Beyond the Self-expressive Creative Worker: An Industry Perspective on Entertainment Media

Theory, Culture & Society

Volumn 25, Issue 8, 2008, Pages 73-95

  Christopherson, Susan ^a  

^a Department of Obstetrics Gynecology   (United States)

Author keywords

creative; economy; risk; work

Indexed keywords

EID: 58149496182     PISSN: 02632764     EISSN: None     Source Type: Journal    
DOI: 10.1177/0263276408097797     Document Type: Article

References (47)

1. Baines, S. and L. Robson (2001) ‘Being Self-employed or Being Enterprising? The Case of Creative Work for the Media Industries’, Journal of Small Business and Enterprise Development, 8(4): 349-62.
2. Batt, R.S., S. Christopherson, N. Rightor and D. Van Jaarsveld (2001) Net Working, Work Patterns and Workforce Policies for the New Media Industry. Washington, DC: Economic Policy Institute.
3. Bielby, W. and D. Bielby (1992) ‘Cumulative Disadvantage in an Unstructured Labor Market’, Work and Occupations, 19: 366-89.
4. Bielby, W. and D. Bielby (2003) ‘Controlling Prime-time: Organizational Concentration and Network Television Programming Strategies’, Journal of Broadcasting and Electronic Media, 47(4): 573-96.
5. Caves, R. (2000) Creative Industries: Contracts between Art and Commerce. Cambridge, MA: Harvard University Press.
6. Center for an Urban Future (2005) Creative New York. URL (consulted September 2008): http://www.nycfuture.org/images_pdfs/pdfs/CREATIVE_NEW_YORK.pdf
7. Christopherson, S. (2002) ‘Project Work in Context: Regulatory Change and the New Geography of the Media’, Environment and Planning A, 34: 2003-15.
8. Christopherson, S. and M. Storper (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.
9. Christopherson, S., M. Figueroa, L.S. Gray, J. Parrott, D. Richardson and N. Rightor (2006) ‘New York's Big Picture: Assessing New York's Position in Film, Television and Commercial Production. A Report to The New York Film, Television and Commercial Initiative’, URL (consulted October 2008): http://www.ilr.cornell.edu/wied/industry/arts/projects.html
10. Deuze, M. (2007) Media Work. Malden, MA: Polity Press.
11. Du Gay, P. (1996) Consumption and Identity at Work. London: SAGE.
12. EEI (Entertainment Economy Institute) and PMR Group (2004) California's Entertainment Workforce: Employment and Earnings (1991-2002). Los Angeles, CA: Entertainment Economy Institute.
13. Epstein, E.J. (2005) The Big Picture: The New Logic of Money and Power in Hollywood. New York: Random House.
14. Fabricant, G. (1992) ‘Blitz Hits Small Studio Pix’, New York Times 12 July: 7.
15. Grabher, G. (2002) ‘Cool Projects, Boring Institutions: Temporary Collaboration in Social Context’, Regional Studies, 36(3): 205-14.
16. Grabher, G. and O. Ibert (2006) ‘Bad Company? The Ambiguity of Personal Knowledge Networks’, Journal of Economic Geography, 6(3): 251-71.
17. Gregory, M. (2007) ‘What I Learned from the Women I Interviewed’, Traction, URL (consulted August 2008): http://magazine.women-in-film.com/
18. Hesmondhalgh, D. (2002) The Cultural Industries. London : SAGE.
19. Hill, L. (2004) ‘Can Media Artists Survive Media Consolidation?’, Journal of the Caucus of Television Producers, Writers and Directors, 22: 17-21.
20. Holgate, J. and S. McKay (2007) Institutional Barriers to Recruitment and Employment in the Audio Visual Industries: The Effect on Black and Minority Ethnic Workers. London: Working Lives Research Institute, London Metropolitan University.
21. Hunt, D. (2007) Whose Stories Are We Telling? The 2007 Hollywood Writers Report. Los Angeles, CA: Writers Guild of America West.
22. Indergaard, M. (2004) Silicon Alley: The Rise and Fall of a New Media District. New York: Routledge.
23. Jones, M. (2002) Motion Picture Production in California, Report Requested by Assembly Member Dario Frommer, Chair of the Select Committee on the Future of California's Film Industry. Los Angeles, CA: California Research Bureau.
24. Lauzen, M. (2007) ‘The Celluloid Ceiling: Behind-the-scenes Employment of Women on the Top 250 Films of 2006’, unpublished report. San Diego State University, Department of Communications.
25. Lorenzen, M. and L. Frederiksen (2005) ‘The Management of Projects and Product Experimentation: Examples from the Music Industry’, European Management Review, 2(3): 198-211.
26. MacDonald, P. and J. Wasko (2008) The Contemporary Hollywood Film Industry. Oxford: Blackwell Publishing.
27. McDowell, L. (1997) Capital Culture: Gender at Work in the City. Oxford: Blackwell Publishers.
28. McRobbie, A. (2002) ‘Clubs to Companies: Notes on the Decline of Political Culture in Speeded Up Creative Worlds’, Cultural Studies, 16(4): 516-31.
29. Manly, L. (2005) ‘Networks and the Outside Producer: Can They Co-exist?’, New York Times 20 June: C1-C7.
30. Markusen, A., S. Gilmore, A. Johnson, T. Levi and A. Martinez (2006) Crossover: How Artists Build Careers across Commercial, Nonprofit and Community Work. Minneapolis, MN: University of Minnesota, Project on Regional and Industrial Economics.
31. Meehan, E. (2008) ‘Ancillary Markets - Television: From Challenge to Safe Haven’, pp. 106-19 in P. MacDonald and J. Wasko (eds) The Contemporary Hollywood Film Industry. Oxford: Blackwell Publishing.
32. Menger, P.-M. (1999) ‘Artistic Labor Markets and Careers’, Annual Review of Sociology, 25: 541-74.
33. Morekis, J. (2007) ‘Fade to Black’, URL (consulted August 2008): savannah gyrosite.com
34. Neff, G., E. Wissinger and S. Zukin (2005) ‘Entrepreneurial Labor among Cultural Producers: “Cool” Jobs in “Hot” Industries’, Social Semiotics 15(3): 307-34. Pendakur, M. (2008) ‘Hollywood and the State: The American Film Industry Cartel in the Age of Globalization’, pp. 182-94 in P. MacDonald and J. Wasko, The Contemporary Hollywood Film Industry. Oxford: Blackwell Publishing.
35. Perrons, D. (2003) ‘The New Economy and Work-Life Balance: Conceptual Explorations and a Case Study of New Media’, Gender, Work & Organization, 10(1): 65-93.
36. Rantisi, N. (2004) ‘The Designer in the City and the City in the Designer’, pp. 91-109 in D. Power and A. Scott (eds) Cultural Industries and the Production of Culture. New York: Routledge.
37. Reardon, M. (2006) ‘Hollywood Bashes Media Consolidation’, CNET News.com, 4 October, URL (consulted October 2006): http://news.com
38. Schatz, T. (2008) ‘The Studio System and Conglomerate Hollywood’, pp. 13-42 in P. MacDonald and J. Wasko, The Contemporary Hollywood Film Industry. Oxford: Blackwell Publishing.
39. Scott, A. (2004) ‘The Other Hollywood: The Organizational and Geographic Bases of Television-program Production’, Media, Culture & Society 26(2): 183-205. Scott, A. (2005) On Hollywood: The Place, the Industry. Princeton, NJ: Princeton University Press.
40. Screen Actor (2007) ‘A Different America on Screen but Latest Casting Data Report Shows Some Under-represented Groups Making Gains’, Screen Actor winter: 55-7.
41. Sydow, J. and U. Staber (2002) ‘The Institutional Embeddedness of Project Networks: The Case of Content Production in German Television’, Regional Studies, 36(3): 215-27.
42. Ursell, G. (2000) ‘Television Production: Issues of Exploitation, Commodification and Subjectivity in UK Television Labor Markets’, Media, Culture & Society, 22(6): 805-25.
43. Ursell, G. (2003) ‘Creating Value and Valuing Creation in Contemporary UK Television: or “Dumbing Down” the Workforce’, Journalism Studies, 4(1): 31-46.
44. US Department of Commerce, Bureau of the Census (2002, 2006) Non-employer Statistics. Washington, DC.
45. US Bureau of Labor Statistics (2002, 2006) Quarterly Census of Employment and Wages. Washington, DC.
46. US Bureau of Labor Statistics (2002, 2006) Occupational Employment Statistics. Washington, DC.
47. Wasko, J. (2008) ‘Financing and Production: Creating the Hollywood Film Commodity’, pp. 43-62 in P. MacDonald and J. Wasko, The Contemporary Hollywood Film Industry. Oxford: Blackwell Publishing.