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Creative Labour: Media Work in the Cultural Industries

创意劳动：文化产业中的媒体工作

基本信息

批准号：
AH/H006796/1
负责人：
David Hesmondhalgh
金额：
$ 4.29万
依托单位：
University of Leeds
依托单位国家：
英国
项目类别：
Research Grant
财政年份：
2009
资助国家：
英国
起止时间：
2009 至无数据
项目状态：
已结题

来源：
https://gtr.ukri.org/projects?ref=AH%2FH006796%2F1
关键词：
Creative Labour Media Work Cultural

项目摘要

Plain English Summary including for non-specialists:Creative industries* (industries such as television, music, magazines and newspapers, film, advertising and so on that produce goods that are primarily aesthetic, expressive or informational) have formed a very important area of public policy in recent years. Most creative industries policies explicitly aim at expanding the number of jobs available in these industries. This makes it important to examine what kinds of jobs these are. Partly for this reason, and also because of profound changes in the nature of the industries concerned, a number of academic areas have recently begun to pay greater attention to such 'creative labour'. I am applying for funds to provide leave to write a book that builds upon earlier research, and which also draws upon fieldwork conducted in three creative media industries (television, magazines and music) in 2006-7.The book seeks to move beyond existing approaches in a number of ways. First, the book seeks to conceptualise what 'good work' and 'bad work' in the creative industries might be under present conditions. It does so not only by providing information about what the conditions faced by creative workers in media industries (their hours, pay, access to union representation, stress and anxiety) but also by drawing on philosophical and sociological discussions, not only of work, but also of what constitutes the 'good life' (Aristotle) of which work can only ever be a part. To do so, a number of further moves are necessary.Second, the book seeks to improve the way in which we understand the crucial and difficult idea of autonomy (the relative freedom for creative workers to get on with their work with relatively little supervision or monitoring, and little interference from commercial, religious or political imperatives) and self-realisation (the goal of realising one's capacities and fulfilling one's hopes). There is widespread agreement that work in the creative industries is often, and increasingly, short-term and very insecure. Because of this, some analysts argue that autonomy and self-realisation through work are ways of compensating workers for this insecurity - meaning that in effect, autonomy and self-realisation may be mechanisms of control, because they can dissipate the discontents of workers. The book therefore seeks to assess whether this is an accurate or useful way to think of the problem. Third, a number of writers have pointed out that 'subjectivity' (the worker's individual characteristics, thoughts and feelings) is increasingly important in the modern workplace; for example, organisations are increasingly keen for workers to enjoy their work and therefore to devote themselves to it much more fully. But the theories of subjectivity that have been used in analysing work have often been curiously lacking in any sense of the individual workers as beings who are emotional and reflexive (able to reflect meaningfully and purposively on their own circumstances). So I propose an account of people's experiences at work that pays much more attention to emotion, in particular to ambivalence - the way that creative workers can both love and hate their jobs, and to the way in which workers pursue ethical and aesthetic goals in their creative labour. Fourth, the book examines how creative workers talk about what makes for good work - a good television programme or a not-so-good one, for example - and it seeks to provide an understanding of how this might help us to think about the 'quality' of cultural products; and why certain products get made rather than others. * A note on terminology: many writers use the term 'cultural industries' more or less interchangeably with 'creative industries', though some definitions of creative industries are very broad to include categories such as software. The focus here is on media industries within the creative or cultural industries sector.

创意产业 *（电视、音乐、杂志和报纸、电影、广告等生产主要具有美学、表现力或信息性的产品的行业）近年来已成为公共政策的一个非常重要的领域。大多数创意产业政策的明确目标是增加这些产业的就业机会。这使得研究这些是什么类型的工作变得重要。部分由于这个原因，也由于有关行业的性质发生了深刻的变化，一些学术领域最近开始更加关注这种“创造性劳动”。我正在申请资金，以提供休假写一本书，建立在早期的研究基础上，也借鉴了2006- 2007年在三个创意媒体行业（电视，杂志和音乐）进行的实地调查。首先，这本书试图概念化什么是“好工作”和“坏工作”在创意产业可能在目前的条件下。它不仅提供了关于媒体行业创意工作者所面临的条件（他们的工作时间，工资，工会代表，压力和焦虑）的信息，而且还借鉴了哲学和社会学的讨论，不仅是工作，而且是什么构成了“美好生活”（亚里士多德），工作只能是其中的一部分。要做到这一点，还需要采取一些进一步的措施。第二，本书试图改善我们理解自主权这一关键而困难的概念的方式（创造性工作者在相对较少的监督或监视下进行工作的相对自由，很少受到商业，宗教或政治要求的干扰）和自我实现（实现个人能力和实现个人希望的目标）。人们普遍认为，创意产业的工作往往是短期的，而且越来越不稳定。正因为如此，一些分析家认为，自主权和通过工作实现自我是补偿工人这种不安全感的方式-这意味着实际上，自主权和自我实现可能是控制机制，因为它们可以消除工人的不满。因此，本书试图评估这是否是思考问题的准确或有用的方式。第三，许多作家指出，“主体性”（工人的个人特征，思想和感情）在现代工作场所越来越重要;例如，组织越来越渴望工人享受他们的工作，因此更充分地投入工作。但是，奇怪的是，分析工作时所使用的主体性理论，往往缺乏将个体工人视为情绪化和反思性（能够有意义地、有目的地反思自己的环境）的意识。因此，我提出了一种对人们工作经历的描述，更加关注情感，特别是矛盾心理--创造性工作者既爱又恨他们的工作，以及工作者在创造性工作中追求道德和美学目标的方式。第四，这本书探讨了创意工作者如何谈论什么是好作品--例如，一个好的电视节目或一个不太好的电视节目--并试图提供一种理解，这种理解如何帮助我们思考文化产品的“质量”，以及为什么某些产品被制造出来而不是其他产品。* 关于术语的说明：许多作者或多或少地将“文化产业”与“创意产业”互换使用，尽管创意产业的一些定义非常广泛，包括软件等类别。这里的重点是创意或文化产业部门中的媒体产业。