The International Labour Organisation and film

Bibliographic Data

ID10252144
AuthorsMark Houssart (0000-0002-8536-8220, Business School, Middlesex University, London, UK, corresponding author)
Year2019
Volume60
Issue4
Pages339-350
Publication date2019-07-04
Open AccessNo
TypeARTICLE
VenueLabor History (JOURNAL)
Journal identifiersISSN: 0023-656X • E-ISSN: 1469-9702
PublisherInforma UK Limited (PUBLISHER • GB)
DOI10.1080/0023656x.2019.1537032
OpenAlexW2905732628
LanguageEN
Citations received1
References cited12

This article contributes to discussion of continuity and change in the International Labour Organisation’s (ILO) history, asking how the organisation and worker activities have been depicted in film. Since the 1920s, the films in which the organisation portrays itself have placed less emphasis on its European base, the largely male culture that once dominated it and the precise nature of its role in the world. In more recent years, the ILO’s cinematic output has made an effort to emphasise work, workers and their collective activity. Their short films have also come to overtly advocate ‘partnership’ trade unionism within a wider international and perspective while paying much more attention to matters of racial and gender diversity. These changes have been framed within the organisation’s constant assertion of continuity in its values and explicit use of its own history. Film has therefore contributed to consistency and continuity in its self-projection, providing parameters within which change has occurred

Art · Assertion · Consistency (knowledge bases · Diversity (politics · General partnership · Perspective (graphical · Political economy · Political science · Sociology · Global trade, sustainability, and social impact · International Labor and Employment Law · Labor Movements and Unions · Law

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