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Precarity, Biography, and Event: Work and Time in the Cultural Industries

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  • Mark Banks

Abstract

This article explores the temporality of work and employment in the cultural, creative, and media industries (‘cultural work’). Building on recent sociological writing on ‘event-time’, I explore the ways in which owner-managers of small creative firms navigate the contingent workplace in a world of allegedly advanced ‘precarity’, yet seek also to maintain their own stable anchorage to a linear ‘biographical’ time marked by continuity and a control of material privilege. It is argued that understanding the political economy of time in cultural work requires theorization of temporal continuity as well as change, not only to avoid making undue epochal judgements but also to ensure continued recognition of social differences in the ways time is being encountered and experienced at work.

Suggested Citation

  • Mark Banks, 2019. "Precarity, Biography, and Event: Work and Time in the Cultural Industries," Sociological Research Online, , vol. 24(4), pages 541-556, December.
    • Handle: RePEc:sae:socres:v:24:y:2019:i:4:p:541-556
    DOI: 10.1177/1360780419844526
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    References listed on IDEAS

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    1. Lisa Adkins, 2009. "Sociological Futures: From Clock Time to Event Time," Sociological Research Online, , vol. 14(4), pages 88-92, September.
    2. Rosalind Gill, 2014. "Academics, Cultural Workers and Critical Labour Studies," Journal of Cultural Economy, Taylor & Francis Journals, vol. 7(1), pages 12-30, February.
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    Cited by:

    1. Josephine Caust, 2021. "Sustainability of Artists in Precarious Times; How Arts Producers and Individual Artists Have Adapted during a Pandemic," Sustainability, MDPI, vol. 13(24), pages 1-15, December.
    2. Sabogal Camargo, A.M., 2021. "Passion, precarity and inequality? Working conditions of urban dancers in Colombia," ISS Working Papers - General Series 135150, International Institute of Social Studies of Erasmus University Rotterdam (ISS), The Hague.

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