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Creative labour : media work in three cultural industries

Creative labour : media work in three cultural industries (8회 대출)

자료유형
단행본
개인저자
Hesmondhalgh, David, 1963-. Baker, Sarah, 1977-.
서명 / 저자사항
Creative labour : media work in three cultural industries / by David Hesmondhalgh and Sarah Baker.
발행사항
Abingdon, Oxon ;   New York, NY :   Routledge,   2011.  
형태사항
xii, 265 p. ; 24 cm.
ISBN
9780415572606 (hbk.)
서지주기
Includes bibliographical references and index.
일반주제명
Cultural industries -- Social aspects. Mass media -- Employees. Creativity. Labor -- Social aspects.
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010 ▼a 2010010442
020 ▼a 9780415572606 (hbk.)
035 ▼a (KERIS)REF000015753741
040 ▼a DLC ▼c DLC ▼d 211009
050 0 0 ▼a HD9999.C9472 ▼b H47 2010
082 0 0 ▼a 331.7/9 ▼2 22
084 ▼a 331.79 ▼2 DDCK
090 ▼a 331.79 ▼b H585c
100 1 ▼a Hesmondhalgh, David, ▼d 1963-.
245 1 0 ▼a Creative labour : ▼b media work in three cultural industries / ▼c by David Hesmondhalgh and Sarah Baker.
260 ▼a Abingdon, Oxon ; ▼a New York, NY : ▼b Routledge, ▼c 2011.
300 ▼a xii, 265 p. ; ▼c 24 cm.
504 ▼a Includes bibliographical references and index.
650 0 ▼a Cultural industries ▼x Social aspects.
650 0 ▼a Mass media ▼x Employees.
650 0 ▼a Creativity.
650 0 ▼a Labor ▼x Social aspects.
700 1 ▼a Baker, Sarah, ▼d 1977-.
945 ▼a KLPA

소장정보

No. 소장처 청구기호 등록번호 도서상태 반납예정일 예약 서비스
No. 1 소장처 중앙도서관/서고6층/ 청구기호 331.79 H585c 등록번호 111644715 도서상태 대출가능 반납예정일 예약 서비스 B M

컨텐츠정보

목차

1. Introduction: can creative labour be good work? 1.1 Good and bad work in the cultural industries 1.2 Creativity as doctrine 1.3 The critical backlash, the debate and our own approach 1.4 Definitions and boundaries 1.5 Research design: selection of industries and cases 1.6 Methods: interviews and participant observation 1.7 Outline of the book Part 1 2. A model of good and bad work 2.1 Marx on work and alienation 2.2 A sociological concept of alienation 2.3 Towards a model of good and bad work beyond alienation 2.4 Good products as good work 2.5 Autonomy as a feature of good work? 2.5.1 Two accounts of workplace autonomy 2.6 Self-realisation as a feature of good work? 2.7 Post-structuralist critique of work and the problem of values 2.7.1 Good work: critique of a critique 2.8 Subjective experience 3. The specificity of creative labour 3.1 Outline of the chapter 3.2 Three approaches to cultural production 3.3 General neglect of labour in studies of cultural production and possible reasons 3.4 Political economy and the specificity of creative labour 3.5 Raymond Williams on the specificity of creative labour: The communication of experience 3.6 A critical conception of creative autonomy and its two variants 3.6.1 Variant 1: Aesthetic autonomy 3.6.2 Variant 2: Professional autonomy 3.7 Creative work and social class 3.8 Cultural studies on creative labour: Subjectivity and self-exploitation 3.9 The debate about creative work Part2 4. The management of autonomy, creativity and commerce 4.1 Creativity, commerce and organisations 4.2 The creative management function 4.3 Managing creative autonomy: Magazines 4.4 Managing creative autonomy: The case of music recording 4.5 Pressures of Autonomy (1): Marketisation in broadcasting 4.5.1 Television documentary and factual television 4.5.2 Television drama 4.6 Pressures on autonomy (2): The rising power of marketing 4.7 Anxieties about autonomy 4.8 Pressures on autonomy (3): The obligation to network 4.9 Conclusions 5. Pay, hours, security, involvement, esteem and freedom 5.1 Quality of working life in the cultural industries 5.2 Pay, working hours and unions 5.2.1 Pay 5.2.2 Working hours 5.2.3 Unions 5.3 Security and risk 5.4 Esteem and self-esteem 5.4.1 Self-doubt 5.4.2 Cool and glamorous 5.5 Challenge, interest and involvement 5.5.1 Pleasurable absorption 5.6 The experience of autonomy 5.7 Ambivalent experiences 6. Creative careers, self-realisation and sociality 6.1 Decline of the career? 6.2 Finding the right creative occupation 6.3 The fragility of creative careers 6.4 Defining yourself too much through creative work 6.5 Teamwork, socialising, networking 6.6 Isolation 6.7 Self-realisation and sociality: Ambivalent features of modern creative labour 7. Emotional and affective labour 7.1 Immaterial labour, affective labour and ‘precarity’ 7.2 Emotional labour 7.3 Media labour and symbolic power 7.4 The talent show: Budget, commissioners and independents 7.5 Emotional labour and the anxieties of star-making 7.6 Pleasure and sociality on the production team 7.7 Affective labour and immanent co-operation? 7.8 Conclusions 8. Creative products, good and bad 8.1 Questions of quality 8.2 Pleasures and satisfactions of making good cultural products 8.3 Conceptions of good texts 8.4 Bad texts: Frustration and disappointment 8.5 Conceptions and explanations of poor quality work 8.6 Negative and positive experiences of quality 9. Audiences, quality and the meaning of creative work 9.1 Creative workers thinking about what audiences think 9.2 Magazines: is the reader everything 9.3 Music: a communicative thing or a private thing? 9.4 What can audiences handle? 9.5 Television and audience size: ratings tyranny? 9.6 Audiences, ambivalence and projection 10. The politics of good and bad work 10.1 The hardest way to make an easy living? 10.2 Unions and the struggle for good creative work 10.3 Work and life: choosing not to self-exploit? 10.4 Spreading good and bad work: how intractable is the social division of labour? Bibliography Appendix: The Interviews


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