In the past few decades there have been a variety of attempts to interpret the processes of flexibilisation and individualisation of work (Beck 1992; Sennett 1998; Boltanski and Chiapello 1999; Bauman 2000). Cultural and creative industries are an emblematic case for understanding these phenomena, firstly, because they have been early adopters of flexible working arrangements and, secondly, because they embody the ambivalence of the flexibilisation and individualisation of work, which may increase not only the autonomy and degrees of freedom for workers but also their personal exposure to risk and precariousness. Much sociological
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