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This article examines the position of the "runner" as an entry-level route into film and television production. Through the analysis of publicly available industry guidance materials, desirable characteristics and dispositions ass...
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This article examines the position of the "runner" as an entry-level route into film and television production. Through the analysis of publicly available industry guidance materials, desirable characteristics and dispositions associated with working as a runner are identified. A recurring understanding emerges in these materials that the "rite of passage" of working as a runner is a necessary step for those seeking to break into film and TV production. In turn, tensions are revealed with perspectives from higher education students who question the value of mundane entry-level work and stress their degree experiences as a means to negotiate and challenge seemingly established career pathways.
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A theoretical analysis of the literature on the problem of media competence is performed. The results of experimental work are provided. 300 students of pedagogical specialities and directions of training of the Federal State Budg...
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A theoretical analysis of the literature on the problem of media competence is performed. The results of experimental work are provided. 300 students of pedagogical specialities and directions of training of the Federal State Budget Educa- tional Institution of Higher Professional Education “ISLU” form the research base. The purpose is diagnosing the initial state of media competence of individual students of pedagogical specialities. Objectives: 1) determining the presence / absence of the basic indicators of media competence component formation; 2) identification of students' activity during media productive creative activity as a stimulator of desired quality manifestation. A diagnostic program consisted of the author's questionnaire and an instruction- map for a teacher. The undertaken study allowed to make a conclusion that the level of students’ media competence is formed on the basis of organizational and pedagogical conditions of the edu- cational process at the university.
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Research on creative work typically focuses either on precarious work and employment or on creative workers' dedication to their work and profession. The account of UK broadcaster and writer Charlotte presented in this article bri...
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Research on creative work typically focuses either on precarious work and employment or on creative workers' dedication to their work and profession. The account of UK broadcaster and writer Charlotte presented in this article bridges these two foci. Charlotte talks about finding work in the cultural industry she loves, moulding a portfolio of jobs into a coherent creative career, and being a woman and working mother in broadcasting and media. Her account gives rich insight into how creative workers exercise individual agency in the face of their industries' structural constraints and how they pursue careers both because of and in spite of what the cultural and creative industries offer.
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Cross-sector collaboration combining public (non-commercial) and private (commercial) organisational orientations is considered an advantageous and dynamic strategic approach to shared value creation and co-creative innovation in ...
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Cross-sector collaboration combining public (non-commercial) and private (commercial) organisational orientations is considered an advantageous and dynamic strategic approach to shared value creation and co-creative innovation in disruptive operational environments of media industries. However, cross-sector collaboration features inherent complexities and organisational tensions due to the fundamental differences between the actors’ strategies and operational models. This article explores organisational tensions and dualities in media work in the cross-sector collaboration of media clusters. The qualitative case study examines the development of the management approach and practical operations of the Finnish media cluster Mediapolis, which aims to produce value, especially through collaborative content and concept innovation. The case study builds on extensive empirical material collected since the Mediapolis project started in 2011 until 2018. The analysis focuses on the management of complexities and organisational tensions in implementing collaborative strategies at Mediapolis, as well as managing the shared operations and work of the cluster. The results reveal tensions between the core dualities in developing Mediapolis as a collaborative arrangement between the participating organisations in practice, despite shared strategic-level aspirations. The findings elaborate on the dynamics of different organisational orientations and business logics, discrepancies between visionary planning and practical actions, and opposing organisational interests and strategies as sources for organisational tensions in collaborative contexts. The article contributes to both the theoretical and practical knowledge on organisational tensions and their management in cross-sector collaboration in media cluster development and provides implications for managing respective complexities in media work.
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What would a manifesto look like for media and creative workers in the twenty-first century? How would we account for decades of the transformation of work to fit the political economies of labor and data? This essay for the twent...
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What would a manifesto look like for media and creative workers in the twenty-first century? How would we account for decades of the transformation of work to fit the political economies of labor and data? This essay for the twentieth anniversary ofTelevision & New Mediaattempts to answer these questions.
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With the rise in design-centric social media platforms, blogs, and inspiration aggregators, 'inspiration' has become an increasingly popular term for designers' creative digital work. Technology developers have leveraged this lang...
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With the rise in design-centric social media platforms, blogs, and inspiration aggregators, 'inspiration' has become an increasingly popular term for designers' creative digital work. Technology developers have leveraged this language of inspiration to describe how these platforms and applications could fit within, perpetuate, and ultimately direct design labor practice among and within these sites. This empirical study examines the continual shaping and reshaping of the digital inspirational economy, where one designer's creative content becomes another's inspiration. Drawing on interviews with 45 graphic designers, participant observations, and industry texts, I analyze the digital work of designers as they manage dialectical tensions between inspiration and imitation across a design-centric social media landscape. I highlight four key practices designers employed as a part of their shaping and negotiation of the digital inspirational economy including (1) continual investment, (2) ensuring novelty, (3) compulsory comparability, and (4) prioritizing connections. Each of these inspiration practices reveal a unique dialectical tension that designers negotiated as an emerging part of the 'work of inspiration'. The platforms and practices used by enterprising designers illuminate the contours of evolving work practices and the ways in which designers are continually challenged to assert their economic value in the creative economy. As such, analyzing the practice of inspiration illuminates larger issues concerning attribution, diffusion of visual information, and the politics of creative economies. I conclude by addressing the work and self-presentation implications for freelance and independent creative professionals whose work processes are increasingly entangled with digital platforms.
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This paper reports on a research study exploring the value of interactive media to enhancing creativity in Design and Technology (D&T) students. The literature review contextualises the issues of self-management and risk-taking as phenomena which need to be managed and supported to ensure successful learning in D&T students. These phenomena are discussed from the point of view of both approaches to designing interactive media for learning and in the context of D&T education. An action research approach was adopted to exploring the value of interactive media in this respect. The findings of a preliminary study based on focus group interviews carried out with D&T A Level students are discussed, setting out a series of learning needs. These learning needs were derived from students' descriptions of the issues influencing their engagement with creative work. The identified students' learning needs were used to inform the design of an interactive learning environment, including the focus of its content on ecodesign issues, its social constructivist pedagogy and the structure of the learning interactions. This paper reports on the findings of the evaluation of the interactive learning environment which made implications for the value of interactive media to managing uncertainty and risk-taking in students. The new research findings highlighted the value of interactive media to encouraging students to engage in exploring a design context in an environment free of authoritarian control. The phenomenon of shared ownership over the learning problem emerged as a positive aspect of peer-to-peer collaboration. Finally, the role of the tutor as a facilitator of learning providing scaffolded support to the learning interactions was emphasised....
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This paper reports on a research study exploring the value of interactive media to enhancing creativity in Design and Technology (D&T) students. The literature review contextualises the issues of self-management and risk-taking as phenomena which need to be managed and supported to ensure successful learning in D&T students. These phenomena are discussed from the point of view of both approaches to designing interactive media for learning and in the context of D&T education. An action research approach was adopted to exploring the value of interactive media in this respect. The findings of a preliminary study based on focus group interviews carried out with D&T A Level students are discussed, setting out a series of learning needs. These learning needs were derived from students' descriptions of the issues influencing their engagement with creative work. The identified students' learning needs were used to inform the design of an interactive learning environment, including the focus of its content on ecodesign issues, its social constructivist pedagogy and the structure of the learning interactions. This paper reports on the findings of the evaluation of the interactive learning environment which made implications for the value of interactive media to managing uncertainty and risk-taking in students. The new research findings highlighted the value of interactive media to encouraging students to engage in exploring a design context in an environment free of authoritarian control. The phenomenon of shared ownership over the learning problem emerged as a positive aspect of peer-to-peer collaboration. Finally, the role of the tutor as a facilitator of learning providing scaffolded support to the learning interactions was emphasised.
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Purpose - The purpose of this paper is to develop a more comprehensive understanding of why social inequalities and discrimination remain in the creative industries. Design/methodology/approach - The paper synthesizes existing ac...
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Purpose - The purpose of this paper is to develop a more comprehensive understanding of why social inequalities and discrimination remain in the creative industries. Design/methodology/approach - The paper synthesizes existing academic and industry research and data, with a particular focus on the creative media industries. Findings - The paper reveals that existing understanding of the lack of diversity in the creative industries' workforce is conceptually limited. Better understanding is enabled through an approach centred on the creative industries' model of production. This approach explains why disadvantage and discrimination are systemic, not transitory. Practical implications - The findings suggest that current policy assumptions about the creative industries are misguided and need to be reconsidered. The findings also indicate how future research of the creative industries ought to be framed. Originality/value - The paper provides a novel synthesis of existing research and data to explain how the creative industries' model of production translates into particular features of work and employment, which then translate into social inequalities that entrench discrimination based on sex, race and class.
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Personal social media use at work is usually deemed counterproductive work behaviour reducing employee productivity. However, we hypothesized that it may actually help employees to coordinate work and nonwork demands, which should...
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Personal social media use at work is usually deemed counterproductive work behaviour reducing employee productivity. However, we hypothesized that it may actually help employees to coordinate work and nonwork demands, which should in turn increase work-related creativity. We used ecological momentary assessment across one working day with up to ten hourly measurements on 337 white-collar workers to measure personal social media use, work-nonwork balance and creativity, resulting in a total of 2244 hourly measurements. Multilevel modelling revealed that personal social media use was associated with better work-nonwork balance, but with lower levels of creativity between- and within-persons. Work-nonwork balance did not mediate the relationship between personal social media use and creativity. More research is needed to understand why employees use social media at work for personal purposes and how this affects their well-being and job performance.
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Purpose - Recently, work-related social media use (WSMU) in organisations and its association with employee outcomes have received considerable research attention. This study examines the association between WSMU, psychological we...
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Purpose - Recently, work-related social media use (WSMU) in organisations and its association with employee outcomes have received considerable research attention. This study examines the association between WSMU, psychological well-being (PW) and innovative work performance (IP). In addition, it explores the mediating role of PW and the moderating role of fear of missing out (FoMO).Design/methodology/approach - A sample of 233 employees working in different organisations was recruited from India to complete the survey. Structural equation modelling was applied to analyse the data. Findings - The result reveals that WSMU has a positive and direct effect on IP. Moreover, the indirect effect via PW among the association was positive and significant. Furthermore, FoMO moderates the indirect relationship between WSMU and IP.Originality/value - This research is a pioneering work that has contributed to the scarce literature by exploring the relationship between employees' social media use, PW and IP. This research has important theoretical and management contributions because it examines the impact of WSMU on EP, mediating role of PW and moderating role of FoMO among the association between WSMU and employee outcomes.
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