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Un siècle d'intermittence et de salariat. Corporation, emploi et socialisation : sociologie historique de trois horizons d'émancipation des artistes du spectacle (1919-2007)

Author: Mathieu Grégoire; Bernard Friot; Université Paris Nanterre.
Publisher: [S. l.] : [s. n.], 2009.
Dissertation: Thèse de doctorat : Sociologie : Paris 10 : 2009.
Edition/Format:   Thesis/dissertation : Thesis/dissertation : FrenchView all editions and formats
Summary:
La sociologie historique des artistes du spectacle met en lumière les changements d'horizons d'émancipation qu'ils poursuivent de 1919 à 2007. La thèse retrace les voies empruntées par ce groupe social pour s'émanciper d'un marché du travail qui semble le condamner soit à l'irrégularité et à l'insuffisance des revenus, soit à une subordination difficilement compatible avec l'exercice vocationnel du
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Genre/Form: Thèses et écrits académiques
Additional Physical Format: Un siècle d'intermittence et de salariat. Corporation, emploi et socialisation : sociologie historique de trois horizons d'émancipation des artistes du spectacle (1919-2007) / Mathieu Grégoire
Lille : Atelier national de reproduction des thèses, 2009
Microfiches. (@Lille-Thèses)
(ABES)247151122
Material Type: Thesis/dissertation
Document Type: Book
All Authors / Contributors: Mathieu Grégoire; Bernard Friot; Université Paris Nanterre.
OCLC Number: 690406692
Description: 1 vol. (560 p.) ; 30 cm.
Responsibility: Mathieu Grégoire ; [sous la dir. de] Bernard Friot.

Abstract:

La sociologie historique des artistes du spectacle met en lumière les changements d'horizons d'émancipation qu'ils poursuivent de 1919 à 2007. La thèse retrace les voies empruntées par ce groupe social pour s'émanciper d'un marché du travail qui semble le condamner soit à l'irrégularité et à l'insuffisance des revenus, soit à une subordination difficilement compatible avec l'exercice vocationnel du métier. La première de ces dynamiques (1919-1937) est celle du corporatisme. Dans un contexte d'absence de régulation étatique, les syndicats entreprennent de s'imposer comme source de normes, en fixant des tarifs, et de coercition, en mettant à l'index les employeurs qui outrepassent les règles syndicales. La deuxième dynamique (1937-1979) fait de l'emploi l'institution émancipatrice privilégiée. Dans une perspective d'alignement du salariat intermittent sur le modèle plus ordinaire d'un salariat stable, les salariés du spectacle aspirent au plein-emploi de tous et de chacun, justifiant ainsi l'idée de développement de la production tirée par l'État. La troisième dynamique (1980-2007) trouve son origine dans la socialisation massive des salaires des intermittents via le dispositif d'indemnisation de l'Unedic. Par le rééquilibrage partiel de l'asymétrie salariale qu'elle opère, la socialisation de leurs ressources constitue le socle économique d'un contre-pouvoir professionnel. La montée en puissance du dispositif, même s'il n'a pas été pensé comme tel à son origine, est l'occasion, non pas d'une précarisation de l'emploi mais, au contraire, d'une amélioration des salaires.

This dissertation describes the different paths through which this social group has tried to emancipate itself from a job market that has tended to condemn entertainment workers to either irregular and limited revenues, or to forms of subordination hardly compatible with a kind of work often lived as a calling. The first trend that can be observed, from 1919 to 1937, is centered around professional bodies. In a context where the regulation of work by the state remained low, trade unions tried to impose themselves as the main sources of norms - by setting prices - and of coercion - by publicly exposing the employers who didn't respect the rules they had set. In the second trend we highlight (1937-1979), it is employment that is considered as the main means for emancipation.With the idea that contract work should go along with the general model of a stable wage system, workers in the entertainment industry sought full-employment for each and everyone of them, and thus promoted a state-driven development of activity.The third trend, observed from 1980 to 2007, originates in the massive socialization of their wages for contract workers, through the specific Unedic benefit system. This system partly rebalances wage asymmetries, and thus constitutes the economic basis for a shift in the balance of power across professions in the entertainment industry. Even though it was not designed for this, the wage socialization system of French entertainment workers appears to have allowed improvements in both the stability and the wages of those who benefit from it.

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