Matt Stahl
Dados Biográficos
| ID | 642893 |
|---|---|
| NOME | Matt Stahl |
| PRENOMES | Matt |
| SOBRENOME | Stahl |
| ASSINATURA | STAHL M |
| AFILIAÇÕES | Western University |
| ORCID | 0000-0002-4927-039X |
| VERIFICADO | Sim |
| TOTAL DE OBRAS | 11 |
| TOTAL DE CITAÇÕES | 83 |
| OBRAS COMO AUTOR | 11 |
| OBRAS COMO EDITOR | 0 |
| PRIMEIRO ANO DE PUBLICAÇÃO | 2002 |
| ANO MAIS RECENTE DE PUBLICAÇÃO | 2021 |
| ÍNDICE H | 4 |
Are workers musicians? Kesha Sebert, Johanna Wagner and the gendered commodification of star singers, 1853-2014
The legal history of pop singer-songwriter Kesha Sebert has brought to light serious problems of gender and power in the US recording industry: it remains male dominated to its core. These contemporary problems have specific historical origins. Contextualising the 2008-2014 lawsuit between two rival producers over the exclusive right to Kesha's labour power suggests that elements of Victorian gender relations and class war were baked into the doc…
Theorizing Cultural Work
In recent years, cultural work has engaged the interest of scholars from a broad range of social science and humanities disciplines. The debate in this ‘turn to cultural work’ has largely been based around evaluating its advantages and disadvantages: its freedoms and its constraints, its informal but precarious nature, the inequalities within its global workforce, and the blurring of work–life boundaries leading to ‘self-exploitation’. While acad…
Theorizing Cultural Work
The Firm Foundation of Organizational Flexibility
The devaluation of the recorded music commodity under digitalization has destabilized the recording industry. One primary record industry response is the new “360 deal” form of the recording contract. By securing rights to individual acts’ live performance, music publishing and licensing, and merchandizing activities, this new deal expands record companies’ access to more profitable fields of music industry activity (if in piecemeal fashion). We …
From Seven Years to 360 Degrees
This article examines the apparent paradox of the persistence of long-term employment contracts for cultural industry ‘talent’ in the context of broader trends toward short-term, flexible employment. While aspirants are numberless, bankable talent is in short supply. Long-term talent contracts appear to embody a durable axiom in employment: labor shortage favors employees. The article approaches this axiom through the lens of recent reconsiderati…
Cultural Labor’s “Democratic Deficits”
Cultural industries’ reliance on streams of novel cultural material requires granting creative employees significant degrees of autonomy within firms. This article expands on these findings by focusing on key moments in the early history of cinematic animation and aspects of contemporary animation production. Drawing on political‐theoretical analyses of employment to limn substantive limits to the autonomy of artists integrated into Hollywood pro…
The Synthespian’s Animated Prehistory
This article explores the political-economic “prehistory” of the “synthespian” by tracing the emergence of the rock and roll cartoon The Archies (1968—78) from the ashes of the live-action sitcom The Monkees (1966—68) through the career of music publisher and producer Don Kirshner. Drawing on original interviews with the producers of The Archies, it argues that early experiments in “fixing” variable entertainment capital through the organization …
The Media and Social Theory
Any division of cultural industry labor-whether local, national, or global-is defined not just by an allocation of tasks and responsibilities but also by the varying working conditions within that system. “Working conditions” does not refer here simply to the degree of comfort or satisfaction one experiences at film and television work (is it too cold or too hot, can I go to the bathroom when I choose, are the rules and expectations clear, are my…
Nonproprietary Authorship and the Uses of Autonomy
To Hell with Heteronomy
Authentic boy bands on TV? Performers and impresarios in The Monkees and Making the Band
Boy bands embody contradictory representations of their own individuality and authenticity and the corporate nature of their genesis and presentation. Boy band members, the impresarios and entrepreneurs behind them, and the producers of television shows about them must contend in their work and relationships with the social and symbolic conventions of their historical moment. In this article I analyse representations of boy bands on the American …
The Media and Social Theory
Any division of cultural industry labor-whether local, national, or global-is defined not just by an allocation of tasks and responsibilities but also by the varying working conditions within that system. “Working conditions” does not refer here simply to the degree of comfort or satisfaction one experiences at film and television work (is it too cold or too hot, can I go to the bathroom when I choose, are the rules and expectations clear, are my…
Theorizing Cultural Work
Nonproprietary Authorship and the Uses of Autonomy
Authentic boy bands on TV? Performers and impresarios in The Monkees and Making the Band
Boy bands embody contradictory representations of their own individuality and authenticity and the corporate nature of their genesis and presentation. Boy band members, the impresarios and entrepreneurs behind them, and the producers of television shows about them must contend in their work and relationships with the social and symbolic conventions of their historical moment. In this article I analyse representations of boy bands on the American …
Are workers musicians? Kesha Sebert, Johanna Wagner and the gendered commodification of star singers, 1853-2014
The legal history of pop singer-songwriter Kesha Sebert has brought to light serious problems of gender and power in the US recording industry: it remains male dominated to its core. These contemporary problems have specific historical origins. Contextualising the 2008-2014 lawsuit between two rival producers over the exclusive right to Kesha's labour power suggests that elements of Victorian gender relations and class war were baked into the doc…
The Synthespian’s Animated Prehistory
This article explores the political-economic “prehistory” of the “synthespian” by tracing the emergence of the rock and roll cartoon The Archies (1968—78) from the ashes of the live-action sitcom The Monkees (1966—68) through the career of music publisher and producer Don Kirshner. Drawing on original interviews with the producers of The Archies, it argues that early experiments in “fixing” variable entertainment capital through the organization …
Authentic boy bands on TV? Performers and impresarios in The Monkees and Making the Band
Boy bands embody contradictory representations of their own individuality and authenticity and the corporate nature of their genesis and presentation. Boy band members, the impresarios and entrepreneurs behind them, and the producers of television shows about them must contend in their work and relationships with the social and symbolic conventions of their historical moment. In this article I analyse representations of boy bands on the American …
To Hell with Heteronomy
Nonproprietary Authorship and the Uses of Autonomy
The Media and Social Theory
Any division of cultural industry labor-whether local, national, or global-is defined not just by an allocation of tasks and responsibilities but also by the varying working conditions within that system. “Working conditions” does not refer here simply to the degree of comfort or satisfaction one experiences at film and television work (is it too cold or too hot, can I go to the bathroom when I choose, are the rules and expectations clear, are my…
Cultural Labor’s “Democratic Deficits”
Cultural industries’ reliance on streams of novel cultural material requires granting creative employees significant degrees of autonomy within firms. This article expands on these findings by focusing on key moments in the early history of cinematic animation and aspects of contemporary animation production. Drawing on political‐theoretical analyses of employment to limn substantive limits to the autonomy of artists integrated into Hollywood pro…
The Synthespian’s Animated Prehistory
This article explores the political-economic “prehistory” of the “synthespian” by tracing the emergence of the rock and roll cartoon The Archies (1968—78) from the ashes of the live-action sitcom The Monkees (1966—68) through the career of music publisher and producer Don Kirshner. Drawing on original interviews with the producers of The Archies, it argues that early experiments in “fixing” variable entertainment capital through the organization …
From Seven Years to 360 Degrees
This article examines the apparent paradox of the persistence of long-term employment contracts for cultural industry ‘talent’ in the context of broader trends toward short-term, flexible employment. While aspirants are numberless, bankable talent is in short supply. Long-term talent contracts appear to embody a durable axiom in employment: labor shortage favors employees. The article approaches this axiom through the lens of recent reconsiderati…
The Firm Foundation of Organizational Flexibility
The devaluation of the recorded music commodity under digitalization has destabilized the recording industry. One primary record industry response is the new “360 deal” form of the recording contract. By securing rights to individual acts’ live performance, music publishing and licensing, and merchandizing activities, this new deal expands record companies’ access to more profitable fields of music industry activity (if in piecemeal fashion). We …
Theorizing Cultural Work
In recent years, cultural work has engaged the interest of scholars from a broad range of social science and humanities disciplines. The debate in this ‘turn to cultural work’ has largely been based around evaluating its advantages and disadvantages: its freedoms and its constraints, its informal but precarious nature, the inequalities within its global workforce, and the blurring of work–life boundaries leading to ‘self-exploitation’. While acad…
Theorizing Cultural Work
Are workers musicians? Kesha Sebert, Johanna Wagner and the gendered commodification of star singers, 1853-2014
The legal history of pop singer-songwriter Kesha Sebert has brought to light serious problems of gender and power in the US recording industry: it remains male dominated to its core. These contemporary problems have specific historical origins. Contextualising the 2008-2014 lawsuit between two rival producers over the exclusive right to Kesha's labour power suggests that elements of Victorian gender relations and class war were baked into the doc…
Sociology (9 obras) · Law (8 obras) · Political science (8 obras) · Cultural Industries and Urban Development (6 obras) · Music History and Culture (6 obras) · Art (5 obras) · Epistemology (5 obras) · History (5 obras) · Law (5 obras) · Business (4 obras)