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Andrew Spicer

The actor's relation to the public is that of an artist, but in relation to his employer, he is a productive labourer . (Karl Marx, 1863) 1 Film stardom in the 1970s – freelance stars and the rise of the agent Because the ‘Bond phenomenon’ generated its own sub-industry, almost its own world, Connery had

in Sean Connery
A Congolese Experience
Justine Brabant

: 162–9). The conflicts in eastern DRC have been covered by both grands reporters and by regional specialists (heading the ‘Africa’ section of the daily newspapers, or correspondents and freelancers based in Goma, Kinshasa, Kigali or Nairobi). However, very few of the conflicts have been covered by French defence specialists, in part due to the recent lack of French military involvement in the DRC. 9 So I am talking primarily about regional

Journal of Humanitarian Affairs
Four Conversations with Canadian Communications Officers
Dominique Marshall

, and the increasing flux of digital content. Rosenberg, Danielski, and Falconer were initially journalists in printed newspapers. The publication for which Falconer worked, for instance, progressed towards online reporting; when she left to write freelance assignments for non-profit organizations, she soon found herself writing for digital platforms, composing blogs and Facebook posts. Six years ago, when the CRC offered her a permanent position, she welcomed the opportunity to further this experience with social media in a stable and innovative environment

Journal of Humanitarian Affairs
Living and working in a precarious art world
Author: Kuba Szreder

The book addresses – in 66 accessible entries – the global circulation of contemporary art in the moment of its fundamental crisis. By using the term ‘projectariat’, the book detours the classical Marxist concept to talk about the life and work of artistic freelancers – artists, curators, critics, academics, writers, technicians and assistants – who, in order to survive, have no choice but to make one project after another and many at the same time. The majority of projectarians do not own much beyond their own capacity to circulate. Thus, they are torn between promises of unrestrained mobility and looming poverty, their precarity only amplified by the global crisis caused by COVID-19.

The book is intended as both a critical analysis and a practical handbook that speaks to and about the vast cohort of artistic freelancers worldwide, people who are currently looking for ways of moving beyond the structural conundrum of artistic networks, where everything that is solid melts into flows – and where nothing is certain except one’s own precarity. The book’s narrative is based on a carefully crafted balance between its three constitutive strands: an uncompromising critique of the cruel economy of global networks of contemporary art; an emphatic, non-moralistic understanding of the perils of artistic labour; and systemic advocacy for new modes of collective action aimed at overcoming the structural deficiencies haunting the global circulation of contemporary art.

Open Access (free)
Hannah Jones, Yasmin Gunaratnam, Gargi Bhattacharyya, William Davies, Sukhwant Dhaliwal, Emma Jackson, and Roiyah Saltus

of imagination and courage. Kiri Kankhwende is a freelance journalist and commentator on immigration and politics and a member of Media Diversified.

in Go home?
Apprenticeship, education and employment
Bethan Stevens

Clark – full-time, long-term employees at Dalziel Brothers, who started out as teenage apprentices – and John Bowcher, who turned later to engraving, as a second career. Bowcher struggled to launch his own small firm, alongside taking on precarious freelance jobs. I analyse the expertise of these individuals, considering the fine proof impressions of engravings that were

in The wood engravers’ self-portrait
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Sarah Lonsdale

complicity of the German people in supporting this brutality. The journalist was Shiela Grant Duff, a 21-year-old Englishwoman, operating freelance, just months out of the sheltered cloisters of Oxford University. Grant Duff had arrived in Saarbrucken, its streets ‘clogged and cluttered with snow’ and its Christmas decorations still hanging across the main streets, at New Year. 3 Within a fortnight these ‘streamers of lights’ and ‘garlands of evergreen’ would be replaced with the swastika ‘spiders’. 4 Within a fortnight, too, of arriving in the disputed zone, she would

in Rebel women between the wars
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Sue Vice

Lancashire.4 Rosenthal’s career paralleled and was integral to a formative period in the history of British television drama. Rosenthal worked for the independent television company Granada before he became a freelance writer in 1962. This was the year of the Pilkington Committee Report. This Report roundly criticised the overly populist priorities of ITV and paved the way for the 1964 Television Act which awarded the third new channel to the BBC. Yet ITV’s output in the 1960s featured important drama strands, including series such as The Prisoner (1967–68) and The

in Jack Rosenthal
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Sue Vice

in it has not been analysed. He was a member of the core team of Coronation Street writers between 1961 and 1969, while working on other material such as the short-lived comedy series The Bulldog Breed (Granada 1962). Rosenthal became a freelance writer in 1962, and spent a period in 1967 as the producer of Coronation Street, a role he was ‘reluctant’7 to take up in contrast to that of writer. It was the experience Rosenthal gained from the 129 scripts he wrote for the soap opera8 over eight years that formed his later dramatic style, and he was profoundly

in Jack Rosenthal
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Community, culture and colonialism 1900-1949
Author: Robert Bickers

The British community in China was rooted in the diverse cultures of imperial Britain. This book presents a study of Britain's presence in China both at its peak, and during its inter-war dissolution in the face of assertive Chinese nationalism and declining British diplomatic support. Using archival materials from China and records in Britain and the United States, the book presents a portrait of the traders, missionaries, businessmen, diplomats and settlers who constituted "Britain-in-China", challenging people's understanding of British imperialism there. Imperialism is no new subject for scholars of modern Chinese history. The largest settler communities were selfgoverning; even the smallest were still self-replicating. The book focuses on the structure and workings of this establishment in the decades before the Pacific War. The survey presented examines the processes by which Britain in China evolved, how it replicated itself and represented itself (and China). It looks at how it attempted to reform itself in the face of the militant state and mass nationalism it met in China in the mid-1920s and after. The survey also looks at the face of the efforts of the British state to regain control over it and to decolonise the British presence. All Britons in China possessed multiple identities: British, imperial and local. The book also analyzes the formation and maintenance of settler identities, and then investigates how the British state and its allies brought an end to the reign of freelance, settler imperialism on the China coast.