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Living on the Edge? Work and Employment in the Croatian Audio-Visual Industry

The presumptions that work and employment in cultural and creative industries will prove to be liberative and emancipatory, havebeen dismantled early on ‐ as research has shown they further contribute to the reproduction of the already present gender, class, and ethnic inequalities in the contemporary capitalist societies (Hesmondhalgh, 2002 ; Hesmondhalgh and Baker, 2011). They are inscribed in the productivity type as well as in the organizational contexts of the cultural and creative industries (Hesmondhalgh, 2002). The type of work and employment in cultural and creative industries is mainly atypical and non-standard with the elements of non-paid work and under-employment to use Edgell's (2006) categorization. Creative (cultural) workers(Banks, 2010) are in constant conflict both with external and with internal control mechanisms that limit their autonomy, but that also contribute to self-exploitation (Hesmondhalgh and Baker, 2011). In addition, the nature of creative (cultural) work demands long-term temporal and financial investment into various skills and expertise, which also contribute to furthering gender and class inequalities (McRobbie, 2002 ; Barada, 2011). The diminishing of labour rights of creative cultural workers, the decline of professional standards, the increase of unpaid labour, and furthermore, the contribution of virtual work (the input that the online production, distribution and prosumption activities have on changing the daily working practices of creative (cultural) workers) open the discussion on the normative prescriptions of what `good` or `bad` work should be (Hesmondhalgh and Baker, 2011). They need to be critically assessed while taking into account the different socio-cultural contexts as Stahl (2014) argues. In this paper such assessment of the creative labour in post‐transitional context will be made on the analysis of work and employment in Croatian audio-visual industry as a specific cultural industry in order to see whether the gender, class or ethnic inequalities can here be deciphered. The research will be conducted by using secondary data on work and employment (i.e.Statistical Office, Croatian Audio Visual Centre-HAVC, Croatian Chamber of Commerce) and by using qualitative research methods mainly semi-structured interviews with key stakeholders and workers in Croatian audio-visual industry.

work; employment; creative labour; audio-visual industry; inequality

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