This book contributes to important discussions on gender inequality in the present-day film and television industries and labour movement through an historical analysis of women workers and their trade union in the British film and television industries from 1933 to 2017. This book concentrates on the three iterations of the technicians’ union: the Association of Cine-Technicians (ACT) (1933-56), the Association of Cinematograph, Television and Allied Technicians (ACTT) (1957-91), and the Broadcasting, Entertainment, Cinematograph and Theatre Union (BECTU) (1991-2017). Drawing on previously un ... More

This book contributes to important discussions on gender inequality in the present-day film and television industries and labour movement through an historical analysis of women workers and their trade union in the British film and television industries from 1933 to 2017. This book concentrates on the three iterations of the technicians’ union: the Association of Cine-Technicians (ACT) (1933-56), the Association of Cinematograph, Television and Allied Technicians (ACTT) (1957-91), and the Broadcasting, Entertainment, Cinematograph and Theatre Union (BECTU) (1991-2017). Drawing on previously unseen archival material and oral history interviews with activists, it casts new light on women’s experiences of union participation and feminism over nine decades. This book advances three key arguments in relation to its central themes: the operation of a gendered union structure, women’s activism, and the relationship between class and gender in the labour movement. Firstly, it argues that a gendered union structure was institutionalised from the union’s establishment and maintained through a belief system that women’s issues were not trade union issues. Secondly, it argues that separate self-organisation was essential to women’s activity within the gendered union structure as it provided an essential space and voice for women to discuss their gender-specific concerns, develop consciousness and skills and formulate policy. It further emphasises the importance of external feminist allies to women’s union activity. Thirdly, it argues that class differences between middle-class women in film and television production and working-class women in the laboratories informed the direction of women’s activity at its height during the 1970s and 1980s.