Keith Randle

Inequalities in the creative industries are known to be persistent and systemic. The model of production in UK film and television (UKF&TV) is argued to exclude on the basis of gender, race and class. This article considers a social category that has been overlooked in these debates: disability. It argues that workers with impairments are ‘doubly disabled’ – in both the labour markets and labour processes of UKF&TV. It concludes that disability cannot simply be incorporated in an additive way in order to understand the exclusion of these workers, but that they face qualitatively different sources of disadvantage compared with other minorities in UKF&TV workplaces. This has negative implications for workers with impairments in other labour markets, as project and network-based freelance work, a contributor to disadvantage, is seen as both increasingly normative and paradigmatic.

The social composition of the workforce of the UK film and television industries does not reflect the diversity of the population and the industries have been described as white, male and middle class. While the lack of specific demographic representation in employment (for example gender or ethnicity) has been highlighted by both industry and academic commentators, its broader social composition has rarely been addressed by research. This article draws on the work of Bourdieu, particularly the concepts of field, habitus and capitals, to explore perceptions of the barriers to entry into these industries and the way in which individuals negotiate these by drawing on the various capitals to which they have access.

Digital Cinema as Disruptive Technology: Exploring New Business Models in the Age of Digital Distribution: 10.4018/978-1-59904-949-6.ch129: The distribution and exhibition of motion pictures are at a crossroads. Ever since the medium was invented in the 1890s the “picture” has been brought to the

Digital Cinema as Disruptive Technology: Exploring New Business Models in the Age of Digital Distribution: 10.4018/978-1-59904-234-3.ch009: The distribution and exhibition of motion pictures are at a crossroads. Ever since the medium was invented in the 1890s the “picture” has been brought to the

Addressing the issue of the embeddedness of labour markets, this paper compares the processes of finding employment in the film industry within two local labour markets. Drawing on studies of freelance film crews in London (UK) and Los Angeles (US), the paper concludes that the importance of social networks in job mobility in both contexts is a consequence of common production structures. However, common labour market practice varies in each geographical space as industry processes and structures are mediated by local institutional contexts.

As a result of the process of incorporation following the Further and Higher Education Act of 1992, Cityshire College, a large further education college left the jurisdiction of the local authority and gained greater responsibility for managing its own affairs. Arising from a case study based on interviews and questionnaires the paper considers the impact of changes within the College which took place between 1991 and 1994. Of particular interest is the development of a “new managerialism”, a management style which spread throughout public sector organizations during the 1980s. The evidence from the lecturer questionnaire suggests that staff reject the values represented by this development and are opposed to the threat they perceive to the professional culture of further education. In considering new modes of learning, notions of quality in education and the intrusion of the market into the college, the deprofessionalisation and, indeed, “proletarianisation” of the FE lecturer is suggested as a possible outcome.

Keith Randle, 'The White-Coated Worker: Professional Autonomy in a Period of Change', Work, Employment and Society, Vol. 10 (4): 737-753, December 1996, DOI: https://doi.org/10.1177/0950017096104007