Inequalities within the cultural and creative industries (CCI) have been insufficiently explored. International research across a range of industries reveals gendered patterns of disadvantage and exclusion which are, unsurprisingly, further complicated by divisions of class, and also disability and race and ethnicity. These persistent inequalities are amplified by the precariousness, informality and requirements for flexibility which are widely noted features of contemporary creative employment. In addition, women in particular are disadvantaged by the boundary‐crossing (for instance, between home and work, paid work and unpaid work) and new pressures around identity‐making and self‐presentation, as well as continuing difficulties related to sexism and the need to manage parenting responsibilities alongside earning. This article introduces a new collection which explores these issues, marking the significance of gender for an understanding of creative labour in the neoliberal economy.
This paper offers a theoretical agenda for a labourist analysis of screenwriting, and critically evaluates the marginal status of screenwriting within film production systems. On the one hand, screenwriting offers an exemplary case study of creative work in post-modernized film production
industries, work characterized by freelancing and multivalent working patterns, insecurity and hierarchization. Investigating screenwriting as creative labour also offers unique insights into an intensely industrial vocation; this requires a highly particular theorization of the contexts and
conditions of writers' working lives.
This paper draws on sociological analyses of creative production and utilizes a Foucauldian understanding of technologies of the self as this concept has been applied in the analysis of creative labour. This approach enables a critical examination of
particular aspects of screenwriting labour, including the rigidity of the industrial screenplay form and its pedagogical frameworks, the standardized mechanisms of control over screenwriting labour (such as inequitable collaboration and practices of multiple authorship), and the heady mix
of both creative fulfilment and punishment which characterizes this form of work.
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