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This paper explores how gendered perceptions of risk drive gender inequality. It does so by applying an Intersectional Risk Theory (IRT) framework to new empirical data on gender equality initiatives in the Canadian screen industries. The paper shows (1) that gendered risk perceptions constrain women directors’ work opportunities; (2) that the construction of gendered risk perceptions (“doing risk”) is shaped by the screen industry context and social inequalities generally; and (3) that practices of constructing risk perceptions can be disrupted and changed, which creates opportunities for a “re‐doing” or “un‐doing” of gendered perceptions of risk and offers new analytical perspectives onto the efficacy of gender equality initiatives. By interrogating how perceptions of risk inform decision‐making, the paper contributes new understandings of the drivers of systemic and intersectional inequality as a defining characteristic of work and labor markets in the screen industries and in the creative industries more broadly.

The COVID-19 pandemic triggered a migration of workforces to work from home. A key issue for academics was the implications for the ability to carve out 'thinking time' to engage in what we term sustained knowledge work, the type of work essential for producing research. We administered an employee survey to academics from seven Australian and seven Canadian Universities, receiving over 3000 responses. We report on both quantitative and qualitative findings from the survey, with a particular emphasis on the latter. The two countries displayed broadly similar patterns in responses, but these patterns were gendered in specific ways. We distinguished between episodic and sustained knowledge work and found the shift of the location for sustained knowledge work from the workplace to the home affected academics unevenly, with disproportionate negative impacts on women. There are implications for all knowledge workers: while gendered, domestic norms continue to exist, the sustained knowledge work that is critical to career advancement can become especially problematic for women knowledge workers.

This article has two main objectives: to identify a link between organized labour representing English-language independent Canadian film and television production workers and developments in Canadian broadcasting policy, and to analyze the complex role of labour within the Canadian broadcasting policy network. The author uses union interventions around the Canadian Radiotelevision and Telecommunications Commission's 1999 Television Policy and the decline in Canadian dramatic programming as a case study to analyze the strategy and efficacy of labour's involvement in the broadcasting policymaking process. She argues that labour's adoption of a coalition framework, with the formation of the Coalition of Canadian Audio-visual Unions, has positively impacted labour's power as policy actors in the Canadian broadcasting policy sphere.Résumé : Cet article a deux objectifs principaux : d'une part, identifier le lien qui existe entre les politiques sur la radiodiffusion canadienne et les syndicats qui représentent les travailleurs anglophones au Canada dans les secteurs de la production indépendante télévisuelle et cinématographique ; d'autre part, analyser le rôle complexe de la main-d'oeuvre au sein du réseau d'action publique pour la radiodiffusion canadienne. L'auteur a recours à des interventions syndicales qui se rapportent à la Politique télévisuelle de 1999 du Conseil de la radiodiffusion et des télécommunications canadiennes ainsi qu'au déclin dans la production de programmation dramatique au Canada pour effectuer une étude de cas sur la stratégie et l'efficacité entourant la participation de la main-d'oeuvre dans la formulation de politiques en radiodiffusion. L'auteur soutient que l'entente réalisée par la main-d'oeuvre dans le dossier de la formation de la Coalition canadienne des syndicats de l'audiovisuel a eu un effet positif sur ses capacités à contribuer aux politiques de radiodiffusion canadienne.