Devastating Dreamjobs : Ambivalence, emotions, and creative labor in a post-socialist audiovisual industry

Result code in IS VaVaI

<a href="https://www.isvavai.cz/riv?ss=detail&h=RIV%2F00216208%3A11210%2F19%3A10467215" target="_blank" >RIV/00216208:11210/19:10467215 - isvavai.cz</a>

Alternative codes found

RIV/00216224:14230/19:00117341 RIV/61989592:15210/19:73600681

Result on the web

<a href="https://verso.is.cuni.cz/pub/verso.fpl?fname=obd_publikace_handle&handle=MdzufNj58l" target="_blank" >https://verso.is.cuni.cz/pub/verso.fpl?fname=obd_publikace_handle&handle=MdzufNj58l</a>

DOI - Digital Object Identifier

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Result language

angličtina

Original language name

Devastating Dreamjobs : Ambivalence, emotions, and creative labor in a post-socialist audiovisual industry

Original language description

Recent studies of creative labor have stirred up a discussion about the most appropriate theoretical framework for studying it: is creative labor a brute form of oppression? Or does it rather generate new and multiple subjectivities? Does creative labor subject the workers to a regime of self-discipline and governmentality? Or does it have purely positive features that cannot be reduced to com- pensatory mechanisms? Discussion of the accuracy of the different approaches still needs to be better grounded in empirical research. In particular, what is missing in the emergent work on creative labor is insight into non-Western creative workers&apos; identities and working conditions. This paper addresses both the good and bad aspects of creative labor in a post-socialist audio- visual industry. Based on twenty-four in-depth interviews with Czech television reporters and screenwriters, I aim to address the following questions: What kind of experiences do creative jobs in a post-socialist audiovisual industry offer their workers? What makes these workers&apos; labor good and bad? How and to what extent are the good and bad aspects of creative labor narratively linked to the post-socialist context? The findings suggest that while screenwriters&apos; and TV reporters&apos; forms of precarity vary, their work is still marked both by a post-1989 sense of rupture in funding and professional ideologies and through continuity in modes of production. In the audiovisual professionals&apos; narratives, the post- socialist context appears as an idealization of the West and of liberalism, yet also features discontent about the state&apos;s deficiencies, great uncertainty, the fragmentization and instrumentalization of me- dia industries, a specific sense of humour, and also, provincialism. Importantly, I argue that both the types of audiovisual professionals perform extensive emotional labor which resides in the carefully measured immersion in (as well as detachment from) their work. By illustrating that and how the audiovisual workers&apos; professional identities are inherently ambivalent and by bringing in the concept of emotions, this paper seeks to further de-Westernize the research of creative labor and broad- en the debate on the good and bad work in creative industries.

Czech name

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Czech description

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Type

J_SC - Article in a specialist periodical, which is included in the SCOPUS database

CEP classification

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OECD FORD branch

60405 - Studies on Film, Radio and Television

Project

<a href="/en/project/EF16_019%2F0000734" target="_blank" >EF16_019/0000734: Creativity and Adaptability as Conditions of the Success of Europe in an Interrelated World</a><br>

Continuities

P - Projekt vyzkumu a vyvoje financovany z verejnych zdroju (s odkazem do CEP)

Publication year

2019

Confidentiality

S - Úplné a pravdivé údaje o projektu nepodléhají ochraně podle zvláštních právních předpisů

Name of the periodical

Iluminace

ISSN

0862-397X

e-ISSN

2570-9267

Volume of the periodical

31

Issue of the periodical within the volume

4

Country of publishing house

CZ - CZECH REPUBLIC

Number of pages

19

Pages from-to

27-45

UT code for WoS article

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EID of the result in the Scopus database

2-s2.0-85084842257