. Unlike Atlanta’s early films which viewed the city through a lens of stereotypical southern culture, Atlanta is now being used as simply a city, a stand in for anywhere else in the world (Dominey).
There is however a question of how much the program actually benefits Georgia. Since specific data is not available to the public it is a bit difficult to come up with a solid answer, but many experts have expressed concerns that Georgia may not be getting their money back. Others have argued that the new jobs and opportunities, as well as the increasing international recognition of Atlanta outweigh any negatives. Indeed, the film industry means Atlanta is increasingly in the spotlight, which can certainly benefit local artists and filmmakers, if their voices can be heard over the din of big Hollywood companies. The developing of infrastructure in Atlanta helps the entire creative community though. With tax credits for big movie studios come tax credits for music videos and small gaming companies and an overall desire of the people of Atlanta to be taken seriously as a cultural capital, not only by consumers of culture around the world but by themselves (Michaud). The changing portrayal of Atlanta, and Georgia as a whole, in the media is helpful in that it not only breaks down old stereotypical views but motivates strives for more real positive change.
on the religious liberties bill
The religious liberty bill would have had a huge impact on Atlanta’s film production if it had passed. This bill would have prevented government agencies from taking action against state employees, individuals, organizations and private businesses that deny services based on religious objections — usually interpreted to mean religious objections against same-sex marriage, transgender rights and even extramarital sexual relationships. Since most Georgians did not want to discriminate against people, they decided to speak out against the bill. The law was passed in North Carolina and Mississippi but not in Georgia itself.
As we all know, Georgia has attracted a lot of film industry production, which goes to show why it has the nickname "the Hollywood of the South." Many film companies had planned to leave if the bill had passed, since they believed it weakened the state's diversity. The Decatur Telecom left Georgia over the religious liberty fight. Furthermore, many other things were in jeopardy due to that fact that this would somehow make the community less diverse as some would say. Many stars and two top-ranking film businesses, Disney and Marvel, had threatened to leave if the bill had passed.
One reading from this semester that this segment of the podcast coincides with is Chapter 2 of Sturken and Cartwright's Practices of Looking: Viewers Make Meaning. Although a somewhat abstract connection, the gap between the Religious Liberties Bill's potential societal impacts and the chapter may be bridged by the meaning derived by onlookers. While some may perceive the bill as infringing upon human decency, others may see it as a way to preserve religious freedoms: this meaning is made almost entirely, if not wholly, by the viewer.
As we all know, Georgia has attracted a lot of film industry production, which goes to show why it has the nickname "the Hollywood of the South." Many film companies had planned to leave if the bill had passed, since they believed it weakened the state's diversity. The Decatur Telecom left Georgia over the religious liberty fight. Furthermore, many other things were in jeopardy due to that fact that this would somehow make the community less diverse as some would say. Many stars and two top-ranking film businesses, Disney and Marvel, had threatened to leave if the bill had passed.
One reading from this semester that this segment of the podcast coincides with is Chapter 2 of Sturken and Cartwright's Practices of Looking: Viewers Make Meaning. Although a somewhat abstract connection, the gap between the Religious Liberties Bill's potential societal impacts and the chapter may be bridged by the meaning derived by onlookers. While some may perceive the bill as infringing upon human decency, others may see it as a way to preserve religious freedoms: this meaning is made almost entirely, if not wholly, by the viewer.