Book contents
- Frontmatter
- Contents
- Introduction
- 1 Making Media: Production, Practices, and Professions
- Production
- Research
- 2 Media Industries: A Decade in Review
- 3 Media Production Research and the Challenge of Normativity
- 4 Access and Mistrust in Media Industries Research
- 5 Cultural and Creative Industries and the Political Economy of Communication
- 6 The Platformization of Making Media
- Economics and Management
- 7 The Disappearing Product and the New Intermediaries
- 8 Value Production in Media Industries and Everyday Life
- 9 Transformation and Innovation of Media Business Models
- 10 Shifts in Consumer Engagement and Media Business Models
- 11 Media Industries’ Management Characteristics and Challenges in a Converging Digital World
- Policy
- 12 Global Media Industries and Media Policy
- 13 Media Concentration in the Age of the Internet and Mobile Phones
- Practices
- Innovation
- 14 Making (Sense of) Media Innovations
- 15 Start-up Ecosystems Between Affordance Networks, Symbolic Form, and Cultural Practice
- Work Conditions
- 16 Precarity in Media Work
- 17 Making It in a Freelance World
- 18 Diversity and Opportunity in the Media Industries
- 19 Labour and the Next Internet
- Affective Labour
- 20 Affective Labour and Media Work
- 21 Affective Qualities of Creative Labour
- 22 A Business of One or Nurturing the Craft: Who are You?
- Professions
- Music
- 23 Music in Times of Streaming: Transformation and Debate
- 24 Popular Music, Streaming, and Promotional Media: Enduring and Emerging Industrial Logics
- Television
- 25 Show Me the Money: How Revenue Strategies Change the Creative Possibilities of Internet-Distributed Television
- 26 Flexibility, Innovation, and Precarity in the Television Industry
- Social Media
- 27 Creator Management in the Social Media Entertainment Industry
- 28 #Dreamjob: The Promises and Perils of a Creative Career in Social Media
- Public Relations and Advertising
- 29 Redefining Advertising in a Changing Media Landscape
- 30 Perceptions and Realities of the Integration of Advertising and Public Relations
- Digital Games
- 31 Game Production Logics at Work: Convergence and Divergence
- 32 Reflections on the Shifts and Swerves of the Global Games Industry
- Journalism
- 33 ‘It Never Stops’: The Implicit Norm of Working Long Hours in Entrepreneurial Journalism
- 34 Transmedia Production: Key Steps in Creating a Storyworld
- Conclusion
- 35 Making Media: Observations and Futures
- Author Biographies
21 - Affective Qualities of Creative Labour
Published online by Cambridge University Press: 24 November 2020
- Frontmatter
- Contents
- Introduction
- 1 Making Media: Production, Practices, and Professions
- Production
- Research
- 2 Media Industries: A Decade in Review
- 3 Media Production Research and the Challenge of Normativity
- 4 Access and Mistrust in Media Industries Research
- 5 Cultural and Creative Industries and the Political Economy of Communication
- 6 The Platformization of Making Media
- Economics and Management
- 7 The Disappearing Product and the New Intermediaries
- 8 Value Production in Media Industries and Everyday Life
- 9 Transformation and Innovation of Media Business Models
- 10 Shifts in Consumer Engagement and Media Business Models
- 11 Media Industries’ Management Characteristics and Challenges in a Converging Digital World
- Policy
- 12 Global Media Industries and Media Policy
- 13 Media Concentration in the Age of the Internet and Mobile Phones
- Practices
- Innovation
- 14 Making (Sense of) Media Innovations
- 15 Start-up Ecosystems Between Affordance Networks, Symbolic Form, and Cultural Practice
- Work Conditions
- 16 Precarity in Media Work
- 17 Making It in a Freelance World
- 18 Diversity and Opportunity in the Media Industries
- 19 Labour and the Next Internet
- Affective Labour
- 20 Affective Labour and Media Work
- 21 Affective Qualities of Creative Labour
- 22 A Business of One or Nurturing the Craft: Who are You?
- Professions
- Music
- 23 Music in Times of Streaming: Transformation and Debate
- 24 Popular Music, Streaming, and Promotional Media: Enduring and Emerging Industrial Logics
- Television
- 25 Show Me the Money: How Revenue Strategies Change the Creative Possibilities of Internet-Distributed Television
- 26 Flexibility, Innovation, and Precarity in the Television Industry
- Social Media
- 27 Creator Management in the Social Media Entertainment Industry
- 28 #Dreamjob: The Promises and Perils of a Creative Career in Social Media
- Public Relations and Advertising
- 29 Redefining Advertising in a Changing Media Landscape
- 30 Perceptions and Realities of the Integration of Advertising and Public Relations
- Digital Games
- 31 Game Production Logics at Work: Convergence and Divergence
- 32 Reflections on the Shifts and Swerves of the Global Games Industry
- Journalism
- 33 ‘It Never Stops’: The Implicit Norm of Working Long Hours in Entrepreneurial Journalism
- 34 Transmedia Production: Key Steps in Creating a Storyworld
- Conclusion
- 35 Making Media: Observations and Futures
- Author Biographies
Summary
Creative labour is highly individualized, notoriously precarious, and characterized by flexibility, insecurity, and irregularity, along with long hours and low pay. These circumstances increase the likelihood of exploitation. At the same time, creative labour has affective qualities – pleasures as well as pressures. This chapter explores how the working conditions within the creative industries are affectively experienced through three case studies.
Introduction
In the humanities, the ‘affective turn’ refers to the increasing scholarly interest in emotions, senses, and bodily experiences since the 1990s. In terms of the workplace, the significance of affect has been theorized through concepts such as ‘emotional labour’ or ‘emotion work’ (Hochschild, 1983), ‘affective labour’ (Hardt & Negri, 2000), and ‘passionate work’ (McRobbie, 2016). Poynter (2002) suggests that such concepts offer ‘rich ground for re-examining the relationship between the individual and the objective or structural circumstances in which they find themselves’ (Ibid., 248-249).
The literature on affective and emotional labour focuses on the immaterial aspects of contemporary labour processes, which often fall outside what is traditionally recognized as ‘work’ (Lazzarato, 1996; Gregg,2009). Examples include sociable interactions between workers and colleagues or customers, expressions of care or concern, and the production of cultural, symbolic and artistic works or knowledges (Lazzarato, 1996; Hesmondhalgh & Baker, 2008). In her highly influential work on emotional labour, Arlie Hochschild (1983) suggests that workers must manage their emotions and the emotions of others to meet the expectations of their jobs. Such labour may involve practicing empathy and inducing, enhancing, or suppressing certain feelings (Hochschild, 1983; Grindstaff, 2002). For instance, to offer good service, a worker may need to suppress feelings of exhaustion or stress, perform a personable and cheerful version of the self, and aim to elicit happiness or dispel dissatisfaction among customers. In this sense, affect is integral to the experience of labour.
Although much scholarly work on the affective qualities of labour has examined the service and healthcare industries, there is also a growing body of literature that deals with emotion in media and creative industries. As Hesmondhalgh and Baker (2008) argue, when examining subjective experiences of labour, it is essential to consider the specificities of the sectors in which this labour is taking place.
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- Information
- Making MediaProduction, Practices, and Professions, pp. 287 - 296Publisher: Amsterdam University PressPrint publication year: 2019