The traditional strong ties union certification is defined by its location, usually a plant, office or facility where the members work. The various certifications often exist in a somewhat weak ties relationship to the National or International Union, particularly in amalgamated unions. The culture is rooted in an industrial model where ownership of work is the primary objective and mobility is constrained by a conceptual framework of stable employment and mediated technological change, among other considerations. Even within traditional industries the model is facing challenges, for women, for instance. Women who leave the workforce to raise families and return face a salary loss of around 37% in a model where continuous service is rewarded irrespective of talent and qualifications. Many young knowledge workers visualize a career with periods of well-paid project-based work interspersed with periods of voluntary unemployment to pursue personal interests. The structure of the companies they will likely work for reflects this ethic: a core staff and a large, far-flung network of contract workers brought in as needed.
Perhaps there is a model for this new sensibility in the entertainment industry and the unions associated with it. Musicians, writers, dancers and actors along with the technical staff who support their work already inhabit the weak ties world of transient team work, gigs, projects and down-time which characterize the emerging domain of knowledge work for many people. Super-stars routinely acknowledge the roles of the unions in their industries as they pick up their statuettes at industry award shows. No-one accuses these unions of obstructing the rise of talented individuals or of resisting innovation.
The DGA (Directors Guild of America) negotiates a basic agreement for its members, who then arrange individual contracts with the producer or producing company with terms and conditions applicable to a specific film. Director's agreements include employment terms (salary, and so forth), but also issues relating to creative control such as details regarding the director's cut and final cut of a film.
Like the DGA, SAG (Screen Actors' Guild) negotiates a basic agreement for its members; however, individual actors and actresses also contract for individual films, sometimes using agents or managers to represent them.
The AFM (American Federation of Musicians) represents musicians across many industries, including film. The trade group, which was formed in the 1890s, has negotiated contracts with the film industry since 1944, and has been especially concerned with new technological developments in sound recording.
IATSE represents technicians, artisans and crafts-persons in the entertainment industry, including live theater, film and television production, and trade shows. More than 500 local unions in the US and Canada are affiliated with IA. IATSE has a tradition of local autonomy, with a variety of craft-based locals involved in collective bargaining agreements. However, nationwide agreements for film production personnel are negotiated, as well. Moreover, Local 600, the International Cinematographers Guild—which was formed in 1996 through a merger of regional groups—is national rather than local in its membership.
IA covers a wide range of employees in film production distribution and exhibition. Among the classifications of workers represented are art directors, story analysts, animators, set designers and set decorators, scenic artists, graphic artists, set painters, grips, electricians, property persons, set builders, teachers, costumers, make-up artists, hair stylists, motion picture and still camerapersons, sound technicians, editors, script supervisors, laboratory technicians, projectionists, utility workers, first aid employees, inspection, shipping, booking, and other distribution employees. IA's bargaining strength comes from this "complete coverage" of all the crafts involved in the production of theatrical, motion picture, or television products, with workers involved in every phase of a production, from its conception through every aspect of its execution.
The International Brotherhood of Teamsters is the largest and strongest union in the US and also is active in the motion picture industry, organizing studio transportation workers on the West Coast and various other workers. In 2005 the Teamsters claimed a general membership of over 1.4 million in the United States and Canada; its Hollywood Local 399 had over 4,000 members working as drivers, location scouts, and other personnel in the film industry. Casting directors also joined the Teamsters in that year.
Wikipedia: Below-the-line unions - Guilds and Unions - film, story http://www.filmreference.com/encyclopedia/Criticism-Ideology/Guilds-and-Unions-BELOW-THE-LINE-UNIONS.html#ixzz1G3HZCvl4
Wikipedia: Above-the-line guilds - Guilds and Unions - film, movie, tv, director, producer, story http://www.filmreference.com/encyclopedia/Criticism-Ideology/Guilds-and-Unions-ABOVE-THE-LINE-GUILDS.html#ixzz1G3GHxVAf
The creativity of the entertainment industry unions in organizing a sector where talent rules, everything is negotiable, nothing is static, money talks and innovation is constant should give us hope in contemplating the challenges we face as paradigm-toppling changes ripple through the industries where we protect the interests of workers today.
