20.5: Conclusion
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The challenges of internationalization are substantial for a national union. The WGA offers one example of how a union has struggled toward regional, national, and global solidarity. But what about those who are yet to be included among the paid workers? Across the globe, professional screenwriters are negotiating the tricky waters of this international production flow. When considering media workers, it is critical to think about the role of national trade organizations and the role these labor groups play as media cross borders. Guilds believe they can ease the processes of production. Many now operate alongside city and regional governments in efforts to attract investment. But access to labor organizations is possible only for people who have established themselves within the industry. And access to the most powerful of these organizations—those in the United States—is limited to people who have already succeeded in selling a script. The aspirants—including international screenwriters trying to make it in their own countries—realize that they are both potential allies and potential competition for those already in coveted A-list writer roles. This further illustrates the tensions and contradictions at work among craft unions and guilds and how their efforts to protect workers can also serve as exclusionary devices. Nevertheless, the WGA offers an example of relatively successful collective worker organization in the media industries. That success now needs to be extended internationally, across different media jobs and social classes. But only by addressing the kinds of tensions and contradictions outlined above can organized labor fulfill its historical mission of protecting media workers.