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A must-have for academics and attorneys working in entertainment labor, Entertainment Labor: An Interdisciplinary Bibliography is a 345 page annotated bibliography of over 1,500 books, articles, dissertations, legal cases and other resources dealing with entertainment unions and guilds and select other aspects of entertainment labor.Also included are:• Annotations (where necessary to explain the relevance of the book or article)• Capsule descriptions of legal cases • Page references (where only a portion of the book or article is relevant)• URLs (for full-text articles that are available online at no charge)• A detailed chapter on materials available from the unions and guilds themselves• A 90-page index
This book is a first-of-its-kind critical interdisciplinary introduction to the economic, political, cultural, and technological dimensions of work in the rapidly growing digital media and entertainment industries (DMEI). Tanner Mirrlees presents a comprehensive guide to understanding the key contexts, theories, methods, debates, and struggles surrounding work in the DMEI. Packed with current examples and accessible research findings, the book highlights the changing conditions and experiences of work in the DMEI. It surveys the DMEI’s key sectors and occupations and considers the complex intersections between labor and social power relations of class, gender, and race, as well as tensions between creativity and commerce, freedom and control, meritocracy and hierarchy, and precarity and equity, diversity, and inclusivity. Chapters also explore how work in the DMEI is being reshaped by capitalism and corporations, government and policies, management, globalization, platforms, A.I., and worker collectives such as unions and cooperatives. This book is a critical introduction to this growing area of research, teaching, learning, life, labor, and organizing, with an eye to understanding work in the DMEI and changing it, for the better. Offering a broad overview of the field, this textbook is an indispensable resource for instructors, undergraduates, postgraduates, and scholars.
Independent filmmakers face various questions every day, but they don't have the legal training to answer them, nor do they have enough money to call an entertainment lawyer every 5 minutes. This book provides answers to hundreds of questions. It helps filmmakers understand what's legal, what's questionable and when they need to call in a lawyer.
Histories of women in Hollywood usually recount the contributions of female directors, screenwriters, designers, actresses, and other creative personnel whose names loom large in the credits. Yet, from its inception, the American film industry relied on the labor of thousands more women, workers whose vital contributions often went unrecognized. Never Done introduces generations of women who worked behind the scenes in the film industry—from the employees’ wives who hand-colored the Edison Company’s films frame-by-frame, to the female immigrants who toiled in MGM’s backrooms to produce beautifully beaded and embroidered costumes. Challenging the dismissive characterization of these women as merely menial workers, media historian Erin Hill shows how their labor was essential to the industry and required considerable technical and interpersonal skills. Sketching a history of how Hollywood came to define certain occupations as lower-paid “women’s work,” or “feminized labor,” Hill also reveals how enterprising women eventually gained a foothold in more prestigious divisions like casting and publicity. Poring through rare archives and integrating the firsthand accounts of women employed in the film industry, the book gives a voice to women whose work was indispensable yet largely invisible. As it traces this long history of women in Hollywood, Never Done reveals the persistence of sexist assumptions that, even today, leave women in the media industry underpraised and underpaid. For more information: http://erinhill.squarespace.com
By March 2020, the spread of COVID-19 had reached pandemic proportions, forcing widespread shutdowns across industries, including Hollywood. Studios, networks, production companies, and the thousands of workers who make film and television possible were forced to adjust their time-honored business and labor practices. In this book, Kate Fortmueller asks what happened when the coronavirus closed Hollywood. Hollywood Shutdown examines how the COVID-19 pandemic affected film and television production, influenced trends in distribution, reshaped theatrical exhibition, and altered labor practices. From January movie theater closures in China to the bumpy September release of Mulan on the Disney+ streaming platform, Fortmueller probes various choices made by studios, networks, unions and guilds, distributors, and exhibitors during the evolving crisis. In seeking to explain what happened in the first nine months of 2020, this book also considers how the pandemic will transform Hollywood practices in the twenty-first century.
Technological change has created a dazzling array of new products and media for the enjoyment of entertainment and transformed the economic structure of production and distribution. Simultaneously, it has produced difficult new challenges for workers and managers in the entertainment industry. The contributors to this volume suggest that an understanding of the art and entertainment industry's experience may offer useful insights into the problems in other rapidly changing industries.
"The film industry in Hollywood now employs a global mode of production run by massive media conglomerates that mobilize hundreds, sometimes thousands, of workers for each feature film or television series. Yet these workers and their labor remain largely invisible to the general audience. In fact, this has been a signal characteristic of Hollywood style for more than a hundred years: everything that matters happens onscreen, not off. Consequently, when it comes to movies and television, the voices heard most often are those belonging to talent and corporate executives. Those we hear least are the voices of labor, and it's that silence we aim to redress in the collection of interviews in this book. Drawing from the detailed and personal accounts in this collection, we offer three interrelated propositions about the current state and future prospects of craftwork and screen media labor: 1. Craftwork exists within an intricate and intimate matrix of social relations. 2. Hollywood craftwork today constitutes a regime of excessive labor. 3. Screen media production is a protean entity. We organized the collection into three sections: company town, global machine, and fringe city. The first section refers to Hollywood's historic roots as a core component of the motion picture business. The second section engages more directly with the spatial dynamics of film and television production to underscore the economic and political structures that are integrating distant locations into the studios' mode of production. We close with a section on the visual effects sector, in which stories shared by vfx artists, advocates, and organizers specifically illustrate how the industry today relies on marginal institutions to sustain its power and profitability"--Provided by publisher.