Creative Work and Emotional Labour in the Television Industry
Creative Work and Emotional Labour in the Television Industry
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DOI：
10.1177/0263276408097798
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发表时间：
2008-12-01
影响因子：
1.7
通讯作者：
Baker, Sarah
中科院分区：
文献类型：
--
作者：
Hesmondhalgh, David;Baker, Sarah
为了与这一特别部分的重点保持一致，我们首先集中讨论马克思主义哲学的一些概念问题，如“非物质劳动”、“情感劳动”和“不稳定性”，以理解文化产业中的工作。然后，我们简要回顾了一些相关的媒体理论（约翰·汤普森的介导准互动的概念）和一些关键的文化劳动最近的社会学研究（特别是安德鲁·罗斯和劳拉Grindstaff的工作，后者借鉴Hochschild的概念的情绪劳动），我们相信这可能是更有用的比哲学家的概念在发展经验知情的批评。然后，文章的主体由一个特定的电视节目工作的民族志帐户，一个帐户，旨在建立在这些理论辩论。我们分析了在当代电视选秀节目中，（这一特点源于制片人制作文本的象征性权力，然后将文本分发给大量人群）以及委员和独立制片人之间关于如何最好地做到这一点的争议（一个组织问题）表现为压力、焦虑，有时还表现为年轻电视研究人员的项目小组之间工作关系不佳（工作条件和经验问题）。我们特别关注这些工人如何承受额外的压力，因为他们需要进行情绪劳动，包括处理才艺表演贡献者的强烈情绪，以及在短期项目工作中保持良好的工作关系，这些要求是为了确保未来的就业。最终，那么，我们支持的观点，创造性的工作是“不稳定的”，但我们超越了概念，如非物质劳动和情感劳动的概括，以显示具体的方式，不稳定性是登记和谈判的年轻工人在一个行业的生活。
In keeping with the focus of this special section, we concentrate initially on some of the problems of autonomist Marxist concepts such as 'immaterial labour', 'affective labour' and 'precarity' for understanding work in the cultural industries. We then briefly review some relevant media theory (John Thompson's notion of mediated quasi-interaction) and some key recent sociological research on cultural labour (especially work by Andrew Ross and Laura Grindstaff, the latter drawing on Hochschild's concept of emotional labour), which we believe may be more useful than autonomist concepts in developing empirically informed critique. The main body of the article then consists of an ethnographic account of working on one particular television programme, an account that aims to build on these theoretical debates. We analyse how the power to provide exposure or not to individuals in the talent show genre in contemporary television (a feature that derives from the symbolic power of producers to make texts that are then circulated to massive numbers of people) and disputes between commissioners and independent producers about how best to go about doing so (an organizational issue) are registered in the form of stress, anxiety and sometimes poor working relations among project teams of young television researchers (a matter of working conditions and experiences). We especially focus on how additional pressures are borne by these workers because of the requirements to undertake emotional labour, involving the handling of strong emotions on the part of talent show contributors, and to maintain good working relations in short-term project work, requirements generated by the need to ensure future employment. Ultimately, then, we support the view that creative work is 'precarious'-but we go beyond the generalizations involved in concepts such as immaterial labour and affective labour to show the specific ways in which precariousness is registered and negotiated in the lives of young workers in one industry.