Screenwriting as creative labor

Conor, Bridget

doi:10.4324/9780203080771-3

Cited by 9 publications

(14 citation statements)

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“…There has recently been significant academic interest in specific areas of CCI work. These include media (Hesmondhalgh and Baker, 2011), arts management (Dubois, 2016), ICT (Gill, 2002, 2010), fashion (McRobbie, 2016), screenwriting (Conor, 2014), and advertising (Koppman, 2016), to name a few examples. Alongside issues associated with working conditions, research has focused on the dynamics of ‘getting in’ and ‘getting on’ in CCIs, exploring barriers of class (Eikhof and Warhurst, 2012; Friedman et al, 2017; Randle et al, 2015), education (e.g.…”

Section: Cultural Work Pay and Precariousnessmentioning

confidence: 99%

“There’s No Way That You Get Paid to Do the Arts”: Unpaid Labour Across the Cultural and Creative Life Course

Brook¹,

O’Brien

Taylor

2020

Sociological Research Online

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Unpaid labour is an important element of how precarity has been theorised. It is also an issue that is often seen as endemic to cultural and creative work. Questions as to the role of unpaid work, including but not limited to unpaid internships, have become central to understanding how the social exclusiveness of many cultural and creative jobs is reinforced through their precarity. This article uses survey and interview data to outline the differing experiences of unpaid labour in cultural jobs. It contrasts the meaning of ‘free’ work over the life courses of a range of creative workers, showing how it is stratified by social class, age, and career stage. By exploring the stratification of unpaid work as a form of precariousness in cultural jobs, and of who describes their experiences of unpaid work as benign, the article offers new empirical evidence for those challenging the negative impacts of precarious working conditions.

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Section: Cultural Work Pay and Precariousnessmentioning

confidence: 99%

“There’s No Way That You Get Paid to Do the Arts”: Unpaid Labour Across the Cultural and Creative Life Course

Brook¹,

O’Brien

Taylor

2020

Sociological Research Online

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“…This proportion has declined systematically over the last few years, and is now, at 5.4 per cent, the lowest since records began. In 2014, a BAFTA speech by black actor and comedian Lenny Henry vividly summed up this sobering picture:…”

Section: Inequalities In the Cultural And Creative Industries: Mind Tmentioning

confidence: 99%

“…One distinctive feature of contemporary creative work may therefore be the extent to which it depends on self-presentation (in person, through websites, on Twitter and so on) as part of an individual claim to a professional status (see also Conor, 2014: 7–8) and occupational identity. This opens as an area for investigation how creative workers must negotiate received and accepted (gendered, raced, classed) images, practices and personae.…”

Section: Gender and Creative Labour: Taking The Debates Forwardmentioning

confidence: 99%

Gender and Creative Labour

Conor¹,

Gill²,

Taylor³

2015

The Sociological Review

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232

205

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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.

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“…Furthermore, they saw themselves as more capable than younger creatives to craft ideas into creative concepts with the capacity to solve the client’s business problem as opposed to merely being able to produce ‘the biggest, craziest, most captivating idea’ [AD3] or to ‘think gimmicky’ [AD4]. The complex relationship between experiences and discourses of craft and creativity has been identified as a key theme in research into cultural labour (Conor, 2014; Sennett, 2008). It is therefore noteworthy how our participants foreground ‘craftsmanship’ as a key component of their identity and seek to put their tacit knowledge and experience in opposition to the unrestrained ‘creative exuberance’ [AD1] of young creatives.…”

Section: About the Studymentioning

confidence: 99%

Hitting the ‘glass wall’: Investigating everyday ageism in the advertising industry

Brodmerkel

Barker

2019

The Sociological Review

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This article contributes to the growing research into the structural inequalities characterising the cultural industries by investigating the lived experience of older cultural workers. By drawing on 22 in-depth interviews with experienced advertising creatives it explores how ageism manifests itself in the creative departments of advertising agencies and how older creatives negotiate their professional identities in response to ageist representations, discourses and practices. By focusing on one of the so far mostly neglected inequality regimes prevalent in the cultural industries, this research adds to recent attempts to empirically explicate the formation of entrepreneurial subjectivities of cultural workers and the ‘psychic life of neoliberalism’. In all, the accounts provided by older advertising creatives paint a complex but also a consistent picture of entrenched ageist work cultures, which require considerable efforts on the part of older practitioners to successfully navigate. They do this by adopting an attitude we describe as resigned resilience. This notion encapsulates the ambivalence expressed by these older creatives towards their prospects in the industry and adds nuance to overly simple portrayals of the entrepreneurial subjectivities of cultural workers.

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Screenwriting as creative labor

Cited by 9 publications

References 0 publications

“There’s No Way That You Get Paid to Do the Arts”: Unpaid Labour Across the Cultural and Creative Life Course

“There’s No Way That You Get Paid to Do the Arts”: Unpaid Labour Across the Cultural and Creative Life Course

Gender and Creative Labour

Hitting the ‘glass wall’: Investigating everyday ageism in the advertising industry

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