Writing for Hire : : Unions, Hollywood, and Madison Avenue / / Catherine L. Fisk.

Professional writers may earn a tidy living for their work, but they seldom own their writing. Catherine Fisk traces the history of labor relations that defined authorship in film, TV, and advertising in the mid-twentieth century, showing why strikingly different norms of attribution emerged in thes...

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Superior document:Title is part of eBook package: De Gruyter EBOOK PACKAGE COMPLETE 2016
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Place / Publishing House:Cambridge, MA : : Harvard University Press, , [2016]
©2016
Year of Publication:2016
Language:English
Online Access:
Physical Description:1 online resource (296 p.)
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505 0 0 |t Frontmatter --   |t Contents --   |t Abbreviations Used in the Text --   |t Introduction --   |t Act I: Beginnings --   |t 1. The Cloak of Anonymity and the Literary Gunman --   |t 2. The New Story System --   |t Act II. Intersections --   |t 3. Agency-Built Storytelling --   |t 4. The Revolution Will Be Televised --   |t 5. The Writer's Share --   |t Act III. Denouement --   |t 6. The Blacklist --   |t 7. Pencils for Hire and Mad Men in Gray Flannel Suits --   |t Conclusion --   |t Notes --   |t Archival Sources --   |t Acknowledgments --   |t Index 
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520 |a Professional writers may earn a tidy living for their work, but they seldom own their writing. Catherine Fisk traces the history of labor relations that defined authorship in film, TV, and advertising in the mid-twentieth century, showing why strikingly different norms of attribution emerged in these overlapping industries. 
530 |a Issued also in print. 
538 |a Mode of access: Internet via World Wide Web. 
546 |a In English. 
588 0 |a Description based on online resource; title from PDF title page (publisher's Web site, viewed 30. Aug 2021) 
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