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Creative Work and Emotional Labour in the Television Industry - David Hesmondhalgh, Sarah Baker, 2008
Source: journals.sagepub.com
Article summary:
1. Autonomist Marxist concepts such as 'immaterial labour', 'affective labour' and 'precarity' are inadequate for understanding work in the cultural industries.
2. Recent sociological research on cultural labour, such as Andrew Ross and Laura Grindstaff's work, is more useful than autonomist concepts in developing empirically informed critique.
3. An ethnographic account of working on one particular television programme is presented to show how power and disputes between commissioners and independent producers are registered in the form of stress, anxiety and poor working relations among project teams of young television researchers.
Article analysis:
The article “Creative Work and Emotional Labour in the Television Industry” by David Hesmondhalgh and Sarah Baker (2008) provides an interesting analysis of the challenges faced by workers in the television industry. The authors provide a thorough review of relevant media theory, including John Thompson’s notion of mediated quasi-interaction, as well as key recent sociological research on cultural labour. They then present an ethnographic account of working on one particular television programme to illustrate how power dynamics between commissioners and independent producers can lead to stress, anxiety, and poor working relations among project teams of young television researchers.
The article is generally reliable and trustworthy; however, there are some potential biases that should be noted. For example, the authors focus primarily on the challenges faced by workers in the television industry without considering other aspects such as job satisfaction or career advancement opportunities. Additionally, they do not explore counterarguments or alternative perspectives which could have provided a more balanced view of the situation. Furthermore, while they provide evidence for their claims from their own research study, they do not cite any external sources which could have further strengthened their argument.
In conclusion, this article provides an insightful analysis into creative work and emotional labour in the television industry; however it does not present both sides equally or explore counterarguments which could have provided a more balanced view of the situation.