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The Opposition between Two Models of Labour Market Adjustment: The Case of Audiovisual and Performing Arts Activities in France and Great Britain over a Ten Year Period

  • Françoise Benhamou

The growth of employment in audiovisual andperforming arts activities during a ten year period(1981–1992) in France and in Great Britain was theresult of a double tendency: An increasing number ofindividuals with cultural occupations working incultural industries and structural changes in thelabour market (more flexible workforce, increasingfragmentation of work opportunities). Qualitativedifferences emerged between both countries, leading totwo different forms of flexibility. Full timeemployment decreased in France, while it increased inGreat Britain with, during the same period, aconsiderable growth of self-employment.This paper explores different hypotheses forexplaining such a divergence. It concedes that thestrategies of organisations, and especially the risingnumber of adhocracies (according to Mintzberg'stypology) rather the choices of workers trying tooptimise their earnings were responsible. Publicpolicies played also a central role. In Great Britainthe Enterprise Allowance Scheme, and in France, thespecific Social Security benefit for artistscontributed to the increase in self employment in thefirst case, and in temporary employment in the othercase. Copyright Kluwer Academic Publishers 2000

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Article provided by Springer in its journal Journal of Cultural Economics.

Volume (Year): 24 (2000)
Issue (Month): 4 (November)
Pages: 301-319

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Handle: RePEc:kap:jculte:v:24:y:2000:i:4:p:301-319
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  1. Parsons, Donald O., 1987. "The employment relationship: Job attachment, work effort, and the nature of contracts," Handbook of Labor Economics, in: O. Ashenfelter & R. Layard (ed.), Handbook of Labor Economics, edition 1, volume 2, chapter 14, pages 789-848 Elsevier.
  2. Jovanovic, Boyan, 1979. "Job Matching and the Theory of Turnover," Journal of Political Economy, University of Chicago Press, vol. 87(5), pages 972-90, October.
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