Janet Staiger (; born 1946) is the William P. Hobby Centennial Professor Emeritus of Communication in the Department of Radio-Television-Film and Professor Emeritus of Women's and Gender Studies at the University of Texas at Austin.
Education
She received her B.A. at the University of Nebraska at Omaha in 1968, her M.A. at Purdue University in 1969, and her Ph.D. from the University of Wisconsin, Madison in 1981.
Career
As a theoretician and historian of American film and television, Staiger has published on the Hollywood mode of production, the economic history and dynamics of the industry and its technology, post-structural and postfeminist/queer approaches to authorial studies, the historical reception of cinema and television programs, and cultural issues involving gender, sexuality, and race/ethnicity.
Staiger broke ground in film studies with her early articles and then co-authorship of The Classical Hollywood Cinema: Film Style and Mode of Production to 1960 (1985, with David Bordwell and Kristin Thompson). Applying Marxist materialist historiography and economic theory to the Hollywood film industry, she organized well-known and also unexplored facts into a coherent explanation of why this worldwide dominant industry operates as it does. Both cultural factors (signifying practices such as how to tell a "good" story and character development that focuses on individual choice-making) and economic factors (i.e., efficiency, divided labor, trended technological innovations) explain the series of Hollywood modes of production from the camera-person mode, through the director-, director-unit, central-producer, producer-unit, and, finally, the package-unit systems, the last of which remains the major method for contemporary Hollywood financing and labor organization.
One of the major points that Staiger made was avoiding economic-only explanations to the causes for this industry's structure and processes. People do not try to produce the cheapest film; they need to make films that encourage audiences to return repeatedly to the theaters. She popularized the opposition between "standardization versus product differentiation" to explain the balances between genres and innovations. She also emphasized the impact of public and social discourse about what counts as "good" filmmaking according to film workers and reviewers of films. One important feature of her research is the extensive quotation of period conversation from reviewers and from industry professionals about the film practices. She has considered several of the major institutions in Hollywood: the screenwriting profession, the cinematographer associations, the unions, and the Society for Motion Picture and Television Engineers.
Over the several decades since this landmark work, Staiger also attempted to counter determinist historical thinking that places too much emphasis on over-powering systemic conditions. The point that Raymond Williams made in his work was important to her thinking: every historical moment has both its residual and progressive moments. Thus, she turned to thinking about authorship: theorizing individual agency within this creative industry. The structuralist and materialist critiques of agency do not negate the possibilities of bounded action by individuals; after all, "people also make history." Since the early 2000s, Staiger has contributed several essays to outline a nuanced approach to agency within complex socio-cultural conditions. Drawing from Michel Foucault's late work, she has posited that individuals have economic, sociological, and psychological imperatives to "self-fashion" their creative work. These imperatives work well within the Hollywood system because the system tends to reward innovation within its norms of practice and recognizes self-projection behaviors. Branding and star/celebrity activities fit well within this theory as do directorial or writing flourishes to suggest some sort of auteurism.