IATSE-2nd2018_web

35mm film used in movies. Alliance agreements did not cover
16mm productions, so many TV producers operated without
union contracts. In order to win agreements, IATSE Locals had
to sign contracts that allowed lower wage scales and smaller
crews.
Motion picture production for television did not become
widespread until the early 1950s, when the number of television
outlets rose dramatically. New opportunities for advertisers
brought more revenue to the networks, allowing for increased
production.
As the demand increased, some of the Hollywood studios
saw an opportunity to expand into telefilm production.
Universal, Republic and Monogram all began TV motion picture
production during these years. These studios already had strong
relationships with IATSE, making organizing efforts considerably
easier. Nevertheless, things did not always go smoothly.
In February 1952, IATSE workers went on strike for one
hour at four of the ten major producers: Ziv, Crosby, Wisbar
and Screen Televideo. In a major breakthrough, that pressure
forced all ten producers to sign a contract equal to that enjoyed
by IA members working in theatrical movie production.
In the summer of 1952, one-quarter of the IA membership
in Hollywood was employed in television motion picture
production.
The IATSE remained strong in both New York and Hollywood
because network producers knew the Alliance could supply the
skilled hands needed to produce quality television films and
programs. But as work shifted from New York to Hollywood,
IA members on the East Coast found it difficult to maintain
adequate wage scales and conditions.
THE DECLINE OF
THEATER TELEVISION
President Walsh had hoped that theater television would
dominate the new industry, giving work to IA members in
virtually every segment of the entertainment industry. But the
post-war public preferred to stay home and watch the tiny, black
and white screens in their living rooms instead. With the decline
of theater television, IATSE knew that it was essential to expand
jurisdiction into the television stations themselves.
The IA’s long history of association with motion picture
companies would prove very useful in this new organizing
effort. In 1947, IATSE won jurisdiction over all craft and
technical workers at Paramount’s television station in
Los Angeles, KTLA. In Chicago, the Alliance won similar
jurisdiction at Paramount’s WBKB. Chicago Locals also won
contracts at WGN-TV, and contracts were signed with WPTZ
and WFIL in Philadelphia.
However, some organizing efforts were not so easy. Many TV
stations grew out of radio stations, where both the IBEW and
NABET had strong bargaining relationships and thus enjoyed
a distinct advantage. Although some stagehands had worked in
radio, it was not significant enough to affect the advantage the
other unions possessed. In 1950, President Walsh acknowledged
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