Policy Ecologies, Gender, Work, and Regulation Distance in Film and TV Production

Coles, Amanda; MacNeill, Kate

doi:10.1057/978-1-137-55495-6_12

Cited by 13 publications

(18 citation statements)

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“…Importantly though, this macro‐level lens was limited in two ways. Firstly, in terms of focus it prioritized statistical workforce analysis over other gender‐related issues that could have been interrogated at the macro‐level — for instance, the underlying sector definitions, which Walby () has shown to impact our understanding of gender issues in knowledge work, or the effectiveness of labour market regulation for addressing gender inequality (see Coles & MacNeill, , for an application to the Canadian screen sector). Secondly, the focus on workforce statistics was executed with limited breadth and depth.…”

Section: Discussionmentioning

confidence: 99%

And … action? Gender, knowledge and inequalities in the UK screen industries

Eikhof

Newsinger

Luchinskaya

et al. 2018

Gender Work & Organization

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This article explores how a knowledge ecology framework can help us better understand the production of gender knowledge, especially in relation to improving gender equality. Drawing on Law, Ruppert, and Savage, it analyses what knowledge of gender inequality is made visible and actionable in the case of the UK screen sector. We show: (i) that the gender knowledge production for the UK screen sector operated with reductionist understandings of gender and gender inequality, and presented gender inequality as something that needed evidencing rather than changing; and (ii) that gender knowledge was circulated in two relatively distinct circuits, a policy‐ and practice‐facing one focused on workforce statistics and a more heterogeneous and critical academic one. We then discuss which aspects of gender inequality in the UK screen industry remained invisible and thus less actionable. The article concludes with a critical appreciation of how the knowledge ecology framework might help better understand gender knowledge production, in relation to social change in the UK screen sector and beyond.

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Section: Discussionmentioning

confidence: 99%

And … action? Gender, knowledge and inequalities in the UK screen industries

Eikhof

Newsinger

Luchinskaya

et al. 2018

Gender Work & Organization

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“…As film industry work is increasingly organized in peripatetic, team-based projects, equality is generated by those with whom an individual works rather than by those for whom an individual works [10]. Personal power is understood in terms of relative reputational risk rather than based on managing continuing interpersonal relationships [11]. Especially in project-based labor markets such as film, where recruitment depends on interpersonal networks [12][13][14][15][16][17], social capital is highly important for getting jobs and structuring the market.…”

Section: Review Of Literature On Gender Gatekeeping and Networkmentioning

confidence: 99%

Controlling for openness in the male-dominated collaborative networks of the global film industry

et al. 2020

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Studies of gender inequality in film industries have noted the persistence of male domination in creative roles (usually defined as director, producer, writer) and the slow pace of reform. Typical policy remedies are premised on aggregate counts of women as a proportion of overall industry participation. Network science offers an alternative way of identifying and proposing change mechanisms, as it puts emphasis on relationships instead of individuals. Preliminary work on applying network analysis to understand inequality in the film industry has been undertaken. However, in this study we offer a comprehensive approach that enables us to not only understand what inequality in the film industry looks like through the lens of network science but also how we can attempt to address this issue. We offer a datadriven simulation framework that investigates various what-if scenarios when it comes to network evolution. We then assess each of these scenarios with respect to its potential to address gender inequality in the film industry. As suggested by previous studies, inequality is exacerbated when industry networks are most closed. We review evidence from three different national film industries on network relationships in creative teams and identify a high proportion of men who only work with other men. In response to this observation, we test several mechanisms through which industry structures may generate higher levels of openness. Our results reveal that the most critical factor for improving network openness is not simply the statistical improvement of the number of women in a network, nor the removal of men who do not work with women. The most likely behavioural changes to a network will involve the production of connections between women and powerful men.

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“…The creative industries function as a highly informal field in which few jobs are advertised. There are exceptions, for example, in the more traditional 'professions' such as architecture, but the general picture is of informal networks of contacts built on social capital as key to gaining work and employment (Coles and MacNeill 2017;Friedman et al 2016;O'Brien et al 2016;Grugulis and Stoyanova 2012;McRobbie 2002). This feature of the creative industries has been analysed mostly for the ways it further entrenches inequality and a lack of diversity within the creative workforce.…”

Section: Informal Employment Practicesmentioning

confidence: 99%