Search results

You are looking at 1 - 10 of 54 items for :

  • "creative labour" x
  • Refine by access: All content x
Clear All
Critical post-Soviet Marxist reflections

The starting-point for the book is its chapter on methodology. Found here are not only critiques of conventional Soviet Marxism-Leninism and post-modernism, but also a new rethinking of the classic dialectic. For the most part, however, the book focuses on revealing the new quality now assumed by commodities, money, and capital within the global economy. The market has become not only global, but a totalitarian force that is not a ‘socially neutral mechanism of coordination’. It is now a product of the hegemony of corporate capital, featuring the growth of new types of commodity: information, simulacra, and so forth. The book demonstrates the new qualities acquired by value, use value, price, and commodity fetishism within this new market, while exploring the contradictions of non-limited resources (such as knowledge) and the commodity form of their existence.

Money is now a virtual product of fictitious financial capital, possessing a new nature, contradictions, and functions. This analysis of the new nature of money helps to reveal the essence of so-called financialisation.

Capital has become the result of a complex system of exploitation. In the twenty-first-century context this exploitation includes the ‘classic’ extraction of surplus value from industrial workers combined with internal corporate redistribution of income by ‘insiders’; international exploitation; and the exploitation of creative labour through the expropriation of intellectual rent.

The Awakening (2011) and Development Practices in the British Film Industry
Alison Peirse

This article reveals how screenwriter Stephen Volk‘s idea for a sequel to The Innocents (1961, Jack Clayton) became, over the course of fifteen years, the British horror film The Awakening (2011, Nick Murphy). It examines practitioner interviews to reflect on creative labour in the British film industry, while also reorientating the analysis of British horror film to the practices of pre-production, specifically development. The research reveals that female protagonist Florence Cathcart was a major problem for the project and demonstrates how the Florence character changed throughout the development process. Repeatedly rewritten and ultimately restrained by successive male personnel, her character reveals persistent, problematic perceptions of gender in British horror filmmaking.

Film Studies
Abstract only
Precarity in the fashion system
Ilaria Vanni

.serpicanaro.com/serpica-story/serpica-naro-il-media-sociale). Taken together, the eight outfits make visible the less than satisfying work conditions in the fashion supply chain, and disrupt the narrative of blissful, autonomous self-actualisation that is a core trope of creative labour. Arvidsson, Malossi and Naro carried out in-depth research among fashion workers in Milan, unveiling their everyday reality and forms of exploitation.72 The findings of this research reveal precarious (short-term, flexible, casual) employment; hierarchical work structures, with the possibility of accessing and exercising creativity only at the

in Precarious objects
Tony Dundon
,
Miguel Martinez Lucio
,
Emma Hughes
,
Debra Howcroft
,
Arjan Keizer
, and
Roger Walden

Chapter 4 debates the decline in worker voice. It reviews different forms of voice: ‘institutional’ (e.g. works councils); ‘union participation’; ‘collective bargaining’; ‘non-union voice’; and ‘external actors’ (e.g. civil society groups and associations). It argues that while employee voices are increasingly fragmented and fractured, there are shades of light and hope in terms of new forms of creative labour mobilising and social engagement.

in Power, politics and influence at work
Kuba Szreder

capitalism. Commenting on this topic, Bruno Gulli advocates for creative labour to be considered as an expression of a living labour, a human force uncoupled from capital (Gullì 2005 ). Such labour is neither productive nor unproductive for capital, as its ontology is unbound from the constraints of capitalist accumulation. Creative labour is an expression of this general capacity of living labour, even though, in order to become truly unbound, artists have to question the constraints and ossifications of the institution of art, especially when, as Kerstin Stakemeier and

in The ABC of the projectariat
Aleksander Buzgalin
and
Andrey Kolganov

capital. Modern-day capital produces not only classical industrial output but also that of creative activity, in which the ‘creative class’ is engaged. It is here that new forms of capitalist exploitation are arising since, as will be shown below, modern capital appropriates part of the wealth that comes into being through universal creative labour. (Creative labour is necessarily universal in that it relies on the universal intellectual heritage of humankind.) The areas of activity in which creative components play a significant role (we have termed

in Twenty-first-century capital
Kuba Szreder

maintenance. Similar exercises in institutional transformation were undertaken by the team at the CASCO Art Institute in Utrecht. Engaging in a long action research process with artist-researcher Annette Krauss, they transformed the internal division of labour to bridge the gap between highly regarded creative labour and the usually disregarded labour of maintenance, trying to share even such menial tasks as cleaning the office and involving everyone in the programmatic activities of CASCO (CASCO 2018 ). In the process, they actualised the legacy of

in The ABC of the projectariat
Orian Brook
,
Dave O’Brien
, and
Mark Taylor

to demonstrate that although unpaid work has been the subject of high-profile campaigning 4 and attempts at regulation, 5 it remains an important part of how creative labour markets function. Our data echoes the existing research suggesting working for free is a dominant and inescapable experience for our creative workers. At the same time, we are going to build on an idea we introduced in Chapter 5 . Even where the same conditions confront all cultural workers, they are experienced very differently across key demographic groups. Working for free is not

in Culture is bad for you
Screen and digital labour as resistance
Photini Vrikki
,
Sarita Malik
, and
Aditi Jaganathan

practice’ (Mattoni 2013 , 46) and on their creative practice more broadly. It seeks to foreground the lived experiences of those pushing for social change through creative labour, and specifically with reference to issues of race and resistance. Exploring the screen and digital industries Racialisms are spread throughout the cultural and creative industries, their hiring practices and the culture and representations of the sector. With a cultural sector that normalises whiteness (Ahmed 2007 ) and categorises Black art as Other

in Creativity and resistance in a hostile world
Inequality and the ‘useless economy’
Aleksander Buzgalin
and
Andrey Kolganov

creative labour as a type of wage labour employed on a mass scale bring about a change in the quality both of capital and also – importantly – of the worker. These changes modify patterns of accumulation and condition of reproduction. What is involved here is much more than an increase in the cost of labour power. The intertwining of the processes of reproduction of capital and reproduction of labour, as a result of which capital becomes, to a degree, the source of the reproduction of a new type of worker, and the worker's wage becomes the source of the accumulation of

in Twenty-first-century capital