By Andrew Beck
Cultural paintings examines the stipulations of the creation of tradition. It maps the replaced personality of labor in the cultural and inventive industries, examines the expanding range of cultural paintings and gives new equipment for analysing and brooding about cultural places of work. learning tv, well known song, functionality artwork, radio, movie construction and concert it deals occupational biographies, cultural histories, practitioners' proof, concerns of the industrial atmosphere in addition to new methods of watching and learning the cultural industries.
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Extra resources for Cultural Work: Understanding the Cultural Industries (Routledge Harwood)
Becker, 1982: ix–x) For some cultural workers, particularly those who think of themselves as “authors,” being part of a chain of production cuts against the grain, as Germaine Greer discovered when she set out to make a program about the Psalms for the BBC: One of the joys of being a writer is that if you stick to your last, which is your text, you are entirely responsible for the quality of your work [. ] Writing text for moving pictures is different . . The writer produces a treatment, and then a script, which is then rewritten by the director, and rewritten again by the authorpresenter, and the whole shebang is then disposed of by a galaxy of uncontrollable events as hours of location ﬁlming and endless pieces to camera process from can to cutting room ﬂoor.
Second, we should note a powerful countervailing tendency in the shape of an increasingly concentrated record industry (Burnett, 1996). Because record companies control commissioning, marketing, and distribution functions, they exert a powerful grip on production. Not only is it the case that without a record deal musicians cannot reach a significant public, but for those musicians who do sign contracts, labor market conditions remain highly uncertain. Music-makers are constantly being “dropped” by record and publishing companies.
Examples include: the conversion of Television New Zealand into a State Owned Enterprise with a statutory duty to return a surplus to the Treasury; the BBC’s increasing involvement in commercial enterprises and public–private partnerships; and the introduction of internal markets in service provision, as in the BBC Producer Choice initiative. The period 1980 through 2000 has seen variants of these four processes become increasingly pervasive across the major capitalist economies. Taken together, they have precipitated a fundamental shift in the historic bargain struck between public and corporate interests during the high tide of Welfare Capitalism between 1950 and 1980, increasing both the size of the market sector and its competitive advantages.
Cultural Work: Understanding the Cultural Industries (Routledge Harwood) by Andrew Beck