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An Invisible Army the Role of Freelance Labour in Bristol’S Film and Television Industries

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An Invisible Army the Role of Freelance Labour in Bristol’S Film and Television Industries An Invisible Army The Role of Freelance Labour in Bristol’s Film and Television Industries Amy Genders Acknowledgements This report benefited from the knowledge, support and expertise of many people and organisations. I should like to thank the Arts and Humanities Research Council that provided the grant that enabled this research to be conducted through the National Productivity Investment Fund. I am also grateful for the support of the project partners The Royal Television Society, Creative England, Creative Skillset and Bristol Media. Invest in Bristol and Bath, an organisation that helps companies access the cluster and grow ([email protected]), very kindly funded the design costs, which enabled a high quality report to be produced, superbly designed by Jim Smith. Lynn Barlow, Assistant Vice-Chancellor Creative and Cultural Industries Engagement, was extremely helpful in brokering introductions and providing an endless source of knowledge about Bristol’s media community. Natalie Moore, Senior Film Officer, Bristol Film Office & Bristol UNESCO City of Film, Bristol City Council, was also a great source of information, including the latest statistics about inward investment in the region’s film and television productions. I wish to express my gratitude to the freelancers who agreed to take part in this study. Without their time, experience and knowledge this report would not have been possible. I should also like to thank my academic mentors, Professor Andrew Spicer and Dr Steve Presence, for their guidance and support throughout the fellowship. Report Design Jim Smith Design Ltd (www.jimsmithdesign.co.uk) Published in the UK 2019 by the University of the West of England Bristol (UWE Bristol). Copyright © Amy Genders, all rights reserved. A catalogue record for this publication is available from the British Library. Print ISBN: 978-1-86-043553-9 Contents Page 2 Executive Summary 4 Key Findings 5 Recommendations 6 Introduction 10 Main Report 43 Conclusion 44 Key Findings 45 Recommendations 46 References Executive Summary The Research This report is based on a one-year research project (January 2018–19) funded by the Arts and Humanities Research Council (AHRC) through the National Productivity Investment Fund. The research was conducted by a research fellow employed by the University of the West of England Bristol and undertaken in partnership with the Royal Television Society Bristol, Creative England, Creative Skillset, and Bristol Media. South Gloucestershire Bristol North Somerset Bath & North East Somerset Figure 1 Area covered by the West of England Local Enterprise Partnership Zone 2 An Invisible Army Aims and Objectives The purpose of this report is to complement current statistical data on freelance labour by providing a detailed, qualitative portrait of how freelancers negotiate precarious careers within specific regional contexts. The research arises from and develops a 2017 report, Go West! Bristol’s Film and Television Industries, which concentrated on companies, but did not examine freelance labour in detail. Because this is a complementary study it uses the same understanding of the Bristol region as defined by the West of England Local Enterprise Partnership zone (see Figure 1). Research Design In order to gain an insight into the working lives of freelancers, twenty semi-structured interviews were conducted with freelancers from a variety of occupational groups within Bristol’s film and television industries. This research contributes to a larger body of literature about the conditions of precarious labour within the creative industries.1 This report also draws on quantitative data gathered through the Go West! survey to provide an understanding of diversity within the sector and analyse the complexities of freelancers’ working lives in the creative economy. In doing so, it complements the large-scale national surveys concerning the UK’s creative workforce undertaken by organisations such as Creative Skillset, the Producer’s Alliance for Cinema and Television (PACT) and the British Film Institute (BFI) by providing statistical analysis that is located within a specific regional context. The Role of Freelance Labour in Bristol’s Film and Television Industries 3 Key Findings 1 As an occupational group characterised by their 5 With many freelancers asserting the importance responsiveness, resilience and innovation, freelancers of co-working for combatting isolation and improving make a vital contribution to the UK’s creative economy. mental health, the rising cost of office and working Although there has been a general acknowledgement space within the city arguably has a significant of their importance, existing studies often remove impact on the health and wellbeing of freelancers. freelancers from the localities in which they work. This Bristol City Council and other agencies should report demonstrates that, rather than being ‘placeless’ seek to provide affordable office spaces. Alongside nomads, freelancers are both place-makers and key encouraging freelancers to work in the city, the contributors to the creative economies of cities. As such, provision of accessible co-working spaces would freelancers make a vital contribution to Bristol’s creative contribute to addressing issues of isolation and economy as an informal economy of both competition wellbeing within the freelance community. and collaboration, in which building networks, sharing 6 Although online communities and networks are resources and exchanging knowledge is the foundation. facilitating new forms of collective bargaining and 2 Without a legally defined status for freelance work, strengthening worker solidarity across disparate beyond often equally irregular tax classifications, employers and geographical spaces, the role of unions individuals are experiencing the effect of precarious in protecting employment rights has arguably never working conditions regardless of actual income or been more important in safeguarding the rights of the the regularity of their employment. The lack of clear UK’s fast-growing freelance workforce. But to remain definition or recognition for the inherently ambiguous relevant to freelancers, unions need to protect and nature of freelance work can have a negative impact represent the rights and position of freelancers in on the financial profile of individuals, making it difficult the external labour market, rather than concentrate to secure mortgages or other personal financial exclusively on relationships with single employers. lending due to the fluctuating nature of their work. 7 The formation of a possible ‘Western Powerhouse’ 3 The ‘pull’ of London is often a strong theme in and ambitions to increase collaboration and mobility studies about the mobility of labour within the film between Bristol and Cardiff will not be a straightforward and television industries. But often absent in such process. The inherent mobility of freelance labour analyses are the push factors that are driving freelancers offers a potential catalyst for this to become a reality. out of the capital. Reduced quality of life, high cost Yet, at the same time, there are a number of historical of living and poor work/life balance were recurring constraints and barriers that continue to inhibit themes within the interviews, alongside the highly freelance work across the two cities that require competitive and ‘cut throat’ nature of working in further understanding and investigation. London. Increasingly, Bristol, and other regional 8 Concerns were expressed about the effect of Brexit, creative clusters, constitute strong magnets for both on the ability of UK freelancers to work in other attracting high quality creative talent and help European countries and of attracting and retaining to ‘rebalance’ the UK economy making it less international talent in Bristol. There is strong statistical London-centric. evidence that Britain’s departure from the EU may have 4 With a decline in apprenticeships, freelancers are a negative impact the UK’s creative economy – including now increasingly paying to train, rather than being Bristol – if funding from organisations such as Creative paid to train. The sector would benefit from an increase Europe became inaccessible. in local and affordable training schemes to meet the needs of Bristol’s freelance community. This might go some way to address the barriers that freelancers currently experience when trying to access training, while also enhancing the career prospects for those from less privileged socio-economic backgrounds. 4 An Invisible Army Recommendations 1 Freelancers need to have defined legal status with 6 This local study reveals the need for up-to-date certain employer expectations. This is a pressing statistical information about the size and scale of issue because the lack of formal definition hinders the freelance workforce within the film and television the ability of freelancers – across all occupations – industries. Organisations such as Ofcom, Creative to access mortgages and other forms of financial England and the BFI should endeavour to provide and thus contribute to the local and national economy regionally based statistics in as well as national studies as well as providing greater stability and security to highlight any regional disparities. Ofcom should in their working lives. require broadcasters to monitor and publish the 2 The perception of freelancers is that trades unions percentage of local crew employed on productions. need to do more to protect and represent
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