Employment Structure in Film and Movie Industry
The skill sets, organizational hierarchies, reward systems and employment structures pertinent to the film industry, fashion industry or repertory theatre are often as different as all cultural industries are to the manufacturing sector. (Thompson et al, 2007: 638) Explain and Discuss
Cultural Industries (sometimes also known as "creative industries") combine the creation, production, and distribution of goods and services that are cultural in nature and usually protected by intellectual property rights (GATT 2005). In recent years the creative industry has become an obsession with journalists therefore gaining a lot of attention. Workers and more over creative workers ' are searching for autonomy and this has seen the minimal use or the abandonment of traditional skill sets, organizational hierarchies, reward systems and employment structures. Pink (2001) points out that workers in the 20th century were employees ' and those in the 21st century are a mixture of employees ' and free agents. '
Scholars recently have identified this increase and have attempted to put together approaches that help organize and distinguish the creative industries from the non creative industries. Hawkins (2001) utilizes the sector approach ' this consists of 15 sectors such as Research and Development, software, film, video games and architecture. Hawkins simply adds up what percentage each sector takes up of the market and argues that if these core industries are taking up a high percentage of market share then cultural industries must be on the up. However this tells us nothing about the actual work going on in these industries, the bulk of the jobs in each industry are simply routine. Take for example the cinema which is considered when working out the film industry but in a cinemas building what creativity is actually taking place? Surely selling tickets, handing out pop corn or showing people to their seats can be considered as creative. Florida (2002) has
Cultural Industries (sometimes also known as "creative industries") combine the creation, production, and distribution of goods and services that are cultural in nature and usually protected by intellectual property rights (GATT 2005). In recent years the creative industry has become an obsession with journalists therefore gaining a lot of attention. Workers and more over creative workers ' are searching for autonomy and this has seen the minimal use or the abandonment of traditional skill sets, organizational hierarchies, reward systems and employment structures. Pink (2001) points out that workers in the 20th century were employees ' and those in the 21st century are a mixture of employees ' and free agents. '
Scholars recently have identified this increase and have attempted to put together approaches that help organize and distinguish the creative industries from the non creative industries. Hawkins (2001) utilizes the sector approach ' this consists of 15 sectors such as Research and Development, software, film, video games and architecture. Hawkins simply adds up what percentage each sector takes up of the market and argues that if these core industries are taking up a high percentage of market share then cultural industries must be on the up. However this tells us nothing about the actual work going on in these industries, the bulk of the jobs in each industry are simply routine. Take for example the cinema which is considered when working out the film industry but in a cinemas building what creativity is actually taking place? Surely selling tickets, handing out pop corn or showing people to their seats can be considered as creative. Florida (2002) has
References: Barker (1991) ‘Role as resource in the Hollywood Film Industry ' American Journal of Sociology, 279- 309 Blair, H (2007) You Are Only as Good As Your Last Job, Work Employment Society, SAGE publications Caves, R. E. (2000). Creative industries. Boston, Mass.: Harvard University Press. Frith, S. and Goodwin, A. (Eds.) (1990). On record: Rock, pop and the written word. London: Routledge Howkins, J http://www.teenanalyst.com/glossary/j/justintime.html, JIT (2008) Lash, S., & Urry, J Lawrence, T. B., & Philips, N. (2002). Understanding cultural industries. Journal of Management Inquiry, 11(4), 430–441 Negus. K (1999), Music genres and corporate cultures. London: Routledge. Pink, D. (2001). Free agent nation. New York: Warner Business. Streeter, S (2000). Gig: Americans talk about their jobs. New York: Three Rivers Press. Thompson, P et al (2007) ‘From the conception to consumption: creativity and the missing Managerial Link ', Journal of Organizational Behaviour 28.5, pp. 625-640