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Devalued women, valued men: motherhood, class and neoliberal feminism in the creative media industries
16 references·15 citing·29 second hop
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this work references cited by second hop

References

  • 2014Constructing grounded theory15,747 cited
  • 1990HIERARCHIES, JOBS, BODIES:7,415 cited
  • 2006The Sage Handbook of Qualitative Research[1]5,842 cited
  • 2004Unequal childhoods: class, race, and family life4,619 cited
  • 2003The Rise of the Creative Class: And How It's Transforming Work, Leisure, Community and Everyday Life3,718 cited
  • 2006Inequality Regimes3,424 cited
  • 2012The Second Shift: Working Families and the Revolution at Home3,232 cited
  • 1995Reflexive modernization: politics, tradition and aesthetics in the modern social order2,870 cited
  • 2008The Aftermath of Feminism: Gender, Culture and Social Change2,826 cited
  • 1997The Cultural Contradictions of Motherhood2,788 cited
  • 1978Of Woman Born: Motherhood as Experience and Institution2,144 cited
  • 1997Formations of Class & Gender: Becoming Respectable1,551 cited
  • 2008In the Social Factory?1,361 cited
  • 1982Theory, culture & society1,052 cited
  • 2013The Rise of Neoliberal Feminism961 cited
  • 1990Maternal thinking: Toward a politics of peace896 cited

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Cited by

  • 2023Explaining Creativity92 cited
  • 2021Genres and inequality in the creative industries28 cited
  • 2023Sexual violence and traumatic identity change: Evidence of collective post‐traumatic growth22 cited
  • 2025Cross-cultural approaches to creative media content in the age of AI21 cited
  • 2022‘Covid-19 opened the pandora box’ of the creative city: creative and cultural workers against precarity in Milan19 cited
  • 2020Guest editorial19 cited
  • 2022Creative industries’ new entrants as equality, diversity and inclusion change agents?18 cited
  • 2022Conceptualising change in equality, diversity and inclusion: A case study of the Irish film and television sector17 cited
  • 2023Who cares for creative and cultural workers? The role of intermediaries in Europe’s creative economy17 cited
  • 2022Who runs the arts in England? A social network analysis of arts boards8 cited
  • 2022Making it up: Adaptive approaches to bringing freelance cultural work to a cultural ecologies discourse8 cited
  • 2024Basic income, post-precarious outcome? How creative workers perceive participating in an experiment with basic income6 cited
  • 2023The role of higher education in sustainable creative careers: Exploring UK theatre graduates and theatre careers6 cited
  • 2023Creative and cultural work post-Covid-19: Interruptions as space of political re-futuring5 cited
  • 2025Precarity and second job-holding in the creative economy4 cited