Broadway North: craft in Canadian creative industry production

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Work Organisation, Labour and Globalisation

Volume 10, Issue 1

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Broadway North: craft in Canadian creative industry production

research-article

Author(s): Jennifer Hambleton

Publication date (Print): Spring 2016

Journal: Work Organisation, Labour and Globalisation

Publisher: Pluto Journals

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Abstract

This article considers how the autonomy and occupational identities of craft workers are shaped by the organisation of production in culture industry workshops that fabricate theatrical display environments. Representation of craft autonomy in the literature on creative labour is sparse and tends to overlook the fact that craft autonomy is different in some respects from artistic autonomy. Drawing on qualitative semi-structured interviews with craft workers, designers and culture industry workshop owners and managers, this study examines the digitalisation and industrialisation of theatre production work. The article contributes to an understanding of craft autonomy as collective, part of a community of practice in a context in which experiential and practice-based knowledge is mediated by digital fabrication tools and the structural conditions of the work.

Content

Author and article information

Journal

Journal ID (doi): 10.13169

Journal ID (publisher-id): workorgalaboglob

Title: Work Organisation, Labour and Globalisation

Publisher: Pluto Journals

ISSN (Print): 1745641X

ISSN (Electronic): 17456428

Publication date (Print): Spring 2016

Volume: 10

Issue: 1

Pages: 64-79

Article

Publisher ID: workorgalaboglob.10.1.0064

DOI: 10.13169/workorgalaboglob.10.1.0064

SO-VID: 2db3e61e-6186-4116-bd72-ef2780c9b52e

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All content is freely available without charge to users or their institutions. Users are allowed to read, download, copy, distribute, print, search, or link to the full texts of the articles in this journal without asking prior permission of the publisher or the author. Articles published in the journal are distributed under a http://creativecommons.org/licenses/by/4.0/.

History

ScienceOpen disciplines: Sociology,Labor law,Political science,Labor & Demographic economics,Political economics

References

Adamson, G. (2013). The Invention of Craft . London, New York: Bloomsbury Academic.
Aksoy, A. & K. Robins (1992) ‘Hollywood for the 21st century: Global competition for critical mass in image markets’, Cambridge Journal of Economics , 16 (1):1–22.
Anderson, C. (2012) Makers: The New Industrial Revolution , New York, NY: McClelland & Stewart.
Bain, A.L. (2013) Creative Margins: Cultural Production in Canadian Suburbs , Toronto, ON, Canada: University of Toronto Press.
Banks, M. (2007) The Politics of Cultural Work , New York: Palgrave Macmillan.
Banks, M. (2010) ‘Craft labour and creative industries’, International Journal of Cultural Policy , 16 (3):305–21.
Baugh, C. (2013) Theatre, Performance and Technology: The Development and Transformation of Scenography , New York, NY: Palgrave Macmillan.
Becker, H. (1983) Art Worlds , Berkeley: University of California Press.
Burston, J. (2009) ‘Recombinant Broadway’, Continuum: Journal of Media & Cultural Studies , 23 (2):159–69.
Caldwell, J.T. (2008) Production Culture: Industrial Reflexivity and Critical Practice in Film and Television , Durham and London: Duke University Press.
Christopherson, S. (2008) ‘Beyond the self-expressive creative worker: An industry perspective on entertainment media’, Theory, Culture & Society , 25 (7–8):73–95.
Conor, B. (2014) Screenwriting: Creative Labor and Professional Practice , London: Routledge and Taylor Francis Group.
Crawford, M.B. (2009) Shop Class as Soul Craft: An Inquiry into the Value of Work , New York, NY: Penguin Books.
Dawson, A. (2012) ‘Labouring in Hollywood's motion picture industry and the legacy of flexible specialization’ in A. Dawson & P. Holmes Sean (eds) Working in the Global Film and Television Industries: Creativity, Systems, Space, Patronage , New York and London: Bloomsbury Academic:21–38.
Faulkner, R. (1971) Hollywood Studio Musicians: Their Work and Careers in the Recording Industry , Chicago, IL: Aldine, Atherton.
Gauntlett, D. (2011) Making Is Connecting: The Social Meaning of Creativity, from DIY and Knitting to YouTube and Web 2.0 , Cambridge, MA: Polity Press.
Grugulis, I. & D. Stoyanova (2009) ‘I don't know where you learn them: Skills in film and TV’ in A. McKinlay & C. Smith (eds) Creative Labour: Working in the Creative Industries , New York: Palgrave Macmillan:135–55.
Harper, D. (1987) Working Knowledge: Skill and Community in a Small Shop , Chicago and London: University of Chicago Press.
Hesmondhalgh, D. (2007) The Culture Industries , 2nd ed., Los Angeles, London, New Delhi, and Singapore: Sage.
Hesmondhalgh, D. & S. Baker (2011) Creative Labour: Media Work in Three Cultural Industries , New York: Routledge.
Hodson, R. (2001) Dignity at Work , New York: Cambridge University Press.
Lave, J. & W. Wenger (1991) Situated Learning: Legitimate Peripheral Participation , New York: Cambridge University Press.
Lee, D. (2011b) ‘Precarious creativity: Changing attitudes towards craft and creativity in the British independent television production sector’, Creative Industries Journal , 4 (2):155–70.
Luckman, S. (2013) ‘Precarious labour then and now: The British arts and crafts movement and cultural work revisited’ in M. Banks, R. Gill & S. Taylor (eds) Theorizing Cultural Work: Labour Continuity and Change in the Cultural and Creative Industries , London and New York: Routledge:19–29.
Mayer, V., M.J. Banks & J.T. Caldwell (2009) Production Studies: Cultural Studies of Media Industries , New York: Routledge.
McKinlay, A. & C. Smith (2009) Creative Labour: Working in the Creative Industries , New York: Palgrave Macmillan.
McRobbie, A. (2016) Be Creative: Making a Living in the New Culture Industries , Cambridge, UK: Polity Press.
Piore, M. & C. Sabel (1984) The Second Industrial Divide , New York: Basic Books.
Pirsig, R.M. (1974) Zen and the Art of Motorcycle Maintenance , Toronto, ON, Canada: Bantam Books.
Polanyi, M. (1966). The Tacit Dimension , Garden City, New York: Doubleday.
Pye, D. (1968) The Nature and the Art of Workmanship , Cambridge: Cambridge University Press.
Ryan, B. (1992) Making Capital from Culture: The Corporate Form of Capitalist Cultural Production , Berlin and New York: de Gruyter.
Sennett, R. (2008) ‘Material consciousness’ in The Craftsman , New Haven and London: Yale University Press:119–48.
Stahl, M. (2005) ‘Non-proprietary authorship and the uses of autonomy: Artistic labour in American film animation, 1900–2004’, Labor Studies in Working Class Histories of the Americas , 2 (4):87–105.
Stahl, M. (2009) ‘Privilege and distinction in production worlds: Copyright, collective bargaining, and working conditions in media making’ in M. Banks, J.T. Caldwell & V. Mayer (eds) Production Studies: Cultural Studies of Media Industries , New York and London: Routledge:54–68.
Stott, R. (1996) ‘Artists and capitalist development’, Journal of the Early Republic , 16 (2):257–71.

Comments

Comment on this article

[1] Adamson, G. (2013). The Invention of Craft . London, New York: Bloomsbury Academic.

[2] Aksoy, A. & K. Robins (1992) ‘Hollywood for the 21st century: Global competition for critical mass in image markets’, Cambridge Journal of Economics , 16 (1):1–22.

[3] Anderson, C. (2012) Makers: The New Industrial Revolution , New York, NY: McClelland & Stewart.

[4] Bain, A.L. (2013) Creative Margins: Cultural Production in Canadian Suburbs , Toronto, ON, Canada: University of Toronto Press.

[5] Banks, M. (2007) The Politics of Cultural Work , New York: Palgrave Macmillan.

[6] Banks, M. (2010) ‘Craft labour and creative industries’, International Journal of Cultural Policy , 16 (3):305–21.

[7] Baugh, C. (2013) Theatre, Performance and Technology: The Development and Transformation of Scenography , New York, NY: Palgrave Macmillan.

[8] Becker, H. (1983) Art Worlds , Berkeley: University of California Press.

[9] Burston, J. (2009) ‘Recombinant Broadway’, Continuum: Journal of Media & Cultural Studies , 23 (2):159–69.

[10] Caldwell, J.T. (2008) Production Culture: Industrial Reflexivity and Critical Practice in Film and Television , Durham and London: Duke University Press.

[11] Christopherson, S. (2008) ‘Beyond the self-expressive creative worker: An industry perspective on entertainment media’, Theory, Culture & Society , 25 (7–8):73–95.

[12] Conor, B. (2014) Screenwriting: Creative Labor and Professional Practice , London: Routledge and Taylor Francis Group.

[13] Crawford, M.B. (2009) Shop Class as Soul Craft: An Inquiry into the Value of Work , New York, NY: Penguin Books.

[14] Dawson, A. (2012) ‘Labouring in Hollywood's motion picture industry and the legacy of flexible specialization’ in A. Dawson & P. Holmes Sean (eds) Working in the Global Film and Television Industries: Creativity, Systems, Space, Patronage , New York and London: Bloomsbury Academic:21–38.

[15] Faulkner, R. (1971) Hollywood Studio Musicians: Their Work and Careers in the Recording Industry , Chicago, IL: Aldine, Atherton.

[16] Gauntlett, D. (2011) Making Is Connecting: The Social Meaning of Creativity, from DIY and Knitting to YouTube and Web 2.0 , Cambridge, MA: Polity Press.

[17] Grugulis, I. & D. Stoyanova (2009) ‘I don't know where you learn them: Skills in film and TV’ in A. McKinlay & C. Smith (eds) Creative Labour: Working in the Creative Industries , New York: Palgrave Macmillan:135–55.

[18] Harper, D. (1987) Working Knowledge: Skill and Community in a Small Shop , Chicago and London: University of Chicago Press.

[19] Hesmondhalgh, D. (2007) The Culture Industries , 2nd ed., Los Angeles, London, New Delhi, and Singapore: Sage.

[20] Hesmondhalgh, D. & S. Baker (2011) Creative Labour: Media Work in Three Cultural Industries , New York: Routledge.

[21] Hodson, R. (2001) Dignity at Work , New York: Cambridge University Press.

[22] Lave, J. & W. Wenger (1991) Situated Learning: Legitimate Peripheral Participation , New York: Cambridge University Press.

[23] Lee, D. (2011b) ‘Precarious creativity: Changing attitudes towards craft and creativity in the British independent television production sector’, Creative Industries Journal , 4 (2):155–70.

[24] Luckman, S. (2013) ‘Precarious labour then and now: The British arts and crafts movement and cultural work revisited’ in M. Banks, R. Gill & S. Taylor (eds) Theorizing Cultural Work: Labour Continuity and Change in the Cultural and Creative Industries , London and New York: Routledge:19–29.

[25] Mayer, V., M.J. Banks & J.T. Caldwell (2009) Production Studies: Cultural Studies of Media Industries , New York: Routledge.

[26] McKinlay, A. & C. Smith (2009) Creative Labour: Working in the Creative Industries , New York: Palgrave Macmillan.

[27] McRobbie, A. (2016) Be Creative: Making a Living in the New Culture Industries , Cambridge, UK: Polity Press.

[28] Piore, M. & C. Sabel (1984) The Second Industrial Divide , New York: Basic Books.

[29] Pirsig, R.M. (1974) Zen and the Art of Motorcycle Maintenance , Toronto, ON, Canada: Bantam Books.

[30] Polanyi, M. (1966). The Tacit Dimension , Garden City, New York: Doubleday.

[31] Pye, D. (1968) The Nature and the Art of Workmanship , Cambridge: Cambridge University Press.

[32] Ryan, B. (1992) Making Capital from Culture: The Corporate Form of Capitalist Cultural Production , Berlin and New York: de Gruyter.

[33] Sennett, R. (2008) ‘Material consciousness’ in The Craftsman , New Haven and London: Yale University Press:119–48.

[34] Stahl, M. (2005) ‘Non-proprietary authorship and the uses of autonomy: Artistic labour in American film animation, 1900–2004’, Labor Studies in Working Class Histories of the Americas , 2 (4):87–105.

[35] Stahl, M. (2009) ‘Privilege and distinction in production worlds: Copyright, collective bargaining, and working conditions in media making’ in M. Banks, J.T. Caldwell & V. Mayer (eds) Production Studies: Cultural Studies of Media Industries , New York and London: Routledge:54–68.

[36] Stott, R. (1996) ‘Artists and capitalist development’, Journal of the Early Republic , 16 (2):257–71.