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Human Resource Management 15th Edition by Gary Dessler
Edition 15ISBN: 978-0134237510Human Resource Management 15th Edition by Gary Dessler
Edition 15ISBN: 978-0134237510 Exercise 7
Negotiating with the Writers Guild of America
The talks between the Writers Guild of America (WGA) and the Alliance of Motion Picture Television Producers (producers) began tense, and then got tenser.
The biggest issue was how to split revenue from new media, such as when television shows move to the Internet. The producers said they wanted a profit-splitting system rather than the current residual system. Under the residual system, writers continue to receive "residuals" or income from shows they write every time they're shown (such as when Seinfeld appears in reruns). Writers Guild executives argued producers' revenues from advertising and subscription fees had recently jumped by about 40%.
The situation grew tenser. Even after meeting six times, it seemed that "the parties' only apparent area of agreement is that no real bargaining has yet to occur."
Soon, the Writers Guild asked its members for strike authorization, and the producers were claiming that the guild was just trying to delay negotiations until the current contract expired (at the end of October). As the president of the producers' group said, "We have had six across-the-table sessions and there was only silence and stonewalling from the WGA leadership.... The WGA leadership apparently has no intention to bargain in good faith." As evidence, the producers claimed that the WGA negotiating committee left one meeting after less than an hour.
Both sides knew timing was very important. During the fall and spring, television series production is in full swing. So, a writers' strike now would have a bigger impact than waiting until, say, the summer to strike. Perhaps not surprisingly, some movement was soon discernible. Then the WGA and producers reached agreement. The new contract was "the direct result of renewed negotiations between the two sides, which culminated Friday with a marathon session including top WGA officials and the heads of the Walt Disney Co. and News Corp."
This was a conflict between professional and creative people (the WGA) and TV and movie producers. Do you think the conflict was therefore different in any way than are the conflicts between, say, the Autoworkers or Teamsters unions against auto and trucking companies? Why?
The talks between the Writers Guild of America (WGA) and the Alliance of Motion Picture Television Producers (producers) began tense, and then got tenser.
The biggest issue was how to split revenue from new media, such as when television shows move to the Internet. The producers said they wanted a profit-splitting system rather than the current residual system. Under the residual system, writers continue to receive "residuals" or income from shows they write every time they're shown (such as when Seinfeld appears in reruns). Writers Guild executives argued producers' revenues from advertising and subscription fees had recently jumped by about 40%.
The situation grew tenser. Even after meeting six times, it seemed that "the parties' only apparent area of agreement is that no real bargaining has yet to occur."
Soon, the Writers Guild asked its members for strike authorization, and the producers were claiming that the guild was just trying to delay negotiations until the current contract expired (at the end of October). As the president of the producers' group said, "We have had six across-the-table sessions and there was only silence and stonewalling from the WGA leadership.... The WGA leadership apparently has no intention to bargain in good faith." As evidence, the producers claimed that the WGA negotiating committee left one meeting after less than an hour.
Both sides knew timing was very important. During the fall and spring, television series production is in full swing. So, a writers' strike now would have a bigger impact than waiting until, say, the summer to strike. Perhaps not surprisingly, some movement was soon discernible. Then the WGA and producers reached agreement. The new contract was "the direct result of renewed negotiations between the two sides, which culminated Friday with a marathon session including top WGA officials and the heads of the Walt Disney Co. and News Corp."
This was a conflict between professional and creative people (the WGA) and TV and movie producers. Do you think the conflict was therefore different in any way than are the conflicts between, say, the Autoworkers or Teamsters unions against auto and trucking companies? Why?
Explanation
Verified
Verified
Any conflict that occurs between two par...
Human Resource Management 15th Edition by Gary Dessler
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