Brian's presentation on Matt Stahl's piece in Production Studies.

1. Privilege and Distinction in Production WorldsMatt Stahl Brian Bovino

2. Doesn’t just refer to degree of comfort but also: Remuneration Control of the work process Ownership of the products of labor The rights and obligations of employers and workers Workers’ access to health and pension benefits Social-psychological vs. Political-economic Defining “Working Conditions

3. Work for hire vs. Without work for hire Employees without work for hire considered “joint authors” Entitled to equal share of copyright US Copyright Act of 1909 No ownership rights to employees and later freelancers “Raw Marketplace Power” Forces freelancers to wave the white flag Inalienable Rights 1976 Act – 35 year rule “Quasi-Proprietary Rights” – Guilds & Unions Offers workers social protection and security Copyright and Work for Hire

4. Hierarchal Divisions in the Cultural Industry Creative Work Technical Work “Above the Line” Producers Directors Writers Editors Compensation Structure Individual Residual (Direct Payments) “Below the Line” Craft and technical labor Materials and supplies Compensation Structure Collective Residuals (Payments in the form of benefits) Often alienated in the workplace – “wrist”

5. Further Distinctions Between Strata of Media Workers Non-Union Off-Shore (Primarily Asia) Extremely vulnerable in the industry Must negotiate benefits individually – nothing is guaranteed Very limited job security Labor is: Cheap Skilled Plentiful Conditions are much different as opposed to working in the U.S. or Europe Since there is limited supply of jobs, workers can be exploited

6. If job security is so low being a free-lancer, why not just join a union? Although storyboarding requires creativity, it’s considered below the line. Why is this and what really separates above the line from below the line? Any questions? Q&A