This volume presents an original study in the sociology of time: a case-description and conceptual analysis of the ways in which the temporal frameworks we customarily take for granted structure social reality. The study is based on the author's observation of the activities of medical professionals in a large teaching hospital: there, he collected data to show that the rhythms of organizational life have particular moral and cognitive dimensions, beyond simple regulative functions. While individuals customarily adapt to a variety of contexts for anchoring events in time, the temporal coordination necessary for collective efforts enforces social controls at multiple levels. This "sociotemporal order," an inherent constituent of social life, offers researchers and theoreticians alike a fresh and rewarding analytic perspective.

Patterns of Time will be valued for its several distinctive achievements. Foremost among these is a demonstration of the importance of "temporality" as a topic in its own right. Because measurements of time are a commonplace of social life, sociologists have tended to ignore the significance of temporality as a feature of social organizations. Zerubavel's work is a corrective to this neglect. In addition, the author's imaginative integration of ethnographic description and theoretical analysis bridges the gap between contrasting methods that has characterized much recent sociological and anthropological work. Finally, because of the author's selection of the hospital setting, sociologists of medicine and the professions will find his study useful for its rich and well-observed ethnography, as well as its novel analytical approach.

In Production Culture, John Thornton Caldwell investigates the cultural practices and belief systems of Los Angeles–based film and video production workers: not only those in prestigious positions such as producers and directors but also many “below-the-line” laborers, including gaffers, editors, and camera operators. Caldwell analyzes the narratives and rituals through which workers make sense of their labor and critique the film and TV industry as well as the culture writ large. As a self-reflexive industry, Hollywood constantly exposes itself and its production processes to the public; workers’ ideas about the industry are embedded in their daily practices and the media they create. Caldwell suggests ways that scholars might learn from the industry’s habitual self-scrutiny.

Drawing on interviews, observations of sets and workplaces, and analyses of TV shows, industry documents, economic data, and promotional materials, Caldwell shows how film and video workers function in a transformed, post-network industry. He chronicles how workers have responded to changes including media convergence, labor outsourcing, increasingly unstable labor and business relations, new production technologies, corporate conglomeration, and the proliferation of user-generated content. He explores new struggles over “authorship” within collective creative endeavors, the way that branding and syndication have become central business strategies for networks, and the “viral” use of industrial self-reflexivity to motivate consumers through DVD bonus tracks, behind-the-scenes documentaries, and “making-ofs.” A significant, on-the-ground analysis of an industry in flux, Production Culture offers new ways of thinking about media production as a cultural activity.

Koreans constituted the largest colonial labor force in imperial Japan during the 1920s and 1930s. Caught between the Scylla of agricultural destitution in Korea and the Charybdis of industrial depression in Japan, migrant Korean peasants arrived on Japanese soil amid extreme instability in the labor and housing markets. In The Proletarian Gamble, Ken C. Kawashima maintains that contingent labor is a defining characteristic of capitalist commodity economies. He scrutinizes how the labor power of Korean workers in Japan was commodified, and how these workers both fought against the racist and contingent conditions of exchange and combated institutionalized racism.

Kawashima draws on previously unseen archival materials from interwar Japan as he describes how Korean migrants struggled against various recruitment practices, unfair and discriminatory wages, sudden firings, racist housing practices, and excessive bureaucratic red tape. Demonstrating that there was no single Korean “minority,” he reveals how Koreans exploited fellow Koreans and how the stratification of their communities worked to the advantage of state and capital. However, Kawashima also describes how, when migrant workers did organize—as when they became involved in Rōsō (the largest Korean communist labor union in Japan) and in Zenkyō (the Japanese communist labor union)—their diverse struggles were united toward a common goal. In The Proletarian Gamble, his analysis of the Korean migrant workers' experiences opens into a much broader rethinking of the fundamental nature of capitalist commodity economies and the analytical categories of the proletariat, surplus populations, commodification, and state power.