Privilege and Distinction in Production Worlds

Matt Stahl

Brian Bovino

Doesn’t just refer to degree of comfort but also:◦ Remuneration◦ Control of the work process◦ Ownership of the products of labor◦ The rights and obligations of employers and

workers◦ Workers’ access to health and pension benefits

Social-psychological vs. Political-economic

Defining “Working Conditions

Work for hire vs. Without work for hire◦ Employees without

work for hire considered “joint authors”

◦ Entitled to equal share of copyright

US Copyright Act of 1909◦ No ownership rights to

employees and later freelancers

“Raw Marketplace Power”◦ Forces freelancers to

wave the white flag Inalienable Rights

◦ 1976 Act – 35 year rule

“Quasi-Proprietary Rights” – Guilds & Unions◦ Offers workers social

protection and security

Copyright and Work for Hire

Hierarchal Divisions in the Cultural Industry

Creative WorkTechnical Work

“Above the Line”◦ Producers◦ Directors◦ Writers◦ Editors

Compensation Structure Individual Residual (Direct Payments)

“Below the Line”◦ Craft and technical labor◦ Materials and supplies

Compensation Structure Collective Residuals (Payments in the form of benefits)

Often alienated in the workplace – “wrist”

Further Distinctions Between Strata of Media Workers

Non-Union Off-Shore (Primarily Asia)

Extremely vulnerable in the industry◦ Must negotiate benefits

individually – nothing is guaranteed

◦ Very limited job security

Labor is:◦ Cheap◦ Skilled◦ Plentiful

Conditions are much different as opposed to working in the U.S. or Europe◦ Since there is limited

supply of jobs, workers can be exploited

If job security is so low being a free-lancer, why not just join a union?

Although storyboarding requires creativity, it’s considered below the line. Why is this and what really separates above the line from below the line?

Any questions?

Q&A