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apart. f a r m l a b o r , f i l m l a b o r 139 This chapter divides the labor of translation in the Sino-US production ecosystem into several categories. The taxonomy includes those who man- age language (interpreters), space (location managers and set builders), and logistics (production managers, assistant directors, and production assistants). These individuals smooth interactions between workers from China and Hollywood within the crew on individual fi lm sets. Many then use their experiences in future productions. Analyzing each role reveals how fi

, 85 ScreenSingapore, 103 Secret of the Magic Gourd, The (2007), 55, 80 set builders, 141, 147 Shambaugh, David, 2 Shangai DreamCenter, 3 Shanghai, 1, 8, 59, 62; Cangcheng Film and Television Cultural Industry Park, 7; City Government News and Public Aff airs Research Bureau, 107; Disney English-lan- guage schools in, 50; fi lm industry promi- nence of, 97–98; as global city, 72; industry forums in, 96; International Tourism and Resorts Zone Construction Command Center, 46, 48; Japanese occupation dur- ing World War II, 127; legacy of First Opium War in, 58

, Agent H21, 256; liar and fabulist, 1, 3, 22–23, 32, 206, 216–17; loner, 262, 263; Madonna statuette, 265, 266fi g.; minority cinema, 85, 101, 102, 111–120; music, 142, 206, 317n63; obituaries, 269; outcast sympathy, 52, 108; “Past Service Record,” 42, 84, 205, 249; photo portrait, 8fi g., 30fi g.; retrospectives, 271, 272; Schildkrauts, 17–19; Schüfftan collaboration, 35; Screen Directors Guild pension, 265; scriptwriter, 85–86, 123, 133, 249, 256, 264; Sehested, Ove H. (pseudonym), 249; self-invention/mythologizing, 15; set builder, 34, 55; set designer

in mainland China and because of the city’s position as a site of contemporary international industrial collaboration between Hollywood and China. Schamus complimented the “extraordinary crafts- c o m p r a d o r s 125 manship” of the Chinese set builders. In a similar vein, the movie’s cine- matographer, Rodrigo Prieto, stated, “I’ve worked well with foreign crews before, but ours on Lust, Caution was really top-notch. We tend to think, ‘Well, if it’s not Hollywood crews . . . ’ but there is a big industry in China and there are many quality workers.”42

cash dollars and prestige. When the British arrived they set about assembling teams of Kazakhsta- nis to be trained. Close to two hundred people had been involved in the re- alization of the momentous first episode, the one after which Leyla Akhin- janova declared that she no longer was embarrassed by the product of her labors. For several months she and numerous trainees had been learning the ways and means of television serial production—British-style. Builders, painters, carpenters, and designers, under the tutelage of experienced British set builders and

showrunner. By contrast, we are interested in the creative autonomy of all the individuals within the com- plex division of labor—the intricate coordination of the work of producers, writers, production designers, set builders, and all the others required to turn out a weekly television series. We account for the input of the below- the-line employees, the “craft” workers, as well as the above-the-line employees, the “artists.” This is because, as Mark Banks argues, “while art- ists remain the primary source of those original or distinctive ideas that can eventually

-Film and Merkur-Film, ancillary companies connected to Heinrich Nebenzahl’s more prestigious Nero-Film. He is credited, for example, as Bildassistent, or production assistant, on Louis Ralph’s adventure fi lm, written by Curt (then still “Kurt”) Siodmak, Flucht in die Fremdenlegion (Escape to the Foreign Legion, 1929). He also earned a credit as set builder on Robert Land’s Spiel um den Mann (Play around a Man, 1929).30 In Billy Wilder’s contemporary account of the young fi lm scene in Berlin and his creation—together with Ulmer, Siod- mak, and others—of the