Producers take advantage of the shared beliefs of film workers. Monona Rossol says that, “performers and technicians alike commonly believe that suffering, risk-taking, and even dying for art is an appropriate price to pay for the privilege of working in the field” (Rossol 2000). This feeds in perfectly to the corporate value of profit above individual human survival. Rossol points out that it pays for the production companies to put workers at risk, if you hurt a worker, full disability only costs the company four hundred dollars a week. Regarding the producers she says, “They only talk about safety and environmental and human rights. They don’t provide it for their own people. Their little lower lips start trembling at awards ceremonies, but they don’t care” (Rossol, conversation, 2007).
- 1980s – present: In contract negotiations, IATSE rank-and-file are like boiled frogs…resulting in contracts that are “family killers.”
- 2006–There may still be time for the unions…
- 2007–“Greed alone cannot innovate” Runaway Production hollows out the labor force, film content, and contributes to hollowing out America’s middle class
- 2006 — Are there Positive Aspects of Runaway Production? Nope.
- 1940s Break up of the Feudal System, I mean Studio System, and the paradoxical end of the Golden Age of Hollywood
Andrea L. Siegel, Ph… on 1940s The Conference of Studio… Roberta A. Perry on 1940s The Conference of Studio… Roberta A. Perry on 1940s The Conference of Studio… Jeff Yana on 2000: Mikhail Glattes, Another… Mr WordPress on Hello world!