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Precarious Creativity examines the seismic changes confronting media workers in an age of globalization and corporate conglomeration. This pathbreaking anthology peeks behind the hype and supposed glamor of screen media industries to reveal the intensifying pressures and challenges workers face. The authors take on crucial issues and provide insightful case studies of workplace dynamics regarding creativity, collaboration, exploitation, and cultural difference. Furthermore, they investigate working conditions and organizing efforts on all six continents, offering comprehensive analysis of contemporary screen media labor in places such as Lagos, Prague, Hollywood, and Hyderabad, across a range of job categories that includes visual effects, production services, and adult entertainment. With contributions from John Caldwell, Vicki Mayer, Herman Gray, Tejaswini Ganti, and others, this collection offers timely critiques of media globalization and broader debates about labor, creativity, and precarity. "Every case study is an eye-opener, and no other book comes close in assessing the plight of creative workers in the era of global conglomerate Hollywood." -THOMAS SCHATZ, University of Texas at Austin "A corrective to previous, U.S.-centric attempts to understand the global media economy by offering a bracing look at the dark underbelly of life for most media workers today." -DENISE MANN, University of California, Los Angeles "A balanced and comprehensive portrayal of the reshaping of the contours of work and industry organization under the twin circumstances of digital disruption and a globalizing media system." -TOM O'REGAN, The University of Queensland MICHAEL CURTIN is a professor of Film and Media Studies at University of California, Santa Barbara. KEVIN SANSON is a Lecturer in Entertainment Industries at Queensland University of Technology in Australia.

The media revolution that has swept across Asia since the 1990s is often characterized as a technologically driven phenomenon. At a deeper level, it has been animated by a multifaceted neoliberal political project and economic globalization, which has in turn fueled the rise of satellite, broadband, and mobile media. As technologies and cultural options proliferated, policy makers in many countries of East Asia and the Middle East have shifted their priorities from the regulation of distribution and personal consumption to the promotion of favored commercial partners and hybrid state media institutions. Focusing on Arab and Chinese screen media, this article examines the profound tensions between transnational commercial media capital and nationally based official media capital, delineating some of the complex dynamics that are remediating Asia in ways that were previously unimaginable.

CARGC Paper 1 drew on Curtin's then book project, Media Capital, which compares and contrasts cities that have become centers of the global film and television industries, such as Bombay, Lagos, and Miami. In the paper, Curtin explored the implications of Chinese cultural policy within the broader context of media globalization, providing a framework for understanding the logics of media capital and the challenges confronting national governments, making comparisons to Arab, African, and Indian media, and reflecting on the prospects for creativity and diversity in film and television. ; https://repository.upenn.edu/cargc_papers/1000/thumbnail.jpg

Satellite television figures prominently in scholarly speculation about globalization, since it has the potential to cross boundaries of class, gender, ethnicity and literacy, in addition to nation. Scholars furthermore suggest that satellite TV moves audiences towards a shared repertoire of images and ideas, thereby encouraging modernization and reflexive forms of representative government. Such lofty speculation fails, however, to take into account the actual operation of media institutions, such as Rupert Murdoch's Star TV. Closely examining the development of Star since 1993, this essay delineates the forces (infrastructural, political and textual) that transformed what aspired to be the first pan-Asian satellite platform into a niche TV service that panders to the Chinese regulators, provincial bureaucrats and subnational advertisers. The article concludes that ultimately forces on the ground are more influential than high-speed conduits in the sky. It consequently interrogates the reputed power of global media moguls and advocates further institutional research regarding globalization of media.

Motion pictures are made, not mass produced, requiring a remarkable collection of skills, self-discipline, and sociality—all of which are sources of enormous pride among Hollywood's craft and creative workers. The interviews collected here showcase the pleasures that attract people to careers in film and television. They also reflect critically on changes in the workplace brought about by corporate conglomeration and globalization. Rather than offer publicity-friendly anecdotes by marquee celebrities, Voices of Labor presents off-screen observations about the everyday realities of Global Hollywood. Ranging across job categories—from showrunner to make-up artist to location manager—this collection features voices of labor from Los Angeles, Atlanta, Prague, and Vancouver. Together they show how abstract concepts like conglomeration, financialization, and globalization are crucial tools for understanding contemporary Hollywood and for reflecting more generally on changes and challenges in the screen media workplace and our culture at large.