ABSTRACT
This chapter considers the way in which some of the key relationships at the core of the filmmaking process were formed as a direct consequence of union representation. This is particularly significant with regards to the relationship between sound and other film departments, both in terms of creative and jurisdictional boundaries, as positions that were developed sound continue to dominate industry dynamics. The issue of status for sound workers and how unions contributed to it is particularly significant when placed in the wider cultural and professional context of the coming of synch sound to the movies. In reality, the consequence of this seemingly logical and positive step was to further weaken the status of sound workers and their position in the filmmaking process. The 1926 Basic Studio Agreement was the first 'contract' between studios and workers; despite being heralded as a positive development, though, several issues continued to plague workers' representation in the industry.
