Film, Television and Screen Industry and Career Analysis

This essay discusses the film, television and screen industry discipline, practitioners’ career specifications, and opportunities and problems faced by emerging practitioners. It highlights the recent changes in the industry and the personal qualities required to join the industry. The essay concludes that the industry is dynamic and uncertain, and special skills are required to sustain a career in this field.

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Running head: FILM, TELEVISION AND SCREEN INDUSTRY
Film, television and screen industry and career analysis
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Table of contents
Introduction………………………………………………………………………………………..4
First: The film, television and screen industry discipline................................................................5
Second: The practitioners’ careers within the film, television and screen industry........................6
Third: Opportunities and potential problems faced by emerging practitioners...............................7
Conclusion.......................................................................................................................................8
References......................................................................................................................................10

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Introduction
The film, television and screen offer more than entertainment. They inform, inspire and
act as a part of the culture. This field offers jobs to many people and create their career path. The
glamour and creativity of this industry attract people with a variety of skills. Although working
in this industry is not always easy and glamorous as it seems. Different types of challenges may
face the emerging practitioner and requires him to develop certain skills to be able to compete
and create the desired success he wishes to gain. This essay discusses the industry discipline and
the recent changes that took place. It will also highlight the practitioners’ career specifications
within the industry. Finally, it introduces the opportunities and problems faced by emerging
practitioners.

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First: The film, television and screen industry discipline
The TV and screen film production witnessed multiple changes as a result of the variety
of media channels that the audience can choose to view. TV channels are no more attractive to
the audience who prefer the online space. Today, the screen production offers great career
opportunities for creative, problem solver and social people (Auckland University of
Technology, 2016). Many film producers developed competencies in the drama television
production to be able to diversify their work and sustain their business (Screen Sector Leadership
Group, 2017). In order to reduce the risk associated with the film production, producers tend to
take important actions according to Screen Australia (2015b), as follows:
 Cinema on demand: It provides direct contact with the audiences, as it enables anyone to
ask for screening a participating film at the cinema. Cinema-on-demand services act as a
mediator. Similarly, the tickets on demand that could be purchased on-line.
 Event screenings: Assist in making the cinema a premium experience for its visitors. The
distributor can add more services as allowing questions and answers to the film makers.
 Primary release to transactional video on demand: Is considered a strategy for some film
producers to raise their profile outside the cinema through targeting the online audience,
and utilizing social media channels. This way is used to maximize the market impact.
Film production attracts different types of people to collaborate on a single project. The
work is tasking, stressing and frustrating and it includes difficulties in earning money. It is
difficult to find work and stay employed in the film industry. People may stay unemployed
between projects. The filmmakers suggest that wages should not be the motivator for work in
this occupation (Royster & Vilorio, 2013). As an innovative industry, challenges do exist and

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should be avoided to ensure the stability of a work (Sergi, 2012). Actions should be taken to
keep growing in the film and screen industry.
Second: The practitioners’ careers within the film, television and screen industry
The career pattern of people working in the film, TV and screen production reveals a
diversity of work type. Unlike stable, permanent jobs, the TV and screen industry workers are
employed as freelancers, service providers, individual contractors, crew, and directors. Income
fluctuates year to year and work is not guaranteed (Mayer, 2017). It is a portfolio career, the
junior level faces a lot of competition, but the multi skilled graduate is highly advantages when
entering the workplace. For example, the advertising agencies usually contract production houses
to make a huge budget commercials and utilize the best directors (Auckland University of
Technology, 2016). There are some personal qualities of people who want to join the film and
television industry, including the common sense, showing initiatives, resilient, able to learn new
skills, communication skills, ability to manage stressful behaviors, and take risks (Brunel
University of London, 2012). According to Screen Australia (2015a), there is no right way to
enter the film and television industry, it is important to gather information related to the industry.
Also, taking training courses and degree is important. Finding work experience, mentorship will
help in getting a better chance to be employed. To keep informed about new developments in the
industry is very important to find the best opportunity. Networking is considered an effective
way to get involved, as state agencies, associations and festivals.
The real world examples reveal the importance of formulating a plan to sustain a
successful career. According to the British Academy of Film and Television Arts (2017), we can
consider the experience of "Jinx Godfrey", an editor. She has participated in Man on Wire,
Project, but before this she has started as an assistant editor in a commercial editing company.

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She began with editing TV commercials and documentaries. Learning was her key to success, as
she found that editing documentaries very rewarding. To sustain her career, she could figure out
the kind of films she wanted to edit, followed the client directions, established good relationships
and she could choose the best work to do.
Although, the film and television industry is a highly attractive industry, and people can
get their dream jobs within it, but it requires special skills to help in sustaining the career.
Third: Opportunities and potential problems faced by emerging practitioners
Emerging practitioners have to take the opportunities offered by the industry and manage
the expected problems. Working in the film and television industry teach workers how to work
within a team and utilize the opportunity to bring their vision to life on screen (Griffith
University, 2015). The opportunities and problems are stated as follows:
Opportunities:
 By developing the workers' advanced skills, they will be ready to contribute in the film
and television industry as practitioners and the creators (Elsley, 2016)
 The digital technology underpins the most forms of screen media, the emerging
practitioner will learn how to deal with diversity of forms, resources and techniques.
Also, he will be able to fit himself in the chosen field (Griffith University, 2015). The
digital technology provides opportunities for production and distribution. Although their
capabilities for career evolving are still limited.
 Digital technology creates opportunities for both production and distribution, but its
effectiveness for career progression and relationship to professional employment are still
evolving (Rossiter & Alcaraz, 2015).

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 Access to resources, including time, equipment, finance and formal education are
necessary to exist altogether to build a successful career (Rossiter & Alcaraz, 2015).
Potential problems:
 Challenges of the film distribution could be represented in the audience attitude, as they
pay for the whole experience not only the film. Also, audience expect content on demand
at the low or no cost (Screen Australia, 2015b).
 The career path is nonlinear or predictable, the screen production does not offer a
standard definition for the emerging screen practitioner (Rossiter & Alcaraz, 2015).
 The emerging practitioner had to proof himself through practice rather than the formal
education (Rossiter & Alcaraz, 2015).
 Following the graduation, the emerging practitioner faces the challenge of balancing
between the day job with guaranteed income and the need to prove himself (Rossiter &
Alcaraz, 2015).
 The emerging practitioner may move overseas if he is talented to gain a better chance to
progress in his career (Mayer, 2016)
The emerging practitioner faces considerable amount of problems, especially in the
screen production. The industry is dynamic and uncertain in terms of investments, customer
demand and outcomes (Rossiter & Alcaraz, 2017). There is no stable hierarchy or clearly defined
job description that clarify the opportunities and challenges of the career success.
Conclusion
Film production attracts different types of people to collaborate on a single project. The
industry is dynamic and uncertain in terms of investments, customer demand and outcomes. As it
is difficult to find work and stay employed in the film industry, it requires special skills to help in

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sustaining the career. Emerging practitioners have to take the opportunities offered by the
industry and manage the expected problems. There is no stable hierarchy or clearly defined job
description that clarify the opportunities and challenges of the career success.

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References
Auckland University of Technology. (2016). A future in TV & screen production. New Zealand.
British Academy of Film and Television Arts. (2017). Succeding in the film, television, and
games industry. UK.
Brunel University of London. (2012). Industry insight - Media. UK.
Elsley, B. (2016). Making TV more diverse. UK: Creative Skillset.
Griffith University. (2015). Career options: Film & screen media. Australia.
Mayer, V. (2016). The production of extras in a precarious creative economy. In M. Curtin, & K.
Sanson, Precarious Creativity (pp. 5-73). University of California Press.
Mayer, V. (2017). The place of treme in the film economy: Love and labor for Hollywood south.
In Almost Hollywood, Nearly New Orleans (pp. 69-95). University of California Press.
Rossiter, C., & Alcaraz, C. (2015). Emerging visions: Career pathways in the Australian screen
production industry. Australia: Metro Screen Pty Ltd.
Rossiter, C., & Alcaraz, C. (2017, Nov. 30). Emerging visions: career success factors in
Australian screen production. Retrieved from Aspera:
http://www.aspera.org.au/research/emerging-visions-career-success-factors-in-australian-
screen-production/
Royster, S., & Vilorio, D. (2013). From script to screen. USA.
Screen Australia. (2015a). Info guide: Getting started film, TV, online and interactive. Australia.
Screen Australia. (2015b). Issues in feature film distribution. Australia.

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Screen Sector Leadership Group. (2017). Report to culture, tourism, Europe and external
relations committee. Scotland.
Sergi, G. (2012). Studios and spaces of production in the digital era: Global challenges and
local opportunities for the screen industry. The university of Nottingham.