Spatial and organizational patterns of labor markets in industrial clusters: The case of Hollywood

Clusters and Regional Development: Critical Reflections and Explorations

Volumn , Issue , 2006, Pages 236-254

  Scott, Allen J ^a  

^a UNIVERSITY OF CALIFORNIA   (United States)

Author keywords

[No Author keywords available]

Indexed keywords

EID: 34249653822     PISSN: None     EISSN: None     Source Type: Book    
DOI: 10.4324/9780203640890     Document Type: Chapter

References (46)

1. Amman, J. (1996). The transformation of industrial relations in the motion-picture and television industries: Craft and production. In L.S. Gray and R.L. Seeber (eds), Under the Stars (pp. 113-55). Ithaca: Cornell University Press.
2. Batt, R., Christopherson, S., Rightor, N., and Jaarsveld, D. V. (2001). Net Working: Work Patterns and Workforce Policies for the New Media Industry. Washington, DC.: Economic Policy Institute.
3. Bielby, W. T., and Bielby, D. D. (1999). Organizational mediation of project-based labor markets: Talent agencies and the careers of screenwriters. American Sociological Review, 64, 64-85.
4. Blair, H. (2001). You're only as good as your last job: The labor process and labor market in the British film industry. Work, Employment, Society, 15, 149-69.
5. Blair, H., Grey, S., and Randle, K. (2001). Working in film: Employment in a project-based industry. Personnel Review, 30, 170-85.
6. Bordwell, D., Staiger, J., and Thompson, K. (1985). The Classical Hollywood Cinema. New York: Columbia University Press.
7. Cantor, M. G., and Peters, A. K. (1980). The employment and unemployment of screen actors in the United States. In W.S. Hendon, J.L. Shanahan, and A.J. MacDonald (eds), Economic Policy for the Arts (pp. 210-18). Cambridge, MA: Abt Books.
8. Ceplair, L., and Englund, S. (1983). The Inquisition in Hollywood. Berkeley and Los Angeles: University of California Press.
9. Christopherson, S., and Storper, M. (1989). The effects of flexible specialization on industrial politics and the labor market: The motion-picture industry. Industrial and Labor Relations Review, 42, 331-47.
10. Counter, N. (1992). New collective bargaining strategies for the 1990s: Lessons from the motion-picture industry. Industrial Relations Research Association: Proceedings of the 44th Annual Meeting, 32-8.
11. Darré, Y. (1986). Les créateurs dans la division du travail: le cas du cinéma d'auteur. In R. Moulin (ed.), Sociologie de l'art. Paris: La Documentation Française.
12. Davis, M. (1997). Sunshine and the open shop: Ford and Darwin in 1920s Los Angeles. Antipode, 29, 356-82.
13. EIDC (2001). MOWs - A Three-Year Study. Los Angeles: Entertainment Industry Development Corporation.
14. Ekinsmyth, C. (2002). Project organization, embeddedness and risk in magazine publishing. Regional Studies, 36, 229-43.
15. Elliott, P. (1972). The Making of a Television Series. London: Constable.
16. Faulkner, R. R. (1983). Music on Demand. New Brunswick, NJ: Transaction Books.
17. Faulkner, R. R., and Anderson, A. B. (1987). Short-term projects and emergent careers: Evidence from Hollywood. American Journal of Sociology, 92, 879-909.
18. Gray, L. S., and Seeber, R. L. (1996). The industry and the unions: An overview. In L. S. Gray and R. L. Seeber (eds), Under the Stars (pp. 15-49). Ithaca: Cornell University Press.
19. Horne, G. (2001). Class Struggle in Hollywood, 1930-1950. Austin: University of Texas Press.
20. Jones, C. (1996). Careers in project networks: The case of the film industry. In M. B. Arthur and D. M. Rousseau (eds), The Boundaryless Career (pp. 58-75). Oxford: Oxford University Press.
21. Kim, S. (1987). Diversity in urban labor markets and agglomeration economies. Papers of the Regional Science Association, 62, 57-70.
22. Kindem, G. (1982). Hollywood's movie star system: An historical overview. In G. Kindem (ed.), The American Movie Industry (pp. 79-93). Carbondale: University of Southern Illinois Press.
23. Kleingartner, A. (2001). Collective bargaining: Hollywood style. New Labor Forum, Fall/Winter, 113-21.
24. Kleingartner, A., and Raymond, A. (1988). Hollywood goes international: Implications for labor relations. Los Angeles: University of California, Institute of Industrial Relations, Working Paper No. 156.
25. Kraft, J. P. (1994). Musicians in Hollywood: Work and technological change in entertainment industries. Technology and Culture, 35, 289-314.
26. Lent, J. A. (1998). The animation industry and its offshore factories. In G. Sussman and J. A. Lent (eds), Global Productions (pp. 239-54). Cresskill, NJ: Hampton Press.
27. Lovell, H., and Carter, T. (1955). Collective Bargaining in the Motion-Picture Industry. University of California, Berkeley: Institute of Industrial Relations.
28. Menger, P. M. (1991). Marché du travail artistique et socialisation du risque: le cas du spectacle. Revue Française de Sociologie, 32, 61-74.
29. Menger, P. M. (1993). L'hégémonie parisienne: économie et politique de la gravitation artistique. Annales: Economies, Sociétés, Civilisations, No. 6, 1565-600.
30. Monitor (1999). US Runaway Film and Television Production Study Report. Santa Monica: Monitor Company.
31. Montgomery, S. S., and Robinson, M. D. (1993). Visual artists in New York: What's special about person and place? Journal of Cultural Economics, 17, 17-39.
32. Nielson, M., and Mailes, G. (1995). Hollywood's Other Blacklist. London: British Film Institute.
33. Pasquier, D., and Chalvon-Demersay, S. (1993). Les mines de sel: auteurs et scénaristes de télévision. Sociologie du Travail, 4, 409-30.
34. Paul, A., and Kleingartner, A. (1996). The transformation of industrial relations in the motion-picture and television industries. In L.S. Gray and R.L. Seeber (eds), Under the Stars (pp. 156-80). Ithaca: Cornell University Press.
35. Prindle, D. F. (1988). The Politics of Glamour. Madison: University of Wisconsin Press.
36. Rannou, J., and Vari, S. (1996). Les Itinéraires d'emploi des cadres, techniciens, et ouvriers intermittents de l'audiovisuel et des spectacles. Paris: Ministère de la Culture, Département des Etudes et de la Prospective.
37. Ross, M. (1941). Stars and Strikes. New York: Columbia University Press.
38. Ross, M. (1947). Labor relations in Hollywood. Annals of the American Academy of Political and Social Science, 254, 58-64.
39. Scott, A. J. (1988) Metropolis. Berkeley: University of California Press.
40. Scott, A. J. (2000). The Cultural Economy of Cities. London: Sage.
41. Scott, A. J. (2002). A new map of Hollywood: The production and distribution of American motion pictures. Regional Studies, 36, 957-75.
42. Storper, M., and Christopherson, S. (1987). Flexible specialization and regional industrial agglomerations: The case of the US motion-picture industry. Annals of the Association of American Geographers, 77, 260-82.
43. Sydow, J., and Staber, U. (2002). The institutional embeddedness of project networks: The case of content production in German television. Regional Studies, 36, 215-27.
44. Ursell, G. (2000). Television production: Issues of exploitation, commodification and subjectivity in UK television markets. Media, Culture and Society, 22, 805-25.
45. Wasko, J. (1998). Challenges to Hollywood's labor force in the 1980s. In G. Sussman and J.A. Lent (eds), Global Productions (pp. 173-90). Cresskill, NJ: Hampton Press.
46. Weiss, P. R., and Faulkner, R. R. (1983). Credits and craft production: Freelance social organization in the Hollywood film industry. Symbolic Interaction, 6, 111-23.