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Gender and Creative Labour presents a collection of readings that reflect the latest research related to employment positions in a range of creative industries to show the gender implications of creative labour under contemporary neoliberal economic policies.

Features contributions from a range of international experts
Includes studies from the US, UK, Oceania and Europe
Reveals the implications of contemporary femininities and masculinities for the precarious employment created under neoliberalism
Addresses the additional burdens that women face in creative occupations

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Series editor´s acknowledgements
Acknowledgements
Part 1: Introduction
Gender and creative labour
Bridget Conor, Rosalind Gill and Stephanie Taylor
Part 2: Sexism, segregation and gender roles
Sex, gender and work segregation in the cultural industries
David Hesmondhalgh and Sarah Baker
Unmanageable inequalities: sexism in the film industry
Deborah Jones and Judith K. Pringle
Part 3: Flexibility and informality
Getting in, getting on, getting out? Women as career scramblers in the UK film and television industries
Leung Wing-Fai, Rosalind Gill and Keith Randle
Labile labour - gender, flexibility and creative work
George Morgan and Pariece Nelligan
Birds of a feather: informal recruitment practices and gendered outcomes for screenwriting work in the UK film industry
Natalie Wreyford
Part 4: Image-making and representation
Blowing your own trumpet: exploring the gendered dynamics of self-promotion in the classical music profession
Christina Scharff
´Egotist´, ´masochist´, ´supplicant´: Charlie and Donald Kaufman and the gendered screenwriter as creative worker
Bridget Conor
Genre anxiety: women travel writers´ experience of work
Ana Alacovska
The heroic body: toughness, femininity and the stunt double
Miranda J. Banks and Lauren Steimer
Part 5: Boundary-crossing
When Adam blogs: cultural work and the gender division of labour in Utopia
Ursula Huws
A new mystique?Working for yourself in the neoliberal economy
Stephanie Taylor
Hungry for the job: gender, unpaid internships, and the creative industries
Leslie Regan Shade and Jenna Jacobson
Notes on contributors
Index

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Bridget Conor is a Lecturer in the Department of Culture, Media and Creative Industries at King´s College London. She is the author of Screenwriting: Creative Labour and Professional Practice (2014).

Rosalind Gill is Professor of Social and Cultural Analysis at City University London. She is the author or editor of several books, including Gender and the Media (Polity, 2007).

Stephanie Taylor is a Senior Lecturer in Psychology at the Open University, UK. Her books include Contemporary Identities of Creativity and Creative Work (with Karen Littleton) and Narratives of Identity and Place.

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