by Ron Kutak, Executive Director

As I write this, our awards season is in full swing. The events, the full court press marketing, and the “ glamour” factor ensure that the eyes and ears of millions are focused on our industry, of which the Academy Awards presentation is deemed the glittering showcase.

During this season, attention is also focused on the individual crafts that comprise the entertainment industry. Such attention serves as an acknowledgment; and, at least once a year, a partial explanation of the truly collaborative and multifaceted process through which
filmed entertainment is born.

Of course, the greater the global demand for our product and our exported “ culture,” the healthier our industry will be. But, what about our crafts? What is the relationship between the health of our industry and the health of our crafts? More specifically, what is the relationship between the health of our crafts and their economic valuation by those who pay for them?

Many would agree that economic globalization has created an ever-widening chasm between the health of an industry and the economic well being of its workers. One result of globalization has been job fluidity (i.e. work can flow across borders). Greater numbers of jobs (and not only American jobs) have moved and continue to move to lower-cost labor markets. In fact, it has been observed recently that one of the traditional measures of economic growth–a decline in the unemployment rate–is no longer relevant. A company or an industry can grow without the participation of people traditionally employed within them, as well as without the participation of people living in the local region or country. All agree that some jobs have left the United States forever, never to return, and our industry has not been immune to this exodus.

The alternating strength and weakness of the Canadian dollar has driven work north across the border, then back again. The growing subsidies that are offered by other countries to lure American television and film production within their borders represents an ever-greater threat to the health of our industry. Prague and, more recently, Bucharest, have become Eastern European centers, first of production, then of postproduction investment. These are but a few examples of the growing dichotomy between what will continue to be a profitable export, and the potentially dwindling number of Americans employed in creating it. This is not to say, as some have, that filmed entertainment is going the way of the nearly moribund American manufacturing industry. Most believe, as I do, that our craftspeople are the finest in the world and, ultimately, are not replaceable. On the other hand, our American labor markets no longer “own” jobs and, therefore, it is to our advantage to explore any sensible approach that may help level the playing field for American workers.

That brings us to the relationship between the health of our crafts and their economic valuation by those paying the bills. The awards given out by the industry and the resulting professional recognition, media attention, film studies curricula and public relations efforts – all help to enhance the value of our crafts, and thus, their economic valuation. The more recognition and respect accorded to a craft; the greater the likelihood that its economic value will increase, as well. In the current political and economic climate, however, these efforts alone are not enough, and that is where the value of a strong union becomes crucial. All of the functions performed by the union–protection of benefits, organizing, contract negotiation and administration, and support of other industry unions, all serve to further the value of the crafts and create a real economic gain for our members.

Without the robust institutional operation of the union, perceived value can remain, but real valuation can be eroded economically. Soon, this has a negative impact on perceived value,
eroding the valuation of the crafts even further. In previous articles, I have written an example of this unfortunate vicious cycle. In the British film industry, a highly qualified and unionized workforce first suffered a successful attack on the unions by the government. This was followed by a radical shift in the perceived value of the work traditionally performed by their members. In France, on the other hand, where the perceived value of motion picture crafts is high, the economic value is relatively low compared to ours. I believe this is due, primarily, to a political rather than craft-oriented focus of the union movement, as well as, of course, the inability to compete with American-filmed entertainment products.

While unions are at their worst when they are obstructionist and ego-driven, they are at their best when they represent their crafts aggressively in raising standards and in upholding and embodying the value of the crafts themselves, not only at the bargaining table, but within the industry in general.

Therefore, during this important season, we shall celebrate not only the individual achievements of those honored, but also the collective achievement we make year-after-year in bettering ourselves as a craft and as a union. In this way, we enable the best of our editorial and sound community to stand before the world as symbols of all of our
accomplishments and the decent and well-deserved standard of living we are
so fortunate to enjoy.