Critical Practice

Topic for the report: The Impact of the Writer’s Strike on the VFX Industry

Writing my dissertation on the impacts of the Writer’s Guild of America (WGA) strike on the Visual Effects (VFX) industry was a deeply engaging and enlightening process. The journey spanned from May 15 to June 18, during which I meticulously gathered data, analyzed information, and synthesized findings to create a comprehensive study. Here’s a detailed account of how this dissertation came to life.

May 15-16: The first couple of days were dedicated to brainstorming and refining my research questions. I aimed to explore the economic, creative, and operational impacts of the WGA strike on the VFX industry.

May 17-21: I delved into existing literature to build a foundation for my study. This phase involved reviewing previous WGA strikes (1988, 2007-2008) and their documented impacts on the entertainment industry. Sources like Curtin and Sanson’s “Creative Labor in Cinema and Media Industries” and Mirlees’ “Hearts and Minds” provided valuable historical context and insights into recurring economic vulnerabilities and adaptive mechanisms.

May 22-25: I gathered quantitative data on the economic impact of the 2023 strike. This involved examining revenue losses, project delays, and job insecurity within the VFX sector. I accessed industry reports, financial statements, and relevant databases to quantify these effects.

May 26-28: Concurrently, I scheduled and conducted interviews with VFX professionals to gain qualitative insights into how the strike affected creative processes and operational practices. These conversations were crucial for understanding the human element behind the data.

May 29-June 1: With ample data in hand, I began drafting the economic impact chapter. I focused on presenting quantitative findings alongside real-world examples of delayed projects and financial instability.

June 2-4: Next, I drafted the chapter on creative changes. Here, I integrated interview insights with secondary research on automation and international collaboration strategies used by VFX studios during the strike.

June 5-8: I shifted focus to operational adaptations. Drawing from interviews and case studies, I explored how studios managed project timelines and resource allocation. This chapter highlighted the adoption of project management tools and strategic prioritization of projects.

June 9-11: I worked on the discussion chapter, synthesizing findings from the previous chapters. This section aimed to draw broader implications of the strike’s impacts, emphasizing the resilience and adaptability of the VFX industry while identifying areas for improvement.

June 12-13: The conclusion chapter was written to summarize key findings and propose areas for future research. I emphasized the importance of economic resilience, creative adaptability, and operational efficiency in navigating industry disruptions.

June 14-15: I meticulously revised and edited the entire dissertation, ensuring coherence, clarity, and academic rigor. Citations and references were double-checked for accuracy.

June 16-17: The final days were dedicated to a thorough review by peers and mentors. Their feedback was invaluable for refining arguments and ensuring the dissertation met high scholarly standards.

June 18: After incorporating the last round of feedback, I finalized and submitted my dissertation, “The Impact of the Writer’s Strike on the VFX Industry.”

Throughout this month-long journey, I navigated the complexities of both the VFX industry and the broader entertainment sector. The process not only enhanced my research skills but also deepened my understanding of the intricate interplay between labor strikes and industry operations. By combining quantitative analysis with qualitative insights, I aimed to provide a well-rounded perspective on the multifaceted impacts of the WGA strike, offering valuable lessons for future industry resilience.

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