BEHIND THE LENS
Kurt Brazda, Chair, IMAGO Working Conditions Committee, shares the preliminary findings of the new IMAGO Working Conditions Survey, a study they hopes will serve as a helpful tool for those in the industry and help create meaningful change.
Few industries are as misunderstood when it comes to actual working conditions as the audiovisual sector. Red carpets are rolled out with great fanfare, with beautiful people walking through the flashing lights of cameras, later receiving applause, awards, and accolades. Rumors of dream salaries abound, and VIPs—or those who consider themselves as such—flood the scene with their entourages, eagerly searching for cameras to capture their presence and affiliation with the glamour community. What a dream it must be to work in this industry!
There is no doubt about the outstanding artistic, technical, and organisational achievements of this sector in Europe. Yet when you pull aside this glittering curtain, a very different world is often revealed. Behind the flawlessly designed backdrops, one often finds exploitation, insecurity, abuse of power, and precarious working conditions.
After more than 10 years, the IMAGO Working Conditions Committee cooperating with the IMAGO Committee for Diversity and Inclusion conducted a second study on the working conditions of camera crews in Europe—and the findings speak a very clear language. Once again, the study was carried out under the reliable legal guidance of Cristina Busch, a lawyer from Barcelona well-versed in the European film industry’s dynamics.
Over the course of nearly a year, data was collected from across Europe and analysed by the renowned institute FORBA, which specialises in scientific studies on working environments and social standards. Even the preliminary results paint a clear picture.
Several key areas were of particular interest in this survey. One was whether, when, and in what form employment contracts are issued. The findings show that only 13% of respondents work based on a valid, signed employment contract. This lack of formal agreements opens the floodgates to exploitation and abuse of power.
The audiovisual sector has long been a blueprint for the rapidly changing world of work we are currently facing—and will continue to face in the near future. A clear indicator of this shift is the steadily declining number of employed film professionals, mirrored by a sharp rise in solo self-employment. This trend was already evident in the results of our first study from 2012. However, despite their clear dependence on clients, solo self-employed individuals do not enjoy the protection of labour laws or collective bargaining agreements, leaving them the weaker party in any contract negotiations.
The general weakening of film professionals is also evident in the increasingly extreme working hours, often with little or no adequate compensation. A widespread and justified fear persists, standing up for one’s rights may mean losing the job. In fact, some production companies maintain “blacklists” of individuals who advocate for their own rights and those of others. This fear often leads professionals to keep working even when their health would dictate otherwise. The question that has emerged in recent years— “Does filmmaking make you sick?”—can now, unfortunately, be answered with “yes” in an increasing number of cases.
The logical consequence of prolonged self-exploitation is chronic burnout, which frequently leads to occupational disability and, ultimately, the loss of livelihood. Medical research now confirms that long-term stress and the resulting disruption of natural biorhythms can lead to serious physical illnesses such as diabetes and cancer. The findings of our study also indicate alarming trends in this regard.
Working hours and power abuse
Forced budget cuts—whose legitimacy is highly questionable given the audiovisual sector’s revenues—have particularly affected production schedules, shortening them significantly while extending the daily working hours beyond 12 hours. Simultaneously, the work pace has accelerated, leaving even young professionals struggling to keep up. The risk of accidents in our industry is steadily increasing, especially when colleagues drive home after excessively long workdays.
Many have drawn their own conclusions and left the profession. But where is someone supposed to go once, they’re over 50? The profit-driven mindset of the industry exacts its toll, especially on those whose experience is vital for nurturing the next generation. These seasoned professionals are no longer hired in cost-cutting efforts, as their age alone marks them as “underperformers” who no longer meet neoliberal performance expectations. The result is blatant ageism, which for many leads to entrenched poverty in old age.
One might assume that the “Me Too” movement raised general awareness around power abuse and all forms of discrimination in the audiovisual industry. Not so. The cynical treatment of film professionals across all occupational groups remains a disgraceful stain on our industry. Much is still swept under the rug, while victims and witnesses of such incidents stay silent, afraid of losing their jobs.
The study clearly highlights the systematic weakening—even dysfunction—of union representation. Especially in a period of global digital transformation, solidarity-based advocacy is the only real chance to preserve humane working conditions.
The final version of this study will include concrete demands and recommendations and will be presented to policymakers and stakeholders in the European Parliament after the summer. We believe that meaningful improvements can only occur when there is a pan-European awareness of how untenable the current situation truly is. We hope this study will serve as a helpful tool for colleagues—wherever they may work—to assert their legitimate interests.
The IMAGO Working Conditions Committee, with its committed members from across Europe, all actively engaged in professional practice, will continue to closely monitor working standards in our industry and act. Our goal is to reestablish recognition for camera professionals as an indispensable profession in shaping Europe’s audiovisual identity and its global impact.
