`You're only as Good as Your Last Job': The Labour Process and Labour Market in the British Film Industry

By H. Blair. 2001

306 citations recorded by the source corpus.

Subfields: Finance, Political Science and International Relations, Urban Studies

View Paper: https://www.semanticscholar.org/paper/0c6086575092170ab8dad7e65d2b6ad23350e695

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Citations in the corpus

Informal creative labour practices: A relational work perspective (2018, background): “The performing arts and fashion design presuppose prevalently embodied work with requisite spatial proximity and bodily co-presence (Becker, 1982), as opposed to new media work that presupposes the deterritorialization of interpersonal ties (Gregg, 2011).”
Cultural Industries: Product–Market Characteristics, Management Challenges and Industry Dynamics (2015, unknown): “In an insecure job market risks are offset by networking (Coulson 2012), and by building semi-permanent groups which offer artists a source of competitive advantage and collaboration opportunities (Antcliff et al. 2007; Blair 2001; 2003; Blair et al. 2001; Lee 2011; Starkey et al. 2000).”
‘Portfolio Careers’ and the Search for Flexibility in Later Life (2004, background): “Studies of freelance working have confirmed the importance of informal networks for matching freelancers to assignments in the film industry (Blair, 2001), in television (BFI Centre for Audience and Industry Research, 1999) and in new media (Gill and Dodd, 2000).”
Making the Intern Economy: Role and Career Challenges of the Music Industry Intern (2013, background): “For these workers—and firms more generally—an important part of getting work revolves around building and sustaining a good reputation (Becker, 1982; Blair, 2001; Zafirau, 2008).”
Projects, paths, and practices: sustaining and leveraging project-based relationships (2011, background): “In fact, most CSPs, who are typically self-employed in the TV movie industry (e.g. Blair, 2001), were recruited for only one project within the time period in question.”
Unrewarded careers in the creative class: The strange case of bohemian graduates (2010, background): “Similarly, other authors focus on the importance of ‘portfolio careers’ and the risk and uncertainty characterising creative jobs (Blair 2001, Ekinsmyth 2002).”