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Internships in the entertainment industry: From the perspectives of the students

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Internships in the entertainment industry: From the perspectives of the students

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Content FROM THE PERSPECTIVES OF THE STUDENTS

1

INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY:
PERSPECTIVES FROM THE STUDENT INTERNS
by

Selise E. Eiseman and Edward H. Eiseman

A Dissertation Proposal Presented to the
FACULTY OF THE USC ROSSIER SCHOOL OF EDUCATION
UNIVERSITY OF SOUTHERN CALIFORNIA
In Partial Fulfillment of the
Requirements for the Degree
DOCTOR OF EDUCATION

August 2018

Copyright 2018 Edward H. Eiseman

FROM THE PERSPECTIVES OF THE STUDENTS

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Preface
The first three chapters of this dissertation were coauthored together and are identified as
such. While jointly authored dissertations are not the norm in most doctoral programs, a
collaborative effort is reflective of real-world practices. To meet the objectives of developing
highly-skilled practitioners equipped to take on real-world challenges, the USC Graduate School
and the USC Rossier School of Education have permitted the inquiry team to carry out this
shared venture.
This dissertation is part of a collaborative project with another doctoral candidate, Selise
E. Eiseman, my wife (Eiseman, S. E., 2018). The two dissertations produced by this inquiry
team collectively addressed internship programs from the perspectives of various stakeholders at
Howard Hawks University, HHU, a case study pseudonym. One focused on the students
whereas the other focused on the colleges and universities and the industry employers who
provided entertainment internships in Los Angeles.

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Dedication
I want to dedicate this dissertation to my wife, Selise. I feel that life is a long journey
where you remember special moments along the way. One special moment was a young lady
who walked into a record store where I was working. Thanks to Pyotr Ilyich Tchaikovsky, I met
Selise who is the love of my life. From that moment on I knew my life would change forever.
Without Selise, the path that I have taken would have been quite different. She helped me to
realize that my original journey in life was in the field of education not in the music industry.
She always stated, “You cannot change the life of a record, but you can always change the life of
a student.” She said that, “I have a special gift.” This statement of helping students has become
one of the core tenets of my life.
We went to graduate school together at NYU in the early 70s where she majored in film
studies and I majored in educational administration. Between our roundtrip Amtrak rides
between New York and Philadelphia, we welcomed the arrival of our daughter, Carly, to our
family while completing our Masters’ degrees.
In 1980, we moved to Los Angeles where Selise started her career in the Film Industry
and I continued my career in education. Three years ago (2015), Selise and I entered the Rossier
School of Education at USC in pursuit of our Ed.D degrees. We decided to collaborate on our
dissertation as it related to the Motion Pictures and Music Industry. Completing this dissertation
provided us with the opportunity to work together and it opened a door for me to a new career.
Secondly, I want to dedicate this dissertation to our three children. My oldest Brett, and
his wife, Margaret and their children, Jessica, and Benjamin. To Carly, our creative one who
works in the music world, and to her husband Sean. They always encouraged us to push
forward, enjoy life, and always have a positive outlook on life. To Jonas, who is our gift from
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God, and his girlfriend, Jacqueline. Jonas, you are a very special person who has taught me
many things about life and the importance of understanding and analyzing it. His love of sports,
especially basketball and football, and his passion to learn about the world to gain an
understanding of its history is an important part of my life. Jacqueline, you are a natural born
teacher and a good role model for this generation.
Third, to my parents, Hannah of blessed memory and Jerry of blessed memory, thanks for
supporting me and encouraging me to move forward, shoot for the stars, and be whatever I
wanted to be. To my mother-in-law, Sylvia, thanks for Selise. Also, to my sister, Louise and her
husband, Raymond, my brother, Stanley and his wife, Sandi, my sister-in-law Holly and her
husband, Warren. To our dear friends, Shuki and Debby Gabbai, Nora Schwartz, Dina and Steve
Sokoloff, we know you have been in our hearts during this time. To many others who are part of
my extended family who were supportive in my life.
Fourth, I want to thank all of my teachers and professors who inspired, motivated,
mentored, and provided all the tools of education at the public schools and universities that I
attended along the way. A special recognition to Esther Marsden of blessed memory, my student
teacher mentor, who taught me what it takes to be a great teacher and to be humble at the same
time.
Fifth, to all my colleagues and mentors, who helped me as I grew as a teacher, principal,
literacy coach, and head of school. In Philadelphia, Dr. James Finney, Ms. Jeannette Floyd, and
especially Mr. Martin K. Brown. Mr. Brown, you provided me with the opportunity to grow as
an educator, but even more so as a person. You are a real role model. In California, I want to
thank all my colleagues with whom I was fortunate to work with and share a work day. Special
thanks to Dr. Jerry Friedman who introduced me to Kohlberg’s Theory of Moral Development
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and then gave me the opportunity to practice it at the Shalhevet School. To fellow
administrators, Rabbi Menachem Gottesman of blessed memory, Rabbi Shuki Gabbai, Rabbi
Peretz Scheinerman, Sassoon Ezra, Dr. Bruce Powell, and Mrs. Cecelie Wizenfeld, thank you for
being an influence in my career. To Drs. Carolee Koehn and Kyndall Brown, thank you for the
opportunity to work with you and being good friends. To Dr. Laila Hasan, thank you for
friendship, guidance, and encouragement as I transition to the next leg of my journey. To
Dr. Isaac Huang, thank you for mentoring me during my program and serving on my dissertation
committee at USC. I learned so much from you. You are a role model to me.
Finally, to all my students, thank you for the opportunity to be your teacher. You have
taught me so much and have enriched my life as I continue my journey.

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Acknowledgments
I would like to especially thank and acknowledge my chairperson, Dr. Pedro Garcia, who
guided my wife, Selise, and I as we researched and wrote our joint dissertation on internships in
the entertainment industry. We were the out-of-the-box educators in the K-16 weekend cohort
who explained the educational value of providing hands-on experiential high-impact training
practices for students as part of fulfilling their academic studies in motion pictures and music
business degree programs. Ironically, Dr. Garcia had a prior connection with the city and
university where our research study was completed. Dr. Garcia bonded with us and we shared
many values that were important to all of us. Since you have retired from USC and we were the
last group to defend, we want to thank you for your patience and guidance as we completed the
study. I want to thank Dr. Rudy Castruita who worked closely with Dr. Garcia and was
instrumental in providing his guidance and leadership along the path to completing our
dissertations. A special thanks to my mentor and third member of our committee, Dr. Isaac
Huang. Your guidance and wisdom as Selise and I went through the program and dissertation
process were invaluable. We learned so much from you. You are more than a mentor, you are
family.
Special thanks to Ursula Worsham. She guided us through the admissions process for the
Ed.D program and encouraged both of us to attend USC. Our advisors, Bami Andrada, Amber
Bradley, and Evan Williams helped us work during our time at USC. Carl Martellino, Executive
Director of the USC Career Center, provided us access to NACE resources for our research.
Jessica Gibson, former Director of the Ed.D program, who helped the weekend cohort remain
together by guiding us, championing us, and creating a K-16 program which allowed the cohort
to remain together. Seventeen members of the original cohort and 8 others joined us to form this
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cohort. Working with this exceptional group of teachers, professors, and administrators was
positive and enriching. We shared experiences, meals, and parties during the three years of the
program. The diversity of the group provided all of us with different perspectives about life and
we were able to be an inspiration to each other. I am extremely grateful for the generous
scholarship provided by the family of Dr. Judith Manning Grayson during my first year at USC.
Thanks to Marie Painter, my dissertation editor, who helped me to polish and perfect my
dissertation. I survived and thrived in the Ed.D program under the leadership of Dean Karen
Symms Gallagher. Fight on, USC!
I would like to thank three people who wrote my recommendations and encouraged me to
apply to USC. Dr. Laila Hasan, Assistant Professor of Education at USC, for encouraging me to
return to school and finish a degree that I started 29 years ago. Dr. Carolee Koehn, Director of
the UCLA Mathematics Project, for moving me from private education to public education.
Rabbi Shuki Gabbai, Torah Studies Principal at Shalhevet School, for being a colleague and a
good friend.
A special thanks to the students and alumni of Howard Hawks University (HHU), my
pseudonym case study, who participated in my interviews and surveys. I owe you a debt of
gratitude for being an integral part of my research and in providing data that enabled me to
complete this study. Although the names and identities are disguised because of privacy and
confidentiality agreements, I recognize all of you and share your insights with everyone who
reads this dissertation to learn the nuances and information on internships.

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Table of Contents
List of Tables 11
List of Figures 14
Abstract 17
Chapter One: Overview of the Study 19
Introduction 19
Background of the Problem 20
Statement of the Problem 23
Purpose of the Study 23
Research Questions 24
Importance of the Study 24
Limitations and Delimitations 25
Definition of Terms 26
Organization of the St 28
Chapter Two: Literature Review 29
Introduction 29
Research Questions 30
Definition of Internships 31
History of Internships 34
Paid vs. Unpaid Internships 37
Learning Theories 41
Equity, Diversity, Gender, and Socioeconomic Issues 46
Why Internships are Important Today? 49
Conclusion and Recommendations 53
Chapter Three: Methodology 56
Introduction 56
Purpose of the Study 56
Research Questions 57
Method of Study 57
Rationale for Mixed-Methods Study Design 57
Quantitative Instrumentation 58
Qualitative Instrumentation 59
Sample Population 61
Concept Map 63
Data Collection 65
Data Analysis 67
Reliability and Validity 67
Confidentiality 68
Ethical Consideration 68
Conclusion 68
Chapter Four: Research Findings 70
Introduction 70
Focus of Study 71
Research Questions 71
School Demographics 72
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Demographics of the Participants in the Quantitative Survey 72
Profiles of the Individuals Interviewed (Demographics) 78
Process Used to Gather Data 81
Quantitative Portion 81
Qualitative Portion 82
Control Variable 82
Research Question One 83
Research Question 1a. – Before the Internship 83
General Skills (Soft Skills) and Specific Skills (Hard Skills) 86
General (Soft Skills) 86
Oral/Written Communication 94
Teamwork/Collaboration 96
Critical Thinking/Problem Solving 97
Leadership 99
Career Management 100
Digital Technology 101
Hard Skills 102
Film, Television, Digital, Streaming 102
Production 109
Script Coverage and Rolling Calls 110
Music Business 111
Resume Writing 115
Research Question 1b. – During the Internship 116
Film, Television, Digital, and Streaming Students 120
Music Business Students 123
Time Management 124
Number of Internship and Credits Received during
the Los Angeles Internship Experience 125
Classes Attended during the Los Angeles Internship 132
Number of Credits Taken During Los Angeles Internships 134
Research Question 1c. – After the Internship 134
Research Question Two 145
Research Question Three 156
Equity, Diversity, Gender, and Socioeconomic Issues 156
Diversity 156
Gender 159
Socioeconomic Concerns 161
Right Place at the Right Time 167
Research Question Four 168
Evaluation of Students and Colleges and Universities 168
Participation 169
Sources 171
Internship Experiences Related to the University 174
Internship Program Experience – At the Internship Site 185
Internship Program Experience – After the Internship 195
Networking 205
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Discussion 209
Prior to Internship 210
During the Internship 211
After Internship 213
Chapter Five: Summary, Conclusions, Implications 223
Introduction 223
Focus of the Study 224
Research Questions 225
Summary of Findings 225
Research Question One 225
Research Question Two 227
Research Question Three 228
Research Question Four 229
Limitations 230
Future Research 231
Conclusion 232
References 234
Appendix A Conceptual Framework Concept Map 243
Appendix B Consent Form 244
Appendix C Internships in the Entertainment Industry 248

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List of Tables
Table 1: The chronology of the evolution of internships 36
Table 2: Determinants of internship effectiveness internship model 47
Table 3: Sample questions in quantitative approach survey 59
Table 4: Gender of quantitative respondents 73
Table 5: Ages of the interns during their Los Angeles internship 75
Table 6: Year in college during the Los Angeles internship 76
Table 7: Interns’ major area of study as an undergraduate 78
Table 8: Gender and major areas of study 78
Table 9: Participants interviewed for the study 79
Table 10: Number of internships prior to a Los Angeles internship 84
Table 11: Rating of NACE skills (soft skills) preparation by
interns prior to the internship (statistical graph) 90
Table 12: Rating of NACE skills (soft skills) preparation by
interns prior to the internship (statistical graph) 91
Table 13: Film, television, digital, and streaming hard skills
learned prior to internship (statistical graph) 104
Table 14: Film, television, digital, and streaming hard skills
learned prior to internship (percentage graph) 104
Table 15: Music business hard skills learned prior to internship
(statistical graph) 113
Table 16: Music business hard skills learned prior to internship
(percentage graph) 113
Table 17: Film, television, digital, and streaming hard skills
learned during the internship 121

Table 18: Music business hard skills learned during the
internship 124
Table 19: Number of semesters students participated in Los
Angeles internship 126
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Table 20: Number of credits received for Los Angeles internship 129
Table 21: Weekly internship workload (hours) 132
Table 22: Classes attended (including online courses) during the
Los Angeles internship 133
Table 23: Number of additional credit hours (including online
courses) taken by the intern during the Los Angeles
internship (internship credit not included) 135
Table 24: Film, television, digital, and streaming interns – skills used
during the internship which will be applicable to
future positions 138
Table 25: Music business interns – skills used during the
internship which will be applicable to future positions 143
Table 26: Number of internships participated in during college/
university 148
Table 27: Offered a paid position by the company upon completion
of internship 153
Table 28: Would you accept a paid position, if offered by the
internship company? 154
Table 29: Respondents interviewed who are presently working in
the entertainment industry in Los Angeles 160
Table 30: Who pays or paid for tuition? 162
Table 31: Household income of students 164
Table 32: Did you receive financial aid? 165
Table 33: Type of financial aid 166
Table 34: Reasons to participate in an internship 170
Table 35: Sources for finding an internship 173
Table 36: Campus career services used to find an internship 175
Table 37: Rating of internship program experience – at the
university (statistical graph) 178
Table 38: Rating of internship program experience – at the
university (percentage graph) 179
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Table 39: Onsite administrator in Los Angeles 182
Table 40: Rating of internship program experience – at the
internship site (statistical graph) 187
Table 41: Rating of internship program experience – at the
internship site (percentage graph) 188
Table 42: Rating of internship program experience – student
preparation (statistical graph) 197
Table 43: Rating of internship program experience – student
preparation (percentage graph) 198
Table 44: Importance of the internship program (statistical graph) 204
Table 45: Importance of the internship program (percentage graph) 204
Table 46: Networking – who encouraged you to build a strong
networking system? 206

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List of Figures

Figure A: Kolb’s experiential cycle 44
Figure B: Alignment structure of the institution, interns and
employers 50

Figure C: What are employers looking for? 51
Figure D: Gender of quantitative respondents 73
Figure E: Ages of interns during their Los Angeles internships 74
Figure F: Year in college during Los Angeles internship 76
Figure G: Interns’ major area of study as an undergraduate 77
Figure H: Number of internships participated in prior to the Los
Angeles internships 84
Figure I: Rating of NACE (Soft skills) preparation by interns
prior to the internship (statistical graph) 89
Figure J: Rating of NACE (Soft Skills) preparation by interns
prior to the internship (statistical graph) 90
Figure K: Film, television, digital, and streaming students’ hard
skills learned prior to the internship 103
Figure L: Music business students’ hard skills learned prior
to the internship 112
Figure M: Film, television, digital, and streaming students’ skills
learned during the internship 120
Figure N: Music business students’ skills learned during the
internship 123
Figure O: Number of semesters students participated in the Los
Angeles internship experience 126
Figure P: Number of credits received for your Los Angeles
internship 129
Figure Q: Weekly internship workload 131
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Figure R: Classes attended (including online courses) during the
Los Angeles internship 132
Figure S: Number of additional credit hours (including online
courses) taken by the intern during the Los Angeles
internship (internship credit not included) 135
Figure T: Film, television, digital and streaming interns – skills
you used during your internship which will be
applicable to future positions 137
Figure U: Music business interns – skills you used during your
internship which will be applicable to future positions 142
Figure V: Number of internships participated in during your
college or university experience 148
Figure W: If you are graduating, were you offered a paid position
at the company upon completion of your last internship? 152
Figure X: Would you accept a paid position if offered by the
internship company? 153
Figure Y: Who pays or paid for your tuition? 162
Figure Z: Household income of students 163
Figure AA: Did you receive financial aid? 164
Figure BB: Types of financial assistance 165
Figure CC: Why did you choose to participate in the internship? 170
Figure DD: Sources for finding an internship 172
Figure EE Campus career services used to find an internship 175
Figure FF: Internship program experience at the university 177
Figure GG: Did the university provide an onsite administrator
in Los Angeles? 182
Figure HH: Internship program experience – at the internship site 186
Figure II: Internship program experience - student preparation 196
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Figure JJ: Rating the importance of the internship program 203
Figure KK: Networking - who encouraged you to build a strong
networking system? 206

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Abstract
This mixed-method research study analyzed how students can acquire skills at their colleges and
universities so that they can be prepared to obtain internships with industry employers when they
participate in a semester-long entertainment internship program in Los Angeles. It also
examined how interns gain the necessary 21st century soft skills during their internships as
defined by the National Association of Colleges and Employers (NACE). The study also
examined the hard skills learned by the students in their courses at their university and also
acquired at their internships in the motion pictures, television, digital, and streaming and music
business. These soft and hard skills are used to enable students to transition into paid, entry-level
positions upon graduation from their college or university. The issues of equity, diversity,
gender, and socioeconomic factors are also addressed through the lens of the students in order to
provide access to all students who want to participate in an internship program. Finally, there is
an extensive evaluation and assessment process that students received from their internship
supervisors and was provided to their college or university about their preparation and
performance in the workplace. The students also evaluated the internship program that their
college or university provided them to determine if it met their needs to prepare and transition
upon completion into an entry-level position in the industry. Their input contributed to
curriculum changes and to informing the faculty and administration about industry changes and
cutting-edge technology that is continuously being implemented in the entertainment industry.
The research was conducted using surveys and interviews with one university, Howard Hawks
University (HHU), as a case study, that offers year-round internships in the motion pictures,
television, digital, streaming, and music business in order to understand the perspectives of the
various stakeholders in the internship experience. A companion dissertation explored the
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perspectives of the colleges and universities and the industry employers as stakeholders at the
same university (HHU) to understand their process and to assess and determine if this provided
students with a pathway to transition into their careers in the entertainment industry.

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CHAPTER ONE: OVERVIEW OF THE STUDY
Authors: Edward H. Eiseman and Selise E. Eiseman
1

Introduction

Over the last 20 years, internship programs have become a dominant factor in opening a
pathway to employment in the entertainment industry (Frenette, 2013). Schools of higher
education are providing students with the opportunity for hands-on experiential learning in Los
Angeles while opening doors for future employment in an industry where connections and
networking play a major role on an individual’s road to success (Frenette, 2013). The structure
of the entertainment internship program as part of an academic curriculum is a critical part of any
undergraduate program as well as the internship experience itself. Selecting a program with an
internship component that meets the needs of its participants is paramount to its success. In the
eyes of many practitioners, this is the gateway into the entertainment industry.
Students stated that interning was the most effective method of securing an entry-level
position (Rolston & Herrera, 2000). Compared to the 1980s, internship programs offered by
universities and colleges reached record highs in participation by college students. According to
the National Association of Colleges and Employers (NACE), two-thirds of the class of 2013
participated in internship programs (Lamberti, 2013). Intern Bridge, a college recruiting and
coaching organization, reported that unpaid internships make up greater than 50% of internships
annually (Lamberti, 2013). In the entertainment and media industry, unpaid internships are at
68%. This is the highest percentage of all subgroups in the NACE study (Lamberti, 2013). The
big question that is repeatedly asked: “Will my internship lead to employment in the
entertainment industry?”

1
Chapters One, Two, and Three were jointly written by the authors listed, reflecting a team approach to this project.
The authors are listed alphabetically, reflecting the equal amount of work by those listed.
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Background of the Problem

In searching through the literature that existed on internships in the entertainment
industry with the focus on film, television, digital, and music, it became evident that students
enrolled in colleges and universities are privy to the most advanced theories in these fields, but
that they are lacking the hands-on knowledge as it pertains to a business. In film, their
professors screen the best classic and world cinema, encourage their students to create short
films to learn the art of filmmaking, and discuss theories and approaches that attempt to critically
analyze why a film fits into a genre, theme, movement, or chronological period. In music, the
process is similar to that of film, television, and digital. They need to understand music history
and how to create music, but equally as important is to know the organization and operation of
the music industry. There is an intersection of the art forms and some interns work in both film
and music.
Through practical hands-on training provided by university internship programs the
students can learn skills that will enhance their transition into the workforce. This is provided by
internships in the entertainment industry in Los Angeles. Universities need to establish satellite
campuses if they are not based in Los Angeles to house, teach, and administer the programs.
Employers need to work directly with university administrators and career services to ensure that
the internships are properly provided and meet the guidelines of the United States Department of
Labor’s (USDOL) Fair Labor Standards Act of 1947 (FLSA). FLSA specifies the work
conditions for students who participate in internships. The three stakeholders in this endeavor
are the undergraduate students, the college and university administrators, and the entertainment
industry employers. Each has a role to play in making it work with each other. The economic
consequences of this endeavor are that students paying for their higher education want to be
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assured that when they complete their course of study at the university they will have the skills
and tools to obtain a job in the entertainment industry. The colleges and universities investing
heavily in creating, maintaining, and sustaining internship programs for the future want to know
that their programs are beneficial and economically feasible. The entertainment industry
employers want to have students with the right skills as future employees so that they can
transition into their workforce. The stakes are very high and there needs to be a means to
measure it to see if it is all working as efficiently and effectively as possible for all to benefit.
Studies on internship programs in higher education have been conducted by various
people at different universities. Some studies focused on the entertainment industry while others
discussed the internship experience in other areas. These studies include Frenette (2013),
Radigan (2009), Briel and Getzel (2001), and Zehr (2016).
Colleges and universities in the entertainment industry traditionally organize their student
internships as an extension or a function of a department or a school within the institution, i.e.,
University of Southern California (USC) – School of Cinematic Arts. The internship process
involves the following stakeholders: (a) students, (b) colleges and universities (academic
programs, career services, and/or student support services), and (c) the employers. The Council
for the Academic Advancement of Standards in Higher Education (CAS, 2006) stated that the
“primary mission of the internship [and co-op] programs is to engage students in a planned,
educationally-related work and learning experiences that integrate knowledge and theory with
practical application and skill development in a professional setting” (p. 4).
As of now, educational institutions have not agreed to a standard definition of the term
internship. Universities and colleges have yet to provide uniform guidelines or objectives for
various practices in internship programs (National Association of Colleges and Employers,
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NACE, 2011). An internet search for the definition of internship “yields more than fourteen
million responses . . . with some commonalities, but also interesting differences” (O’Neill, 2010,
p. 5). An example of one definition (course objective) is from the USC syllabus for CNTV 495:
Internship in Cinematic Arts, Online class (Open to all SCA Major and Minor Students) Spring
2016, “to better equip you to compete in the job market, shed light on the patterns and issues that
impact the business, and better understand the role of leadership in the workplace” (Clark, 2016,
Syllabus). Recently for the 2017 summer session catalog, it was revised to include,
To better equip you to compete in the job market, shed light on the patterns and issues
that impact the business, and better understand the role of leadership in the workplace
[It will provide you with] the opportunity to gain insight and to expand your
horizons by delving into common issues including inter-personal relations, management
decisions, decorum, strategic choices, and competition. (Anderson, 2017, Syllabus)
The most prevailing description is an agreement between the student and the employer for a
hands-on learning experience for a certain period (semester, term, summer), full or part-time,
paid (hopefully) or unpaid, and for academic credit (legally) (Moore, 2010; NACE, 2011). The
employer mentors and teaches the interns by providing hands-on job training to gain experience
in the intern’s field of expertise.
NACE (2011) defined an internship as,
experiential learning that integrates knowledge and theory learned in the classroom with
practical application and skills development in a professional setting. Internships give
students the opportunity to gain valuable applied experience and make connections in
professional fields they are considering for career paths; and give the employers the
opportunity to guide and evaluate talent. (para. 3).
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College students benefit from the internship experience in the following ways:
 career clarification to determine if they want to work in the field of endeavor.
 build a network of contacts and connections for future employment.
 find paid employment at the company where the intern worked.
 receive college credit for the internship.
Many employers use the internship program to find the most qualified people and at the
same time cut or decrease the learning curve if the company were to hire a new person.
Statement of the Problem

The problem is that students accept internships in the entertainment industry and do not
know if they are obtaining the necessary skills and tools to successfully transition into a full-time
position upon concluding their internship experience. Colleges and universities need to know
what to teach their students to stay competitive in an ever-changing industry and how to prepare
them with the skills to obtain an internship and to be successful in working for the employer.
The employers need to specify what skills they need as a potential intern and to help the intern
build on their internship experience so that they can then transition into an entry-level position
upon concluding their internship experience.
Purpose of the Study

The research study examined the factors that contribute to the student having a successful
internship experience, how the university plays a role in their acquisition of skills so that the
student can obtain the internship, and the employers’ role in providing the structure, training, and
oversight so that the intern can transition into a paid position in the industry upon graduation
from their university.

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Research Questions
The research questions that were examined in this study are:
1. What are the agreed upon skills that students need to obtain in the entertainment industry
(a) before they take an internship, (b) during their internship, and (c) after their internship
so that they are best prepared for the workplace?
2. How can internship programs prove to be the catalyst for students seeking entry-level
jobs and does it speed up the process of obtaining a job?
3. What are the equity, diversity, gender, and socioeconomic issues that internships need to
address in the entertainment industry?
4. How can students be evaluated to ensure that they have acquired the necessary skills and
in turn how can college and university programs be evaluated for providing these skills
for their students?
The hypothesis of these research questions was to answer these questions through mixed
methods. Both qualitative methods (conducting interviews and observations) with the various
stakeholders (students, college and university administrators, and industry employers) and
quantitative methods (surveys) will be used so that they can lead to an understanding of the
problem that exists in having an internship program in the entertainment industry.
Importance of the Study
The importance of the study is that there are increasingly more and more students
obtaining internships in the entertainment industry, universities that are establishing and
administering programs in Los Angeles, and industry employers who are accepting and
providing internships each semester (fall, spring, and summer). Researching this issue will
provide reform in the educational outcome of internship programs in how they are created,
FROM THE PERSPECTIVES OF THE STUDENTS

25
administered, and revised to meet the future needs of their students. The university
administrators will benefit from having substantial quantitative and qualitative research and data
of this specific issue and can choose to implement changes or create new models that assist their
students in their future career endeavors in the entertainment industry.
Limitations and Delimitations

The limitations and delimitations of the research study were that most universities do not
operate their programs in a similar manner. There are few similarities to each program except
that academic course credit is provided, a student accepts an internship in Los Angeles, and a
system of evaluation is completed by the internship employer at the conclusion of the semester.
Differences include how each university program operates in connection with a department,
division, school of the college or university, career placement center, or without any
administrative or faculty oversight. Employers operate their internship programs differently
depending on how their company or studio is organized. The more corporate the company is the
more structured the internship program is for the students.
In order to complete the research one specific university (case study) was studied from
the various stakeholders’ (students, university administrators, and industry employers)
perspectives to determine if there was internal validity. Generalizability was examined to
provide insight into other university programs and internship experiences. The issue of external
validity was assessed by the researcher so that it can provide information and understanding that
can be applicable to all students, universities, and employers. This made it useful to all who are
stakeholders in the internship experience and its outcome.
The subject of the research was internships in the entertainment industry and the
stakeholders were university students, university administrators, and entertainment industry
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26
employers in Los Angeles. The students participated in a semester-long internship in the
entertainment industry which was sponsored by their university. They received college credit for
their internship and additionally took classes either in the classrooms that their universities
maintained in Los Angeles or online. The students attended educational and cultural events
during their internship experience and lived in university arranged housing. Classes were usually
taught by working industry professionals with guest speakers contributing to a wide range of
specialized topics. The university usually had administrative support on the main campus and in
the Los Angeles area to coordinate and administer internships, classes, cultural events, and
housing. They were also responsible for the safety of their students and provided student affairs
personnel for additional needed support when necessary. Industry employers provided internship
coordinators or supervisors to oversee interns during their semester-long internship experience.
These internship coordinators provided tasks and projects that the interns worked on that were
educational in nature and did not replace the work of paid employees to maintain the FLSA
guidelines from the DOL.
Definition of Terms

Some of the specific terms that are unique to internship programs in the entertainment
industry are:
 Coaching - guidance to intern by supervisor or mentor to help transition the student to a
potential position in the entertainment industry.
 Cover Letter - a letter to a potential employer that identifies that the student is enrolled
full-time as an undergraduate student, is receiving academic credit, the term of
employment, and how their prior experience and skills match the job description for the
internship.
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27
 Entertainment Industry - jobs in film, television, digital, music, and ancillary companies
that support jobs in Los Angeles.
 Experiential Learning - hands-on approach to learning for interns that supplement
theoretical knowledge gained from courses at the university.
 Fair Labor Standards Act of 1947 (FLSA) by the Department of Labor (DOL) and the
Fact Sheet #71 - This act and the documents refer to the guidelines set by the Department
of Labor regarding a six-prong test of internships and what it means for the employer and
the potential intern.
 Internships - unpaid or paid internships for college credit over a semester (fall, spring,
and summer) that are part of a university-sponsored academic program.
 Interviewing - the ability to engage a potential employer to hire you for a full-time
position. Mock interviews are held so that the intern can practice interviewing skills.
 Mentoring - an individual or individuals with experience in your field of study who help
you to advance in your career.
 NACE Skills - National Association of Colleges and Employers who maintains a set of
skills that interns need to succeed in the workplace.
 Networking - Meeting individuals who have similar interests in order to receive help with
potential job leads, information about living in Los Angeles, and to become friends and
colleagues in the future.
 Resume - a summary of education, skills, and past work and internship experiences.
 Screenwriting - the ability to tell a story visually with a structure that allows a protagonist
(the main character) to actively engage in advancing the story as he/she undertakes to
overcome obstacles that an antagonist (the opponent) sets up to prevent the protagonist
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from achieving his/her goal. The main character begins a journey (a hero’s journey)
through the various stages along their path to accomplish the goal and realize that they
will learn something that they did not know before and their life will change as a result of
it.
 Script Coverage - creating a document to study a script that is under consideration by a
company with a logline, a synopsis, and a critical analysis of the script.
Organization of the Study
The organization of the research study examined undergraduate students who have
internships in the entertainment industry, college and university administrators who develop and
administer the various programs on the main campuses and on the satellite campuses in Los
Angeles, and the entertainment industry employers who accept, supervise, and evaluate interns
each semester. Chapter Two includes a literature review of the topic. Chapter Three is a
presentation of the methodology of the research study. Chapter Four contains the research
findings. Chapter Five is a presentative of the conclusion and the implications of the findings for
future research. A summative review of the literature follows in Chapter Two.

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CHAPTER TWO: LITERATURE REVIEW
Authors: Edward H. Eiseman and Selise E. Eiseman
2

Introduction
Internship programs have moved to the forefront in many colleges and universities during
the beginning of the 21st century. Since 1990, internships have increased rapidly in all areas of
education and have become a major part in many schools’ programs (Frenette, 2013). The
United States Department of Labor or the Department of Education have never kept official data
about internships. One estimate was that 50% of American students graduating with a bachelor’s
degree in 2008 had an internship as part of their program. This figure, compared to 17% of
graduating students in 1992, was approximately a 66 2/3% increase in participation (Greenhouse,
2010). Other surveys have been consistent in demonstrating an upward participation in
internship programs. In 2000, an estimated 75% of graduating seniors had participated in an
internship program (Coco, 2000). In the past 16 years, 1992 to 2008, the number of students
participating in internships has increased exponentially (Zehr, 2016). A survey, entitled College
Senior Survey administered in 2008-09 by the Higher Education Research Institute surveyed
24,457 students and discovered that 54.6% of the participants had participated in an internship
program during their college experience (Franke, Ruiz, Sharkness, DeAngelo, & Pryor, 2010).
By 2013, the percentage of graduating college seniors participating in internship programs had
increased to 63% (Lamberti, 2013). As the internship programs expanded, the concept of paid
and unpaid internships came to the forefront (Durrant, 2014). According to the National
Association of Colleges and Employers (NACE), two-thirds of the class of 2013 participated in
internship programs (Lamberti, 2013). Intern Bridge, a college recruiting and coaching

2
Chapters One, Two, and Three were jointly written by the authors listed, reflecting a team approach to this project.
The authors are listed alphabetically, reflecting the equal amount of work by those listed.

FROM THE PERSPECTIVES OF THE STUDENTS

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organization, reported that unpaid internships make up greater than 50% of internships annually
(Lamberti, 2013). Entertainment and media are the highest categories at 68% (Lamberti, 2013).
The big question that is repeatedly asked: “Will my internship lead to employment in the
entertainment industry?”
Today, the internship is a cornerstone of the modern college labor market. Job-seeking
students use internship experiences to gain relevant work experience and, in some cases, to
transition directly into a full-time, entry-level position with the internship employer (Crain,
2016). Employers have taken a keen interest in converting interns into full-time hires, early
talent identification, greater retention of hires coming from the internship program, and a
competitive advantage over other organizations seeking college talent are all benefits of such an
effort (Market, 2016).
Research Questions

Some of the questions that repeatedly appear in the literature on internships in general
and specifically in the entertainment industry have been turned into research questions. The
most common concerns are as follows:
1. What are the agreed upon skills that students need to obtain in the entertainment industry
(a) before they take an internship, (b) during their internship, and (c) after their internship
so that they are best prepared for the workplace?
2. How can internship programs prove to be the catalyst for students seeking entry-level
jobs and does it speed up the process of obtaining a job?
3. What are the equity, diversity, gender, and socioeconomic issues that internships need to
address in the entertainment industry?
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4. How can students be evaluated to ensure that they have acquired the necessary skills and
in turn how can college and university programs be evaluated for providing these skills
for their students?
All four of these research questions provided insight into the major issues surrounding
internships in general and specifically to how the research was applicable to the entertainment
industry. Learning theories can help provide an understanding of how students learn through
hands-on experiential learning and to develop a methodology for evaluation and assessment of
learning in an internship program.
Definition of Internships
Realizing that internships are mutually beneficial to the intern and the employer,
participation by both students and prospective employers has rapidly increased (Hurst & Good,
2010). In 2014, a survey administered by NACE (Internship and Co-op) discovered that
approximately 97% of the participating employers plan to hire interns and co-ops that year
(NACE, 2014). Little research has been completed determining what interns do during their
internship and how internships increase their opportunities for employment in the entertainment
industry. This is one of the questions researchers are asking. Will Akers, a film professor,
author, and screenwriter once stated: “A student who successfully participates in an internship
program speeds his entrance into the entertainment industry by three years” (Akers, 2012, n.p.).
The definition of internships has evolved over the years. Taylor (1988) stated:
“internships are structured and career-relevant work experiences obtained by students prior to
graduation from an academic program” (p. 393). Another definition of internships provided in
2011, was, “internships are sets of periods of unpaid work experience that were assessed in some
way and which form part of an academic qualification” (Hoy, 2011, p. 30).
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32
In either definition, it was important to note that payment of interns was not included but
only the academic credit or evaluation was necessary. In the entertainment industry, the concept
of a paid internship during the internship experience has become an issue. The “Black Swan”
lawsuit (Glatt v. Fox Searchlight Pictures, Inc., SDNY, No. 11-06784, 2013) has been
adjudicated and interns are being paid minimum wage by major studios and production
companies as a result of the lawsuit.
The National Association of Colleges and Employers (NACE, 2011) defined an
internship as the following:
An internship is a form of experiential learning that integrates knowledge and theory
learned in the classroom with practical application and skills development in a
professional setting. Internships give students the opportunity to gain valuable applied
experience and make connections with the professional fields they are considering for
career paths; and give employers the opportunity to guide and evaluate talent. (Definition
of Internship, para. 3)
Even though internship programs have flourished since 1990 and the percentage of
students participating in these programs has increased proportionally (Lamberti, 2013), many
unanswered questions have arisen and issues have developed during this period. In 2010, the
United States Department of Labor (USDOL) altered the rules for internships. The changes in
the internship rules named Fact Sheet #71 (USDOL, 2010) were created and implemented. It
simply stated that if an internship was created for the benefit of the intern and the company did
not financially benefit from it, then the intern does not have to be paid. Inversely, if the
company financially benefits from the intern’s work, then the intern must be compensated
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33
(USDOL, 2010). The USDOL further defined and created a six-step criterion for legal unpaid
internships with for-profit companies. The following are the criteria for this test:
 The internship, even though it includes actual operations of the facilities of the employer,
is similar to the training which would be given in an educational environment;
 The internship is for the benefit of the intern;
 The intern does not displace regular employees, but works under close supervision of
existing staff;
 The employer that provides that training derives no immediate advantage from the
activities of the intern; and on occasion its operations may be impeded;
 The intern is not necessarily entitled to a job at the conclusion of the internship; and
 The employer and the intern understand that the intern is not entitled to wages for time
spent in the internship. (USDOL, 2010)
The FLSA guidelines, Fact Sheet #71, were updated by the USDOL in January 2018 to
further clarify and modify the existing six criteria and to include the seventh criteria:
 The extent to which the intern and the employer clearly understand that there is no
expectation of compensation. Any promise of compensation, express or implied,
suggests that the intern is an employee -- and vice versa.
 The extent to which the internship provides training that would be similar to that which
would be given in an educational environment, including the clinical and other hands-on
training provided by educational institutions.
 The extent to which the internship is tied to the intern’s formal education program by
integrated coursework or the receipt of academic credit.
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 The extent to which the internship accommodates the intern’s academic commitments by
corresponding to the academic calendar.
 The extent to which the internship’s duration is limited to the period in which the
internship provides the intern with beneficial learning.
 The extent to which the intern’s work complements, rather than displaces, the work of
paid employees while providing significant educational benefits to the intern.
 The extent to which the intern and the employer understand that the internship is
conducted without entitlement to a paid job at the conclusion of the internship. (USDOL,
2018, para. 4)
In the January 2018 update, there is a “primary beneficiary” test to determine whether an
intern or student is an employee under FLSA. This test allows the courts to examine the
“economic reality” of the intern-employee relationship to decide who is the “primary
beneficiary” in the relationship.
History of Internships
The history of “internships” can be traced back to the Middle Ages (11th Century) in
Europe and especially in England (Frenette, 2013). In England, the system of apprenticeships
were first used as a method of getting orphans, vagrants, and people of ill repute (debtors, petty
criminals) off the streets in larger cities such as London. Apprenticeships, also, provided a
pathway for people to learn a trade. In many cases, an apprentice or his family would pay to
work for and learn from a master teacher who taught a skilled trade in a specific area. This
training could last several years and would start as early as age 16. In certain situations, the
apprentice was dependent upon the master teacher for food, clothing, and shelter. This system
was restrictive in ways such as: length of apprenticeships, number of apprentices in certain
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35
trades, and in the trading of children to masters and owners (indentured servitude). In the 18th
century upon the arrival of the Industrial Revolution, this practice eventually disappeared and a
new trend toward general factory work called for vocational schooling (Haire & Oloffson, 2009).
As the British Empire expanded, the apprenticeship model was exported to America. After the
United States attained independence, the concept of formal apprenticeships began to wane
(1783 – 1799) because of the concept of indentured servitude or “written indentures” (Elbaum,
1989). Apprenticeships were increasing and in 1937 the enactment of the Fitzgerald Act
(National Apprenticeship Act) placed another barrier and slowed down the apprenticeship
concept (Perlin, 2012). Low paying jobs, the growth of unpaid jobs, and the expansion of jobs in
other fields beyond crafts and trades created a need for another approach. In 1938, President
Franklin D. Roosevelt signed the Fair Labor Standards Act (FLSA, Grossman, n.d.) into law.
This law established a framework for working conditions for hourly employees. FLSA was also
used in establishing the role of the intern later in the 20th century.
Starting with President Johnson’s War on Poverty in the 1960s and reinforced by the
Coleman Commission Report (1974, Coleman, 1977), the concept of providing disadvantaged
minorities with an opportunity to develop skills moved to the forefront. As the population
increased in the early 21st century, the number of 18 to 24-year-olds increased by 11% and
college enrollment increased from 36% to 42% in 2011 (Snyder & Dillow, 2013). At the same
time, the marketplace changed. The rise of “non-standard” work increased as compared to the
standard form of full-time, permanent jobs (Kalleberg, 2000). Finally, internships created an
unwieldly economy where unpaid labor (internships) became the “sorting” hat for companies.
In the film industry, relationships between universities and the work environments of
unpaid internships was being tested. A group of interns working on the feature film, “Black
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36
Swan,” sued Fox Searchlight Pictures (Glatt v. Fox Searchlight Pictures, Inc., SDNY, No. 11-
06784, 2013) for pay because they said they were doing the work of paid employees. Finally, to
understand the future of the intern economy, the researcher needed to understand the history of
internships. “The intern economy is the latest iteration of the millennia-old traditional work-
based learning” (Frenette, 2013, p. 358). Table 1 is a chronological table of the evolution of
internships.

Table 1
The Chronology of the Evolution of Internships
Date Description
1000 (11th Century) The great-grandfather of the internship program was created as
part of the Guild System. These interns were known as apprentices
who learned by practical experience under skilled workers of a
trade, art or calling.

1562 Statute of Artificers passed requiring apprenticeships for anyone
wishing to practice a trade.

Early 1900s The Industrial Revolution transitioned from trades into
professional workplaces through a more formalized professional
education.

1906 The first academic internship program was created in the US in the
Accounting Department at the University of Cincinnati.

1937 The National Apprentice Act passed and led to the establishment of
the Bureau of Apprenticeship and Training in the U. S. Department
of Labor.

1938 Fair Labor Standards Act was signed by President Roosevelt. It
established the ground rules and basis for rules affecting
internships in the future.

1960 College co-op programs, temporary employment of college
students at a company, began to transition into modern day
internships.

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Table 1 (Cont’d.)

Date Description

Early 1980s Only 3% of college students completed an internship before
graduation.

1999 More than 80% of college seniors completed at least one
internship. The number of colleges and universities offering
internships or co-op programs increased from 200 to 1000.

2016 Overall, 65.4 percent of students had participated in an internship
and/or co-op, which was the highest percentage recorded for any
graduating class since this report was first published in 2007
(NACE, 2016 as cited in Huhman, 2013).
Source: Adapted from H. R. Huhman (2013)

Paid vs. Unpaid Internships
Presently, many for-profit companies (small-sized companies) have yet to follow the
FLSA guidelines pertaining to paid or unpaid internships. Larger companies are beginning to
offer paid internships because of the fear of being sued. The Department of Labor in 2012
released a new set of guidelines which reinforced its intolerance for illegal internships (Schwartz,
2013). Many companies have fallen in line when it comes to paying their interns, but many of
the unpaid internships at for-profit companies are still considered illegal under the Department of
Labor’s provisions (Durack, 2013).
Adding another layer to this issue, NACE (2011) provided their list of guidelines for
legal, unpaid internships. Employers and universities should meet the following seven
guidelines:
 The experience must be an extension of the classroom: a learning experience that
provides for applying knowledge gained in the classroom. It must not be simply to
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advance the operations of the employer or to be the work that a regular employee would
routinely perform.
 The skills or knowledge learned must be transferrable to other employment settings.
 The experience has a defined beginning and end, a job description with desired
qualifications.
 There are clearly defined learning objectives/goals related to the professional goals of the
student’s academic coursework.
 There is supervision by a professional with expertise and educational and/or professional
background in the field of experience.
 There is routine feedback by the experienced supervisor.
 There are resources, equipment, and facilities provided by the host employer that support
learning objectives/goals. (NACE, 2011, para. 2).
In 2013, the legality of the unpaid intern was challenged in the court of law. The case
became known as Glatt et al. v. Fox Searchlight Pictures, Inc. (US Dist. LEXIS 82079
(S.D.N.Y., 2013) or the “Black Swan Case.” The case raised the question about the definition of
unpaid interns. Fact Sheet #71: Internship Programs under the Fair Standards Labor Act (FDSL)
distributed by the United States Department of Labor (USDOL, 2010) was to serve as a guide for
interns working in the for-profit world. It stated that the intern should be paid at least minimum
wage and/or overtime for hours worked over 40 hours in any one work week (USDOL, 2013).
Fact Sheet #71 provided the following test for unpaid interns.
There are some circumstances under which individuals who participate in ‘for-profit’
private sector internships or training programs may do so without compensation. The
Supreme Court has held that the term ‘suffer or permit to work’ cannot be interpreted so
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39
as to make a person whose work serves only his or her own interest as an employee of
another who provides aid or instruction. This may apply to interns who receive training
for their own educational benefit if the training meets certain criteria. The determination
of whether an internship or training program meets this exclusion depends upon all of the
facts and circumstances of each such program. (U. S. Department of Labor, 2010, para.
3).
Six criteria were spelled out by the authors of Fact Sheet #71 (see p. 5) as when a person is to be
treated as an intern versus an employee. If the following six factors are followed, then the intern
is not considered an employee and is not entitled to minimum wages or overtime.
 The internship, even though it includes actual operation of the facilities of the employer,
is similar to training which would be given in an educational environment;
 The internship experience is for the benefit of the intern;
 The intern does not displace regular employees, but works under close supervision of
existing staff;
 The employer that provides the training derives no immediate advantage from the
activities of the intern; and on occasion its operations may actually be impeded;
 The intern is not necessarily entitled to a job at the conclusion of the internship; and
 The employer and the intern understand that the intern is not entitled to wages for
the time spent in the internship.
The ruling in the “Black Swan” lawsuit was handed down by Judge William H. Pauley II.
It granted Eden Antalik’s (a plaintiff) motion for class action certification under the New York
Labor Law (NLL) and granted plaintiffs, Eric Glatt and Alexander Footman’s motions for a
summary conditional certification under FLSA. Judge Pauley said that Glatt and Footman were
FROM THE PERSPECTIVES OF THE STUDENTS

40
employees under both federal and state statutes. The judge never mentioned that Glatt did not
receive college credit for his work and even if he did receive credit it would not have changed
the verdict.
As a result of the “Black Swan” case and further pending litigations, many production
companies ended their unpaid internship programs or chose to pay interns minimum wage to
comply with the law. Durrant (2014) suggested that at least the minimum wage be paid to
interns and that interns have the ability to file harassment and discrimination lawsuits if the
interns’ employment merits legal action. He believed that this ability to use legal recourse is a
deterrent for illegal unpaid internships. Companies would then comply with the guidelines
established by government and the courts in the fear of retribution and lawsuits against the
employers.
In January 2018, the United States Department of Labor (USDOL) issued a new Fact
Sheet #71 for “Unpaid Interns and Students.” The new Fact Sheet #71 has redefined the test for
unpaid interns and students as:
Courts have used the ‘primary beneficiary test’ to determine whether an intern or student
is, in fact, an employee under the FLSA.
3
In short, this test allows courts to examine the
‘economic reality’ of the intern-employer relationship to determine which party is the
“primary beneficiary” of the relationship. Courts have identified the following seven
factors as part of the test:

3
E.g., Benjamin v. B & H Educ. Inc. – F.3d –, 2017 WL 6460087, at *4-5 (9th Cir. Dec. 19, 2017); Glatt v. Fox
Searchlight Pictures, Inc., 811 F.3d 528, 536-37 (2d Cir. 2016); Schumann v. Collier Anesthesia, P.A., 803 F.3d
1199, 1211-12 (11th Cir. 2015); see also Walling v. Portland Terminal Co., 330 U.S. 148, 152-53 (1947); Solis v.
Laurelbrook Sanitarium & Sch., Inc., 642 F.3d 518, 529 (6th Cir. 2011).
FROM THE PERSPECTIVES OF THE STUDENTS

41
 The extent to which the intern and the employer clearly understand that there is no
expectation of compensation. Any promise of compensation, express or implied,
suggests that the intern is an employee—and vice versa.
 The extent to which the internship provides training that would be similar to that
which would be given in an educational environment, including the clinical and other
hands-on training provided by educational institutions.
 The extent to which the internship is tied to the intern’s formal education program by
integrated coursework or the receipt of academic credit.
 The extent to which the internship accommodates the intern’s academic commitments
by corresponding to the academic calendar.
 The extent to which the internship’s duration is limited to the period in which the
internship provides the intern with beneficial learning.
 The extent to which the intern’s work complements, rather than displaces, the work of
paid employees while providing significant educational benefits to the intern.
 The extent to which the intern and the employer understand that the internship is
conducted without entitlement to a paid job at the conclusion of the internship. (U. S.
Department of Labor, 2018, para. 3)
Learning Theories

In order to answer the research questions, it was essential to look at the literature and
determine which learning theories are applicable to studying internship programs. It was also
beneficial to study how various learning theories can be applied to the evaluation and assessment
of the students who participate in the internship programs. Also, it was important to consider the
FROM THE PERSPECTIVES OF THE STUDENTS

42
effectiveness of hands-on experiential learning because academic credit is being granted for the
internships.
According to Zehr (2016), “While all new graduates face a significant transition from
college to the workplace, learning theories predict that those who participate in internships and
co-ops will be better prepared to enter the workplace than those who do not” (p. 68; see also
Bandura, 1991; Craig & Sable, 2011; Kolb, Boyatzis, & Mainmelis, 2000). Internships are
experiential in context as the classroom learning is transferred to workplace learning. The
stakeholders in this model were students (interns), colleges and universities (administration), and
employers (studios, production companies, and ancillary businesses that support the
entertainment industry).
From Astin’s (1999) student involvement theory, students devoted time and energy to
being involved in their programs. The more that they put into it the more that they get out of it.
It is directly proportional to the extent of their involvement. One of Selise’s former interns,
Adam (pseudonym), stated that the fact that he worked so hard at one of his internships, landed
him the job at completion. Given the experience that Astin described as “living on campus,
participating in honors programs, active in student government, and participating in any level of
athletic programs” provides an impetus for students to apply what they learn. This directly
relates to how they apply this level of involvement in their internship programs.
Kuh’s (1995) college impact theory focused on the interactions that students experienced
with institutions. Kuh interviewed 149 seniors at 12 institutions and used the theory to assess if
out-of-class activities contributed to student learning and personal development. Involvement
theory suggested that students who spend more time involved in work activities develop related
skill sets in practical areas.
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43
Bandura’s (1991) theory of learning linked self-efficacy (the belief that one is capable of
a task) to cognitive development. He believed that an individual’s perceived ability exerts more
influence on behavior than inherent intellectual ability. This may also apply to experiential
learning programs in that they offer students opportunities to practice their skills as a student
when they are learning and are not expected to be proficient.
Another study that focused on self-esteem in addition to Bandura and commented on
co-ops which are similar to internships was Fletcher (1990) who claimed that work experiences
enhance self-esteem through the construct of self-efficacy achieved through enactive mastery (or
doing the task through the co-op experience).
Kolb’s et al. (2000) theory of experiential learning drew on the work of Dewey in 1938.
Dewey felt that students must have the skills that meet the needs of their employers and meet the
demands of the workforce. He was an early proponent of hands-on learning or experiential
learning. Kolb et al. adapted their theory which characterized experience as central to the
learning process (Kolb et al., 2000). Kolb et al.’s theory was distinct from cognitive and
behavior learning theories in that it included a holistic model of the learning process (Kolb et al.,
2000). His team identified different learning styles based on preferences for action or thinking.
The internship experience itself in many cases follows Kolb’s et al. Learning Model
(2000). A successful internship is based-on experience in the workplace. The intern works with
professionals in a real-world environment. Here the intern observes the inner-workings of the
company. The intern many times is asked to do mundane tasks while observing their mentors or
superiors. The purpose of these tasks is to: (a) see how the intern responds (attitude) to the task,
(b) the ability to work with other people, and (c) how the intern reflects on how their attitude can
affect their future employment. In many internships, students are asked to write script coverage
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Source: Kolb, D. A. (2007, February). Experiential Learning.

Figure A: Kolb’s Experiential Learning Style

(evaluating a literary property for consideration for production) to determine whether the
production company, studio, or director will invest its resources in producing the script. Here,
the intern analyzes the script, creates a written report, and provides an oral opinion to the intern
supervisor. The input by the intern can impact the decision of the employer to develop the script
or pass on it.
Zehr (2016) commented in her recent dissertation that
quite a bit of literature exists related to experiential learning, particularly co-operative
education, but few studies involve qualitative methods to understand student experiences
and the literature does not address the types of tasks or responsibilities that students
assume through experiential learning. (p. 30)
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It is important for researchers to examine and perform qualitative studies to assess and
evaluate internships because only a
Few studies focus on the tasks and responsibilities students are given through experiential
learning; however, these studies do provide some context as to the outcomes of
experiential learning, as well as faculty perceptions, which relate to the significance of
the study. (Zehr (2016, p. 30).
Even though internships have increased dramatically over the last decade (Frenette,
2014), relatively little research has been put forward to determine the effectiveness of
internships.
An Exploratory Model by V. K. Narayanan from Drexel University, Paul M. Olk from
University of Denver, and Cynthia V. Fukami from University of Denver (Narayanan, Olk, &
Fukami, 2010) was developed in 2009 for understanding the determinants of internship
effectiveness. Narayanan et al. (2010) came up with a study and created a model that could be
applied to relationships between an internship, the university, and the employer. The following
model is entitled: “Determinants of Internship Effectiveness Internship Model” appears in
Table 2. Along the top of the figure, it distinguished the antecedents to the internship from the
internship process itself and each of these from outcomes.
Within each column, it identified the activities of the actors as they were named. The
items marked by an asterisk in the Internship Model have corresponding measures in the
empirical model. The authors discovered that the outcomes from the internship experience can
be divided into three parts. They concluded that the outcomes of interest include
(a) organizational benefits from the completion of the internship project, (b) enhanced
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capabilities of the company and the university, and, at the student level, (c) skill development
and career enhancement. This created a win-win-win situation for all the participants.
Equity, Diversity, Gender, and Socioeconomic Issues
In examining the issue of diversity in the entertainment industry, the literature addressed
several authors including Swan (2015), Frenette (2015), and O’Malley (2016) who tried to find a
way to change the system. Many addressed it in the literature as a question of equity and
diversity due to the socioeconomic factors of students who wanted to have internships, but
because the students did not have wealthy parents or could not obtain scholarships, financial aid,
or a reduction in tuition, they could not participate. It will take a major overhaul of the way that
universities address this problem and how employers find alternatives to deal with it so that all
students who want to participate will be able to have this opportunity.
This area of internships in the entertainment industry is an important one to address and
to discover what is being done to correct this problem. The issue of gender was specifically
addressed in Shade and Jacobson (2015). Their article raised questions about the impact that
internships in general and specifically how unpaid internships deal with gender and financial
status. The participants in the study stated that without the financial and emotional support from
their parents they would not be able to participate in the internship program. Again, the
internship process created an elitist environment where the chasm between the “haves and the
have nots” continued to broaden. These internships also impacted the employment rate.

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Table 2
Determinants of Internship Effectiveness Internship Model

Source: Narayanan et al. (2010, p. 16)

The unemployment rate for university graduates ranged from 14% to 19% as these entry-
level jobs are being filled with unpaid interns. During NACE’s yearly studies in 2015, 2016, and
2017, it was noted that most interns in engineering, computer science, technology, and business
management received salaries during their internships while those in the arts were rarely paid.
The “Black Swan” lawsuit challenged the concept of unpaid internships.
Antecedents Processes Outcomes
Employing firm ’s preparedness
for the internship
Awareness of university’s interests
 Prior Ties
 Careful screening and
matching*
 Similarity in strategies
Internal organizational context
 Size*
 Resources available
Internship structure formality
 Project definition*
 Selection of students*
 Matching the projects
with students*

Student ’s ability to transfer and
apply university knowledge to
internships
General academic preparedness*
Internship readiness
 Awareness and choice
about project
 Choice of faculty advisor

University Preparedness for the
internship
Awareness of company’s interests
 Prior ties
 Careful screening or
matching*
 Similarity in strategies
Internal organizational context
 Size
 Degree
 Program
Internship structure formality
 Faculty preparedness
 Faculty selection role*
 Selection of students*
 Matching the project
with students*

Employing firm ’s interaction with
university and student
Communication with and commitment
to the university
 Arms-length or embedded
Managing the process
 Feedback to student and
supervisory support*

Student ’s commitment to the
internship
Motivation
 Task and knowledge
challenges
 Initial student learning*
Communication
 With faculty and employer

University ’s interaction with
employing company and student
Communication with and commitment
to the employer
 Arms-length or embedded*
Managing the process
 Feedback to student and
faculty mentoring*

Employing firm ’s tangible benefits
and enhanced capabilities
Proximal
 Project completion*
 Project productivity
 Potential recruitment
 Initial inflow of ideas
 Student satisfaction*
Distal
 Continued inflow of ideas
 Stronger linkages with
academic institution

Student ’s skill development and
career enhancements
Proximal
 Student satisfaction*
 Student placement
Distal
 Career prospects

University ’s enhanced capabilities
and facilitation of student
development
Proximal
 Student satisfaction*
 Student placement
 Quality of student
programs
Distal
 Inflow of research ideas
 Stronger linkages with
employing firm
 Reputation for student
placement
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The issue of gender as Shade and Jacobson (2015) discussed was an issue also, especially
in the beginning of a student’s internship. Many thought that assignments were given out in a
sexist manner. Women interns were asked to get coffee while their male counterparts were
asked to perform more important tasks such as taking minutes at a meeting. They were made to
think that they were “paying their dues” in what was described as a ruthless method to secure a
paying position.
Variety, the weekly trade paper magazine of the film industry, recently reported on
diversity issues and highlighted the work of a non-profit organization created by Dorothy
Thompson in 1992 after the Rodney King uprisings in Los Angeles called Streetlights to provide
training to ethnic minority youth to become Production Assistants in the industry (Gray, 2016).
Offered three times a year to a group of 15 individuals who receive 240 hours of training, they
provide the industry with trained Production Assistants which can be the first step to a job
working in production. Many of their former students are moving up the career ladder as they
gain more experience and network. Randy Huggins, who was a graduate of the program, is now
the Supervising Producer of a Starz original TV show, “Power.” Streetlights is based at Raleigh
Studios in Hollywood. Not everyone who wants to work in the industry has the luxury of
enrolling in or the ability to attend college and have an unpaid internship. The Streetlights
program addresses this and targets ethnic minority individuals as their constituency. This is one
example of a successful training program that was created to increase diversity in the
entertainment industry.
In late 2016 as a result of the 2016 Oscar race and the lack of diversity, the Academy of
Motion Pictures Arts and Sciences (AMPAS) created the Academy Gold Summer Internship
Program. The Variety article discussed how Edgar Aguirre was appointed as the Director of
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49
Talent Development and Inclusion with his background in philanthropy, community outreach,
and public policy. This new 2017 eight-week, paid summer internship and mentoring program
will address underrepresented communities. Plans are for 50 interns (undergraduate and
graduate) to provide them with internships, networking opportunities with Academy members
and industry professionals, screenings, and educational workshops. AMPAS will track the
professional development of these Academy Gold alumni as they transition into both above-the-
line and below-the-line careers in the industry (Tapley, 2017).
Honthaner, an adjunct professor at USC and Deputy Director of the California Film
Commission, in her recently updated book, Hollywood Drive, wrote an entirely new chapter
entitled “Leveling the Playing Field” to provide information on the various programs that are
directed to address equity, diversity, gender, and socioeconomic issues. It is a detailed resource
on all the new initiatives in the entertainment industry (Honthaner, 2017).
Why Internships are Important Today?
Realizing that internships benefit all the parties; students, employers, and universities, the
percentage of schools offering the internship experience is approximately 90% (Cook, Parker &
Pettijohn, 2004; Gault, Redington, & Schlager 2000). Even with the surge of lawsuits and court
cases, internships are still prevalent. Today, larger studios and production companies are paying
minimum wages to its interns. One reason for this continual demand for internships is that
everyone wins. Rick Rekedal, a former executive at DreamWorks Animation, in 2016 stated in
an unpublished interview “that students benefit from internships because the professional work
experience makes them more marketable and we, the employers, like internships because they
provide risk-free-trial access to potential future employees” (Rekedal, November 10, 2016).
Furthermore, successful internships help build a pipeline between the school and the companies
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(Frenette, 2013). A further illustration of the relationships and roles of the three stakeholders:
the institution/department, the student, and the employer is depicted in the Venn diagram in
Figure B. Each circle of the diagram corresponds with the stakeholders in the researcher’s study
of students, universities, and employers. Using Figure B, one can visualize this relationship
among institutions, student interns, and employers (Divine, Miller, Wilson, & Linrud, 2008).

Source: Patel (2015, p. 15); (Adapted from Divine, Miller, Wilson, & Linrud, 2008)

Figure B: Alignment Structure of the Institution, Interns and Employers

Given the present economic conditions in the world, it is beneficial that university
graduates understand what employers’ value most as they prepare to enter the job market. In
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December 2012, The Chronicle of Higher Education published Figure C entitled: “What are
Employers Looking For?”
Work experience, especially as an intern, has become the driving force when employers
are searching for people to hire as full-time employees. Interns, who have interned for these
companies, are increasingly becoming a major source in this marketplace (White, 2013).
Another advantage for the employer is that internships provide an opportunity to evaluate
potential employees at a bargain rate (many times unpaid). On the other hand, students who are

Source: The Chronicle of Higher Education (2012, p. 24)
Figure C: What are Employers Looking for?

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economically disadvantaged are not necessarily afforded the same opportunity (Tripp, 2015).
Students in the arts traditionally were a major group who utilize the internship route as entrance
into their fields (Frenette, 2013). Today, it is understood that the internship path is a critical road
to gaining entrance into these industries. It is almost impossible to obtain a job without this
experience (Shaginian, 2014).
More and more employers are emphasizing the need for students to have some work
experience to be competitive in the marketplace for a full-time job, and many companies have
increased their intern conversion rates, which measures the number of full-time positions they fill
with college graduates who previously interned at the company (White, 2013).
In addition to this, the expense of attending college has risen to an all-time high and in
many cases students have accrued large debt for attending. Zehr (2016) stated,
as tuition increases, the ability to secure a good job after graduation has become more
important to students and to their parents; the emphasis on return on investment in
college tuition continues to grow in importance. As a result, more and more students will
participate in experiential learning programs to enhance their marketability and relevant
experience. This means that higher education institutions will need to address
experiential learning and its role in the curriculum. (p. 11)
University administrations and faculty should be concerned about internships and their
place in higher education. Faculty and higher education leadership need to understand what
students learn as a result of experiential learning programs; they will likely be challenged to
assess the academic value of what is learned as experiential learning becomes a more critical
aspect of the curriculum. This is especially true given the recent attention from the government
on gainful employment of graduates and the accurate reporting of placement statistics as well as
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several recent reports focusing on salary statistics for higher education graduates. In addition,
some institutions are now awarding credit for life experiences, prior learning, and/or
demonstration of competencies; similarly, these new developments are likely to become more
common rather than less, increasing the importance of understanding what students learn through
experiential learning programs (Zehr, 2016).
Conclusion and Recommendations
The review of the literature revealed to the researcher what has been addressed in terms
of defining internships and the skills to possess before, to learn during, and to obtain afterwards;
paid versus unpaid internships; the various learning theories relevant to internship programs, the
challenges to increase equity, diversity, gender and socioeconomic issues in internship programs,
the implementation of evaluation methods for the students and for the colleges and universities;
and why internships are important today. It is imperative to develop and implement strategies
for further research.
The various facets of internship programs in the entertainment industry are important
areas to address because there is a need to find solutions to the various concerns and problems.
More students need to gain the knowledge and understanding of the infrastructure and hierarchy
of the entertainment industry so that they can decrease the amount of time spent after graduation
in obtaining entry-level positions. Colleges and universities must begin to recognize that if they
are advocating for more students to participate in their internship programs as the point of entry
into the entertainment industry, then they need to provide more data on the success rates of
students obtaining jobs after the completion of an internship program. They need to provide
data, track this information, and disseminate it to the various stakeholders that it affects –
students and their parents who are footing the tuition bill and living expenses. By not solving
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54
this problem, they leave themselves open to criticism that they are not doing enough on behalf of
their students to help them in their potential work opportunities and toward attaining their future
careers. The other stakeholders are the industry employers who claim that they are seeking new
employees from the pool of recent graduates and want them to be trained in the skill sets that are
required for the specific jobs. They also want them to be savvy about the infrastructure and the
organization of the entertainment industry.
The following recommendations can be suggested for further inquiry and research into
finding possible solutions to these problems.
First, approach entertainment industry employers (production and studio companies) to
create more paid internship programs to ease student debt and parent support to allow more
students to participate in internships.
Second, return to the colleges and universities to start a dialogue with the deans and
higher education administrations to find a solution to support students through scholarship funds
so that students can participate in these essential programs and make internships a mandatory
part of the higher education curriculum.
Third, approach each talent guild (Directors Guild of America, Writers Guild of America,
Producers Guild of America, Screen Actors Guild/American Federation of Television and Radio
Artists, SAG-AFTRA), major labor organizations and collective bargaining entities
(International Alliance of Theatrical Stage Employees, IATSE), and industry organizations and
associations (Academy of Motion Picture Arts and Sciences, Film Independent, the Sundance
Institute, International Documentary Association, Gay and Lesbian Alliance Against
Defamation, GLAAD, etc.) to gain their support to address diversity and gender issues and to
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55
provide the necessary training and networking opportunities for students through internship and
training programs to make them accessible to all who are interested in participating in them.
Finally, create equitable access and demand diversity in the entertainment industry or it
will continue down the same road it has been traveling for the past 124 years, since the invention
of film in 1894, and deprive all who want to enter. “Everyone’s voice matters” and the door
should not be closed to anyone. Open the door to the future and the students will gather to tell
their stories, to work in the industry, and to achieve the awards and honors that should be
bestowed upon them. The methodology of the study will be discussed in Chapter Three.

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CHAPTER THREE: METHODOLOGY
Authors: Edward H. Eiseman and Selise E. Eiseman
4

Introduction
The subject of internships in the entertainment industry always receives a great deal of
discussion when the topic comes up at the annual five-day conference of film school educators.
Last year at the 70th annual University Film and Video Association (UFVA) conference,
“Content Creation in the Twenty-First Century,” in Las Vegas, Nevada nearly 400 professors,
administrators, graduate students, and staff attended to hear panel presentations such as Life after
Film School (August 1, 2016), watch student films, and share information in their various
academic disciplines. The opportunity to see how colleges and universities prepare their students
to enter the industry workforce, what industry employers expect of their interns, and how
students are obtaining hands-on experience through their internships are important areas to study
since there needs to be a measure to determine if internships are providing students with the
necessary skills and tools to make them ready to transition from internships to entry-level
employment upon graduation.
Purpose of the Study
The research study examined the factors that contribute to students having successful
internship experiences, how universities play a role in the students’ acquisition of skills so that
they can obtain the internship and be prepared for the workplace, and the employers’ role in
providing the structure and oversight of their interns and through their help in transitioning them
into paid positions in the industry upon graduation from their university.

4
Chapters One, Two, and Three were jointly written by the authors listed, reflecting a team approach to this project.
The authors are listed alphabetically, reflecting the equal amount of work by those listed.
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Research Questions
The research questions that were examined in this study are:
1. What are the agreed upon skills that students need to obtain in the entertainment industry
a) before they take an internship, b) during their internship, and c) after their internship so
that they are best prepared for the workplace?
2. How can internship programs prove to be the catalyst for students seeking entry-level
jobs and does it speed up the process of obtaining a job?
3. What are the equity, diversity, gender, and socioeconomic issues that internships need to
address in the entertainment industry?
4. How can students be evaluated to ensure that they have acquired the necessary skills and
in turn how can college and university programs be evaluated for providing these skills
for their students?
The hypothesis of these research questions is to answer these questions through
qualitative methods (conducting interviews and observations) and quantitative methods (surveys)
with the various stakeholders (interns, college and university administrators, and industry
employers) so that it can lead to an understanding of the problem that exists in having an
internship program in the entertainment industry.
Method of Study
Rationale for Mixed-Methods Study Design
A mixed-methods study design allowed for all the stakeholders to share their perspectives
on the internship process. Looking at it through data compiled and collected through surveys
with a larger population of interns, other college and university program administrators, and
industry employers who supervise other university interns provided additional data that can only
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be obtained exclusively through quantitative methods. An ideal number took the survey; 53
from the interns, 18 from the university administrators, and 10 from the industry employers.
This provided a good sample of the population.
Using the qualitative methods of interviews and observations with each of stakeholders
from one university internship program (case study) will provide specific information on the
interplay between the various stakeholders together and their collaboration. The researchers
interviewed five stakeholders in each category of stakeholders to elicit a plethora of perspectives.
A comparison of this small sampling with the quantitative data to determine what emerged in
similarities and differences and how the results applied to the four research questions of the
study.
Quantitative Instrumentation
The ability to ask many interns, university administrators, and internship supervisors
questions through an online survey (Qualtrics Experience Management) provided quantitative
data that enhanced the study. All of the participants (Target Population) were given an
anonymous, online survey (with a Qualrics link sent to their emails) and they could complete at
their convenience. This was a self-reported survey that the students, university administrators,
and industry internship supervisors completes. The internship participants had the opportunity to
self-report using the Qualtrics link. A follow-up reminder was sent two weeks after the initial
request to encourage higher participation.
The survey assessed specific skills that were applicable to the interns in either question 1
or 2 and answered by all stakeholders about skill competencies of the interns in an internship
program (see Table 3).

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Table 3
Sample Questions in Quantitative Approach Survey
Competency Skills Rating
Critical Thinking
Problem Solving
Professionalism/Work Ethic
Teamwork
Oral/Written Communications
Digital Technology
Leadership
Career Management
Global/Cultural Fluency

Rate the above Competencies
Based on a 4-point scale
1–Strongly Disagree
2–Disagree
3–Agree
4–Strongly Agree

Qualitative Instrumentation
Qualitative methods were used because they provided an opportunity to interview and
observe in the natural environment where the study took place. According to Merriam and
Tisdell (2016), it is best if “qualitative researchers are interested in understanding the meaning
people have constructed; that is, how people make sense of their world and the experiences that
they have in the world” (p. 15) to allow for open-ended questions to study respondents over the
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course of questioning them. The researcher is the primary instrument to collect the data and
analyze it. This allows for the researcher to gain understanding through “nonverbal as well as
verbal communication, process information (data) immediately, clarify and summarize material,
check with respondents for accuracy of interpretation, and explore unusual and unanticipated
responses” (p. 16). This way you can probe and dig deeper to allow for a more detailed
knowledge of the respondents’ experiences. Creswell (2009) stated “those who engage in this
form of inquiry support a way of looking at research that honors an inductive style, a focus on
individual meaning, and the importance of rendering the complexity of a situation” (p. 4) to
support qualitative analysis and data collection instead of quantitative analysis. Patton (1985 as
cited in Merriam and Tisdell, 2016) stated that if you can “understand situations in their
uniqueness as part of a particular context and the interactions there” (p. 15) then it will lead you
to a better understanding of the subject.
Interviews provided an opportunity to ask specific questions and allow the participant to
answer in a way that they saw fit from their individual perspective. Weiss (1994) described the
importance to record what is said so that the researcher can obtain information to help focus on
what is being said by the respondent. The interviews were transcribed and it is best to have a
professional service do them because they are very time intensive. All the interviews were sent
to rev.com, a transcription service that is known for professionally transcribing interviews
efficiently and cost effectively. It will be an excellent approach to have a permanent record of
what each respondent answered to the research questions during their interviews.
The use of observations to see if what the interview subject describes and what is actually
occurring during the observation of them in their environment was also very helpful. Merriam
and Tisdell (2016) described several approaches to collecting information from observations
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from being a complete participant, to a participant observer, to an observer as participant, to a
complete observer. In more recent studies a fifth approach has evolved as a collaborative partner
with the researcher’s identity clearly apparent to everyone that is present that an observation is
occurring. Observations in the natural environment are always preferred as it is the setting where
“the phenomenon of interest” occurs and it will lead to a better understanding of the setting of
the respondent. Qualitative researchers have commented on the use of observations to
“triangulate emerging findings” so that it can substantiate the findings along with the interviews
and document analysis.
Interviews and observations allowed the study to “dig deep” with each respondent who
will be either interviewed or observed, or both. Using qualitative methodology provided a much
more detailed analysis of the problem that exists in making the internship experience an optimal
one for each individual student. There were many different career paths that were profiled in the
choice of respondents who were selected and interviewed for the study of the students
participating in the internship experience. The researcher studying the perspective of the
university in the internship experience interviewed a variety of faculty and administrators. The
third component was interviews with various entertainment industry employers to gather their
perspective on the internship process.
Sample Population
The process of selecting interview respondents was to find subjects who were willing to
speak about their experiences in being an intern, in teaching and administering their university
internship program, and in supervising interns at their companies. In doing so, it was necessary
to use purposeful selection. The selection was representative of the sample and included
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heterogeneity in the population to test the theories, compare the similarities and differences, and
to establish productive relationships.
The appropriate people to conduct the interviews were interns, faculty and administrators,
and individuals who supervised interns of which some interned themselves at the same company
that ultimately hired them to work full-time afterwards.
The rationale for selecting various settings (sites/events/processes) for observations was
dependent on gaining access to their studio or production company. It was important to see a
very large studio operation and how they dealt with interns as part of their workforce.
Observations at a small digital production company that has numerous interns working side-by-
side with their young staff was also of value and interest as this is the workplace of the future in
new technology and platforms. Some companies did not permit observers because of security
reasons and it was sometimes difficult to observe interns and employers in their work
environment. As a respondent stated during a pilot study, “it is harder to get into their
production company than to get into Fort Knox.” Faculty and university administrators could be
observed at the classroom site and offices of their satellite campus in Los Angeles, or by visiting
them or videoconferencing them on the main campus of their university. The other respondents
could be interviewed at various restaurants and coffee shops in Los Angeles, which was the
researcher’s challenge to find a quiet place to talk and record the interviews and make notes.
The settings were the appropriate settings to observe because of seeing where the interns
and their internship supervisors work and the accommodations that were made for their interns in
the workplace.

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Concept Map
In Appendix A, the conceptual framework and concept map of the acquisition of skills
that interns should obtain in their internship.
The literature review in Chapter 2 revealed several themes that repeated themselves
throughout the various articles and books that were analyzed regarding the skill acquisition of the
interns. These included: (a) how can the interns obtain the necessary skills that will help them
gain an entry level position in the entertainment industry? and (b) what can the employer
(internship supervisor) expect from the interns and what skills should they try to instill in them
during the internship period? These two questions were an intrinsic element of every research
study or article that the researchers read as part of the literature review.
The dual nature of the conceptual framework shows the relationship between the interns
and the internship supervisors. This reflected the need for them to work together in order for the
employers to provide an educational experience for the interns and for the interns to experience
this immersive educational experience. The internship program was developed by the university,
administered by an internship administrator, attended by the interns, and the employer
(internship supervisor) selected the intern as their intern for a semester. In general, the interns
arrived in Los Angeles from their respective university from other parts of the country to
experience a real-world work experience. The internship supplemented their theoretical
classroom experience and either their student film and television productions on campus or their
music industry classes and performances. The list of skills that the interns brought to the
program are listed in the left column of Appendix A, critical thinking/problem solving,
professionalism/work ethic, teamwork, oral/written communications, digital technology,
leadership, career management, and global/intercultural fluency. On the right-hand side are the
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employers and their designee, the internship supervisor. They selected the intern from many
applicants from university internship programs and identified specific skills they sought in an
intern. The internship supervisor continued to help the intern to acquire these specific skills
during their time of interning with their company. The skills from the employers’ side were
listed in the right column: works well with others, professionalism, communication skills,
initiative/motivation, observed working hours, seeks out advice when appropriate, showed
creativity/new ideas, and showed ability to work independently. Once the intern completed the
internship, the internship administrator would ask the internship supervisor to assess and
evaluate the intern on the skills that would lead to future employment in the entertainment
industry. A questionnaire was sent to the internship supervisor at the conclusion of the program
and returned to the internship administrator. The questionnaire was based on a letter grade for
the internship course and this better assisted the intern with a benchmark to determine if they had
acquired these skills during their internship period. A qualitative aspect of the questionnaire
was: asking for comments about how often they met, what issues they discussed, if they would
recommend the intern for a job, and would they consider employing the intern in the future at
their company. The box for the internship administrator explained their role as an individual
responsible for placing all the interns, supervising their interns throughout the semester,
evaluating the interns, and finally evaluating the employers who provided the internships to
ascertain if it was a good educational experience for the interns. The last step in this process was
the university, when the internship administrator provided the university with the evaluations and
determined the grades for the interns. It is the responsibility of the university to decide if this
was a valuable part of their curriculum and their degree requirements and to either determine to
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65
continue the internship program, adjust it, or to reevaluate how it was administered and
implemented.
The conceptual framework helped to formulate the themes and research questions which
answered the validity of internship programs in the entertainment industry. The bottom line is -
Can the intern acquire the skills that will lead to a job in the industry?
Data Collection
Different Interview Protocols were used for each of the stakeholders who were
interviewed. Samples of the Interview Protocols that were originally created by the researchers
for a pilot study with the interns, university administrators, and industry employers, and then
revised for this actual research are in Appendix B and Appendix C.
The structure of the questioning for the interviews were semi-structured with open-ended
questions being more frequent than structured (Merriam & Tisdell, 2016). This format provided
the researcher with the latitude to move from question to question or probe deeper into the
participants’ responses. As the interviews continued, questions were adjusted or reordered so
that the questions and interviews flowed. This provided the researcher with a clearer
understanding and insight about the respondents and how to use these findings in future
interviews with them (Merriam & Tisdell, 2016).
Since the first part of the interview focused on the internship experience, all of the
interviews began in the same manner. Since each respondent had different experiences, the
researcher attempted to probe to find out why or why not parts of their internship experience
were successful. It provides their insight as to what worked and what did not work for them.
Backtracking to get information about their experiences was helpful even if it was in silence or a
nod (Glesne & Peshkin, 1992).
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66
For those who were employed in the industry, the researcher further pursued how their
transition from intern to employment occurred. The question asked if they were hired by the
company, hired by another company, or did not find employment. The researcher inquired about
the causes and asked if they would do anything differently, if they could do the internship
experience again.
All of the interviews were recorded on a digital voice recorder and were between 30 and
60 minutes in length. The interviews were conducted either at the place of employment or at a
restaurant or coffee shop near the home or office of the respondent, whichever they preferred.
Attire in the entertainment industry is casual and everyone wears jeans, sneakers, and t-shirts so
the interviewers were attired similarly. The time that the interviews were scheduled was late in
the afternoon, early evening, or on the weekend for the interns and during the workday for the
faculty, university administrators, and employers; whatever worked with the respondents’
schedule. It was important to take notes, but equally as important to try and maintain eye contact
with the respondents as the questions were asked.
Observations were captured at the respondents’ place of employment by taking some
photos on an iPhone when it was appropriate and approved. This was an overt method since
permission was required and the respondent was informed that it was occurring as part of the
study. Sometimes respondents stated that it was impossible to observe them at their place of
employment because of the confidentiality of the work that they did and not having the approval
of their superiors. The university administrators that will be interviewed were be at the satellite
campuses, but it was necessary to visit them on the main campus. Each of the observations for
the studio sites were scheduled between a half-hour to an hour-and-a-half per visit. If it was
difficult to take notes at the time of the observation, then notes were written of what was
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observed during the interview or observation immediately afterwards. This allowed the
researcher to paint a mental picture of what was observed and how the interview went with each
respondent in their place of employment. Additionally, if photos of the location could be shot at
the time of the observation this helped further.
Data Analysis
The data analysis process attempted to answer the research questions. The researchers
are interested in the career preparation that was needed for entry-level jobs in the entertainment
industry, and how college and university film and music industry business faculty and
administrators could provide the necessary skills so that their students could transition from
college students, to interns, to industry employees.
After all the interviews were transcribed by the professional transcription service, the
process of coding began. By reading and re-reading the transcripts, similarities and differences
and certain common themes appeared. Compilation of this information was completed using a
computer-generated statistical software program to analyze the data. Once it was coded, then the
process of compiling the results of the data analysis was reported in the findings of the research.
Observations can be coded also to discover similarities and differences in work environments
and staffing. The survey forms were compiled and enumerated to see the results from the larger
pool of respondents.
Reliability and Validity
In order to ensure reliability of the data, the researchers were systematic in their approach
to sample selection, the creation of the interview protocols for each of the stakeholders, through
coding of the data, and for the search for themes and answers to the research questions.
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Validity was ensured by the researchers’ triangulating the interviews with photos and
notes taken at the time of each interview. Both researchers participated in the questioning of
each of the interviewees in order to arrive at a clearer picture of the respondents.
Confidentiality
Confidentiality was maintained throughout the entire data collection and data analysis
process with the various stakeholders (students, administrators, and employers). All of the
surveys are anonymous, and the interviews and observations are stored in a safe location and not
shared with others.
Ethical Consideration
The researchers obtained approval in May 2017 and followed protocols established by the
Institutional Review Board (IRB) at the University of Southern California. The researchers
invited interns, university administrators, and industry employers to participate in the study and
it was voluntary. All of the participants were over the age of 18. Before the interviews, all of
the participants were informed that the interviews would be recorded and transcribed as part of
the study. The researchers used pseudonyms in the final write-up. Generalization of the
observations occurred so the identity of a particular company or studio was confidential.
Conclusion
Students need to attain and show proficiency in acquiring 21st century skills to survive
and thrive in the entertainment industry. These may or may not be universal throughout the film
and music industry since it depends on the type of projects, the size of the studios and production
companies, and the specifics for each job category. There are many different methods to doing
the same job and sometimes no commonality existed. Students need to have a foundation in
communication skills and some essential knowledge of the background and history of
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filmmaking and for those interning in the music industry a grasp of the different genres of music,
the artists, contracts, recording technologies, and streaming. This can be taught at the college
and university level and can also be learned on the job with mentors who are willing to share
their knowledge with their interns. The entertainment industry is an ever-changing industry as it
morphs into the future of storytelling. However, it always starts with a story no matter what the
technology is and this is the first thing that students must learn in their studies, at their
internships, and at their jobs is that story is king.
There is a lot at stake to get it right for all the vested participants in the internship
process. The colleges and universities need to know that they are educating their students to
meet the future needs of the industry while the students need to be able to find employment and
ascend the career ladder in their chosen area of interest. The employers need to identify the best
and brightest in the student job market. This enables the industry to open the door to the future
for all who wish to enter its magical kingdom. The research follows in Chapter Four.
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CHAPTER FOUR: RESEARCH FINDINGS
Introduction
Over the last 20 years, internship programs have become a dominant factor in opening a
pathway to employment in the entertainment industry (Frenette, 2013). Schools of higher
education are providing students with the opportunity for hands-on experiential learning in Los
Angeles while opening doors for future employment in an industry where connections and
networking play a major role on an individual’s road to success (Frenette, 2013). The structure
of the entertainment internship program as part of an academic curriculum is a critical part of any
undergraduate program as well as the internship experience itself. Selecting a program with an
internship component that meets the needs of its participants is paramount to its success. In the
eyes of many practitioners, this is the gateway into the entertainment industry.
Students stated that interning was the most effective method of securing an entry-level
position (Rolston & Herrera, 2000). Compared to the 1980s, internship programs offered by
universities and colleges reached record highs in participation by college students. According to
the National Association of Colleges and Employers (NACE), two-thirds of the class of 2013
participated in internship programs (Lamberti, 2013). Intern Bridge, a college recruiting and
coaching organization, reported that unpaid internships make up greater than 50% of internships
annually (Lamberti, 2013). In the entertainment and media industry, unpaid internships are at
68%. This is the highest percentage of all subgroups in the NACE study (Lamberti, 2013). The
big question that is repeatedly asked: “Will my internship lead to employment in the
entertainment industry?”

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71
Focus of Study
This research study examined the factors that contribute to students having successful
internship experiences in the entertainment industry and how the students acquired skills so that
they can transition into paid positions upon graduation from their university.
Research Questions
The research questions that were examined in this study are:
1. What are the agreed upon skills that students need to obtain in the entertainment industry
a) before they take an internship, b) during their internship, and c) after their internship so
that they are best prepared for the workplace?
2. How can internship programs prove to be the catalyst for students seeking entry-level
jobs and does it speed up the process of obtaining a job?
3. What are the equity, diversity, gender, and socioeconomic issues that internships need to
address in the entertainment industry?
4. How can students be evaluated to ensure that they have acquired the necessary skills and
in turn how can college and university programs be evaluated for providing these skills
for their students?
The hypothesis of these research questions is to answer these questions through mixed
methods. The stakeholders are students or alumni from a university located in the Southern
region of the United States who had participated in an internship program in Los Angeles. Both
qualitative methods (conducting interviews in Los Angeles and on the school’s main campus)
with the various stakeholders and quantitative methods (online surveys) were used so that it can
lead to an understanding of the problem that exists in having an internship program in the
entertainment industry.
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School Demographics
The participants in this study were students at a prestigious school located in the Southern
portion of the United States. The university is accredited by the Southern Association of
Colleges and Schools Commission on Colleges to award baccalaureate, master’s, and doctoral
degrees.
In the 2017–2018 school year, the number of undergraduates attending this university
was 6293 students (U.S. News & World Report, 2017). This report stated that 3988 students or
63.3% were female and 2305 students or 36.7% were male.
The Howard Hawks University’s School (pseudonym) of Entertainment and Music
Business is the largest school within this university. The student population represents 32%
(2014 students) of the total undergraduate enrollment of this university. The ratio of female to
male students at HHU are consistent with the demographics of the university. The major areas
of study within HHU are the Music Business Department which includes the Entertainment
Industry Studies (EIS), Audio Engineering, and Songwriting. The newest major or department is
the Motion Pictures Department. The Motion Picture Department was created in 2012 and
represents 13% (270 students) of the students in HHU. According to Billboard Magazine, it
ranked #2 among the Top Music Business Schools in the United States (Olsen & Duffy, 2017).
Demographics of the Participants in the Quantitative Survey
A 40-question questionnaire was created for the quantitative part of the study. Based
upon the design criteria utilized for this study, 160 students were identified as students or alumni
at HHU’s School of Entertainment and Music Business. They had participated in the school’s
internship program in the Entertainment Industry in Los Angeles as part of their college
experience. Of these participants, 55, or 34.38%, completed the questionnaire. This survey was
FROM THE PERSPECTIVES OF THE STUDENTS

73
distributed by email and gathered by Qualtrics Experience Management Platform, an online
survey company recommended by the University of Southern California. Forty, or 72.72%,
respondents were female while 15, or 27.27%, were male. The ratio of respondents, female to
male, was consistent with the ratio of female to male students, 98 females to 62 males, who
participated in the Los Angeles Internship Experience (see Figure D).

Figure D: Gender of Quantitative Respondents

Table 4

Gender of Quantitative Respondents
# Answer % Count
2 Female 72.73 40
1 Male 27.27 15
Total 100 55

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Another characteristic of the respondents who participated in the Los Angeles Internship
Program was their age. Even though this was not the first internship for the students, their ages
aligned with the typical college-aged students, ranging from 18-years-old to 23-years-old at
graduation. However, the highest range of the participants’ ages were from 20-years-old to 21-
years-old (33 respondents). Percentage-wise this grouping was 62.00%. The next highest
grouping was from 22-years-old to 23-years-old (14 respondents) at 25.45%. The remaining age
grouping were participants 24-years-old and older (5 respondents) at 9.09% and from 18-years-
old to 19-years-old (3 participants) or 5.45% (see Figure E).

Figure E: Ages of the Interns during Their Los Angeles Internships

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Table 5

Ages of the Interns during Their Los Angeles Internship
# Answer % Count
1 18 - 19 years old 5.45 3
2 20 - 21 years old 60.00 33
3 22 - 23 years old 25.45 14
4 24 years old - above 9.09 5
Total 100 55

Since one of the goals of the Internship Program is for the internship position to morph
into a paid position with the company, most of the participants coming to Los Angeles are either
in their junior or senior year at the university. Most companies look at internships as a way to
determine if there is a good fit between the intern and the company. Also, for many of these
participants, this is the last of several internships and serves as a seamless passage into the
industry. Of the 55 respondents who answered the question, 28, or 50.91%, of the respondents
were seniors and 25, or 45.45%, were juniors. The remaining respondents were either 1 or
1.82% sophomores or 1 or 1.82% freshmen (see Figure F). Many of the freshmen, sophomores,
and some of the juniors looked at this internship as an opportunity to see if they liked the
“Hollywood Scene.” The remaining juniors and all of the seniors were hoping to find future
employment through their internships or make connections to gain other positions in the industry
(see Figure F).

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76

Figure F: Year in College during Los Angeles Internship

Table 6

Year in College during the Los Angeles Internship
# Answer % Count
1 Freshman 1.82 1
2 Sophomore 1.82 1
3 Junior 45.45 25
4 Senior 50.91 28
Total 100 55

Since the creation of Film, Television, and Digital divisions of HHU in 2012, 49 students
participated in the Los Angeles Internship Program. Of this group 16 completed the quantitative
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77
survey. From 2015, 110 students of the Music Business of HHU participated in the Los Angeles
Internship Program; 44 students completed the quantitative survey. The remaining student who
attended HHU and participated in the Los Angeles Internship program was a Graphic Design
major (see Figure G).
This study focused on students majoring in Music Business and Motion Pictures (Film,
Television, and Digital). Of the 56 respondents, 38, or 69.09%, majored in Music Business, 16,
or 29.09%, majored in Film, Television, and Digital, with one, or 1.82%, in Marketing, and one
in Graphic Design (see Figure G). One of the requirements for the respondents was that they all
participated in a Los Angeles Internship program.

Figure G: Interns’ Major Area of Study as an Undergraduate

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Table 7
Interns ’ Major Area of Study as an Undergraduate
# Answer % Count
1 Film, Television, Digital 29.09 16
2 Music Business 69.09 38
4 Other (please specify) 1.82 1
Total 100 55

Profiles of the Individuals Interviewed (Demographics)
Over the course of a year, 18 individuals who are presently students at HHU or have
graduated from HHU were interviewed for this study. There were 12 females, or 66.7%, and six
males, or 33.3%, interviewed for this study. Of the 18 interviewed, nine, or 50%, were alumni
and nine, or 50%, interviewees were students at HHU. There were 10 women and eight men
interviewed. There were 12 Music Business majors and six Motion Picture majors (see Table 8).
Some were interviewed at various locations in Los Angeles and others were interviewed at
HHU’s main campus. The interviews ranged from 23 minutes to 45 minutes.

Table 8
Gender and Major Areas of Study
Gender Motion Pictures Music Business
Female 2 8
Male 4 4

Table 9 is the list of the participants who were interviewed either in Los Angeles or a
HHU’s main campus.
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Table 9
Participants Interviewed for the Study
Name Gender Major Alumni/Stud. Employment Comment
SD Male Motion
Pictures
Alumnus Works in film
industry in LA for a
management
company.

Hired by his last
Internship
company.
KR Female Music
Business
Alumnae Works in the film
industry in
Vancouver, BC.

Canadian Citizen;
wants to move to
LA.
SK1 Female Music
Business
Alumnae Worked as a music
supervisor for a
daytime talk show
in LA.

Adjunct Professor
at HHU in LA.
BA Female Motion
Pictures
Alumnae Works at a
film/television
production
company in LA,
where she interned.
Working towards
being an executive
and producer on
the company’s
films and
television projects.

MC Male Motion
Pictures
Student
(Senior)

Interned in reality
television in LA.
Will join company
upon graduation.
GM Female Motion
Pictures
Student
(Senior)
Interned at four
different
companies.
Offered a position
at one of the
companies.
LA is too
expensive to live.

WA Male Motion
Pictures
Alumnus Hired by the
management
company where he
interned.
Coordinator of
Internships for the
same company.
Recently left to
pursue another
position in the
industry.

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80
Table 9 (Cont’d.)
Name Gender Major Alumni/Stud. Employment Comment
SM1 Female

Music
Business
Student
(Junior)
Interned at a Music
Public Relations
Company.
Writes, performs,
and produces own
music. Owns her
own production
company.

EE Male Music
Business
Student
(Senior)
Interned at a
comedy company.
Standup comedian.
Will return to LA.

SM2 Female Music
Business
Student
(Senior)
Interned for two
music artists.
Helped coordinate
their tours.
Will work with
them via email
until graduation.
Will be employed
by them upon
return to LA.

WE Female Music
Business
Student
(Sophomore)
Interned at
Management
company.
Undecided about
moving to LA
after graduation.

WK Female Music
Business
Student
(Freshman)
Interned at a start-
up short form
digital production
company.

First Internship.
Will intern in LA
in her senior year.
SK2 Female Music
Business
Student
(Sophomore)
Interned at a
record label.
Presently, interns
for a LA-based
company in the
university’s city.

SK3 Male Motion
Pictures
Alumnus Interned at a
comedy company,
YouTube company.
Hired by the
company in LA.
Wants to be a
writer in all
genres.

BB Female Motion
Pictures
Alumnae Interned at film and
music companies
Hired by the
Music company
where she does
scoring,
copywriting, and
orchestration.

FROM THE PERSPECTIVES OF THE STUDENTS 81
Table 9 (Cont’d.)
Name Gender Major Alumni/Stud. Employment Comment
PG Female Motion
Pictures
Alumnae Interned at an
educational
institution that
provides women
with the
opportunity to
direct showcase
films to obtain
directing
assignments.
Works in physical
production at a
new media
streaming
company.
DL Female Music
Business
Alumnae Interned at a music
licensing, sync,
publishing, and
management
company.
Hired by the same
management
company upon
graduation.
MJ Male Music
Business
Student
(Junior)
Interned as an audio
engineer at a
recording studio in
LA
Continued
internship at a
studio in the
university’s city.
Will return to LA
upon graduation.
Process Used to Gather Data
Quantitative Portion
A 40-question questionnaire was created for the quantitative portion of the study. Based
upon the design criteria utilized for this study, 155 students were identified as students or alumni
in HHU’s School of Entertainment and Music Business. They had participated in the school’s
internship program in the Entertainment Industry in Los Angeles as part of their college
experience. Of these participants, 5 5, or 3 5.48%, completed the questionnaire. This survey was
distributed by email and gathered by Qualtrics Experience Management Platform, an online
survey company recommended by the University of Southern California. Qualtrics provided
FROM THE PERSPECTIVES OF THE STUDENTS 82
support services from Provo, Utah; Sydney, Australia; and Dublin, Ireland for the quantitative
survey.
Qualitative Portion
Qualitative data was collected during one-on-one interviews with 18 individuals who
were presently students at HHU or alumni of HHU and had participated in the HHU internship
program in Los Angeles. An open-ended set of 21 interwoven questions were selected for the
study. This format enabled the interviewer and the respondent to stay focused within the allotted
time (40 minutes) but allowed room to focus on the respondents’ views. This gave the
interviewer the flexibility to adjust the direction of questioning and probe further into areas that
were not initially recognized by the interviewer. Some were interviewed at various locations in
Los Angeles and others were interviewed at HHU’s main campus. The interviews were recorded
on an Olympus Digital Recorder model #WS-853, VN – 722PC, and an iPhone 5S recorder. The
interviews were transcribed by rev.com, a professional transcription service. Also, the
interviewer took notes and used them to clarify the responses.
In conclusion, a mixed-method study was used to provide data from both surveys and
interviews. The triangulation of the data through the combination of quantitative surveys and
qualitative interviews reduced the weaknesses found in a singular study method (Creswell,
2014). Table 9 included the list of participants.
Control Variable
Students who participated in internships in Los Angeles were part of the joint dissertation
my wife, Selise Eiseman, and I completed. The focus of this companion research study dealt
with data collected simultaneously with the industry employers and the college and universities
in the United States who offer internship programs in Los Angeles. The Industry Employers and
FROM THE PERSPECTIVES OF THE STUDENTS 83
the Colleges and Universities internship participants were provided a Qualtrics link to complete.
A follow-up reminder was sent to encourage higher participation which led to 10 Industry
Employers responding and 18 Colleges and Universities who were part of the control variable.
Research Question One
What are the agreed upon skills that students need to obtain in the entertainment industry
a) before they take an internship, b) during their internship, and c) after their internship so that
they are best prepared for the workplace?
Research Question 1a. – Before the Internship
What are the agreed upon skills that students need to obtain in the entertainment industry
before they take an internship?
HHU established some basic requirements for participation in the Los Angeles Internship
program. HHU had two recommendations for interns who wanted to intern in Los Angeles. One
recommendation was that each student had to participate in a local internship prior to their Los
Angeles internship. HHU felt that the intern needed internship experience before facing the
demands of the Los Angeles internship culture. Of the 55 respondents, 38, or 69.10%, had
participated in an internship program prior to Los Angeles (see Figure H).
Many respondents discovered that previous internship experiences allowed them to focus
on the complexities of navigating the Los Angeles Entertainment Industry environment. This
experience allowed interns to discover their pathways to their success. It afforded them the
opportunity to build connections and a network prior to arriving in Los Angeles. Since the main
campus is in a center for the music industry and in an up-and-coming center for film production,
the students had a good possibility of connecting with professionals while attending classes on
the main campus. Building these bridges or connections opened the doors for some students as
the final step in obtaining a Los Angeles internship. One music industry student, SK1,
FROM THE PERSPECTIVES OF THE STUDENTS 84
responded “At my last internship in my HHU main campus
5
, I was able to connect with a person
who recommended me for an internship in Los Angeles.”
Figure H: Number of Internships Participated in PRIOR to the Los Angeles Internships
Table 10
Number of Internships PRIOR to a Los Angeles Internship
# Answer % Count
1 30.91 17
2 1 - 2 internships 43.64 24
3 3 - 4 internships 21.82 12
4 5 internships or more 3.64 2
Total 100 55
5
Quote changed for confidentiality
FROM THE PERSPECTIVES OF THE STUDENTS 85
Another recommendation of HHU was that the interns be upper classmen. For this
survey, out of 55 respondents, 53, or 96.36%, were either seniors or juniors. Of these 53, 28, or
50.91%, were seniors and 25, or 45.45%, were juniors (see Figure F and Table 6). This also
helped if an intern wanted to transition from an internship to a paid entry-level position. The
emphasis on getting the student’s last internship while being a senior and having an internship in
Los Angeles helped the interns find employment after graduation. SD, a graduate, stated,
I had a total of six internships including three internships in Los Angeles. The last one
was completed during the last semester of my senior year. At the conclusion of that
internship, I was hired to be the Internship Coordinator and an Assistant by that company.
The Chair
6
of the Motion Pictures Department encouraged his students to start taking
internships early in their college experience. He felt that finding out and experiencing some of
the skills necessary to be successful as an intern and as a future employee can be learned and
honed on campus. The Chair stated,
Get an internship. Get several. Try to get one in your hometown, at wherever your
college is, where the stakes are lower, and the speed is slower. So, if you have an
internship or two before you go to Los Angeles I think you’ll be a much better Los
Angeles intern if you’ve had some practice, because the Los Angeles internships can be
pretty scary. People don’t set out to be scary, but it’s harder, and I think if you practice at
home you’ll get to California with a much greater level of confidence in your abilities.
Another respondent, BA, who is in her fourth year as an employee of a leading film
production company, reinforced the concept of having multiple internships prior to coming to
Los Angeles as well as having many internships during her years in college. She worked in
different cities including New York City and in different areas of study outside of the film
6
Identification withheld for confidentiality
FROM THE PERSPECTIVES OF THE STUDENTS 86
industry, but in the entertainment industry. By doing this, she was able to decide what and where
she wanted to live and work. She, also, knew by then what were some of the skills she needed to
be successful. BA stated,
This is my fifth internship, so I was very prepared and confident in my ability to make
use of such a great opportunity. I knew how to write coverage, I knew how to interact
professionally, and I knew all the ways to be a great intern – be on time, dress nice, don’t
bother people, be friendly, etc.
General Skills (Soft Skills) and Specific Skills (Hard Skills)
General (Soft) Skills are skills (competencies) that are universal in most industries,
professions, and businesses in general. These skills are subjective. They include problem-
solving, patience, and communication. Hard skills or competencies are specific, teachable skills
that can be defined and measured.
General (Soft Skills)
The National Association of Colleges and Employers (NACE) established a set of general
competencies that are a measure or benchmark for 21st Century Competencies in the global
workplace. Prior to participating in an internship program, employers had expectations that the
interns had working skills for success in their position. These skills were enumerated by NACE
in 2011 and updated in 2018. One of the competencies, Information and Digital Technology
Application, was renamed Digital Technology and another competency, Global/Intercultural
Fluency, was introduced in January 2018 (NACE, 2018), after this survey was conducted. These
competencies are the following:
 Critical Thinking/Problem Solving
 Professional Work Ethic
FROM THE PERSPECTIVES OF THE STUDENTS 87
 Teamwork
 Oral/Written Communication
 Digital Technology
 Leadership
 Career Management
 Global/Intercultural Fluency
During a conversation with the Chairperson at HHU, he raised a question about the
importance of these competencies, its impact on having a successful internship, and the
importance in getting a position. Another question that was asked was how you assess these
skills and where are these skills learned. These questions were part of a discussion of
encouraging people to participate in internships. He said,
But how do you assess their acquisition of the National Association of Colleges and
Employers’, NACE it’s called, readiness competencies, skills that employers seek in
college graduates? They’ve done a study of paid and unpaid internships about soft skills,
essentially. This is teamwork, leadership, oral and written communication. These are
things that are not taught in specific classes, but it’s what the basis of getting an
internship actually is. (Chairperson at HHU)
Using a Likert scale where “1” indicated Unprepared, “2” indicated Somewhat
Unprepared, “3” indicated Somewhat Prepared, and “4” indicated Prepared, the seven original
Competency skills were applied to the intern’s readiness to enter their internships (see Figures I
and J, and Table 11). The respondents surveyed were asked to evaluate their preparation for
their internship experience based on these competencies (Figure I). They were also asked to rate
FROM THE PERSPECTIVES OF THE STUDENTS 88
their skills as they were prepared by their University for their internship in the entertainment
industry.
The responses were viewed in four different ways. First, the graphic descriptions, Figure
I and Figure J, third Table 11, a statistical graph using a Likert Scale, and, last, Table 12 showed
the responses based on percentage. Professional /Work Ethic was defined by NACE as,
Professional/Work Ethic: Demonstrate personal accountability and effective work
habits, e.g., punctuality, working productively with others, and time workload
management, and understand the impact of non-verbal communication on professional
work image. The individual demonstrates integrity and ethical behavior, acts responsibly
with the interests of the larger community in mind, and is able to learn from his/her
mistakes. (NACE, 2018, Definition of Career Readiness and Competencies, para. 7)
Professional/Work Ethic scored the highest of all the NACE Competencies from the
respondents. Using the statistical graph, (Table 11), the range of response values were from a
minimum of 1.00 to a maximum of 4.00: the mean range was from 3.36 to 3.93.
Professional/Work Ethic ranked the highest at 3.93. Using a graph based on percentages, 51, or
92.73%, of the 55 respondents stated that they were “prepared” with this Professional/Work
Ethic (see Table 12).
The interns felt that going into the internship with the proper attitude, with an open-mind,
the ability to communicate both verbally and non-verbally, being honest and ethical, being
flexible, and “be the solution and not the problem” were some of the competencies highlighted
during the interviews with the interviewees. This score on Professional/Work Ethic reflects
directly with the philosophy of HHU. It is one theme that is constantly emphasized in its
FROM THE PERSPECTIVES OF THE STUDENTS 89
Figure I: Rating of NACE (Soft Skills) Preparation by Interns PRIOR to the Internship
(Statistical Graph)
FROM THE PERSPECTIVES OF THE STUDENTS 90
Figure J: Rating of NACE (Soft Skills) Preparation by Interns PRIOR to the Internship
(Statistical Graph)
Table 11
Rating of NACE Skills (Soft Skills) Preparation by Interns Prior to the Internship (Statistical
Graph)
# Field Minimum Maximum Mean
Standard
Deviation
Variance Count
1
Critical Thinking/
Problem Solving
2.00 4.00 3.69 0.50 0.25 55
2
Professional/Work Ethic 3.00 4.00 3.93 0.26 0.07 55
3
Teamwork 3.00 4.00 3.75 0.44 0.19 55
4
Oral/Written
Communication
2.00 4.00 3.85 0.40 0.16 55
5
Information and Digital
Technology Application
1.00 4.00 3.36 0.70 0.49 55
6
Leadership 1.00 4.00 3.53 0.71 0.50 55
7
Career Management 1.00 4.00 3.45 0.71 0.50 55
FROM THE PERSPECTIVES OF THE STUDENTS 91
Table 12
Rating of NACE Skills (Soft Skills) Preparation by Interns Prior to the Internship (Statistical
Graph)
# Question Unprepared
Somewhat
Unprepared
Somewhat
Prepared Prepared Total
1
Critical Thinking/
Problem Solving 1.82% 1 27.27% 15 70.91% 39 55
2
Professional/Work
Ethic 7.27% 4 92.73% 51 55
3 Teamwork 25.45% 14 74.55% 41 55
4
Oral/Written
Communication 1.82% 1 10.91% 6 87.27% 48 55
5
Information and
Digital Technology
Application 1.82% 1 7.27% 4 43.64% 24 47.27% 26 55
6 Leadership 1.82% 1 7.27% 4 27.27% 15 63.64% 35 55
7 Career Management 1.82% 1 7.27% 4 34.55% 19 56.36% 31 55
curriculum. This is one of the common threads that are consistent within the separate programs
at HHU. It came as no surprise that the respondents would feel this strongly about this
competency. Some of the participants emphasized the importance of being prepared before
walking in the door. Before taking on a task or chore, difficult or not, make sure you know what
is expected of you prior to starting the task. Some comments were,
I was actually very prepared, and I found that most people were impressed with my
professionalism and abilities to work hard. (BA)
experience that was given to me before the internship would be through schooling and the
classes I took . . . realistic expectations were to be helping everyone in the office . . . learn
the basics of an office setting and the basics of a company . . . I’d interned a lot, so every
office is different, but there are a lot of ways that they’re all the same too, so I kind of
FROM THE PERSPECTIVES OF THE STUDENTS 92
knew what was going to happen. I knew where I should be looking for people to give me
assignments and where I can help out and things I can make better. (SD)
time management as a skill because we did get pretty large tasks that we’d have to
complete over the course of a day or two. Because I could estimate how long it would
take to do that, I could prioritize and get those done before they needed to be done so
those were helpful. (MC)
knowing the process of what a production goes through, so from development all the way
up until editing and distribution. I knew a little bit about that, which kind of helped me
understand what I was doing when they asked me to do things. (MC)
I definitely felt prepared, although the projects I worked on were definitely much bigger
scale than what I had done before. I was kind of taking knowledge that I had in the sense
of smaller productions and using those skills on much bigger sets with working
professionals and people that work in Los Angeles full-time in physical production. (PG)
I was going into something I had never, ever, ever experienced before. The university
does a good job of preparing you for that . . . I don’t know of many other schools that
have such an intense approach to being a good intern. The reason I say I don’t know that
is because when I looked at other people interning and other people in my intern class, I
knew things and knew how to navigate things that no early entry intern would ever know
how to do, purely because my university sat down and said, ‘Hey, here are people who
have done this before you. Here’s what they learned. Take that knowledge and then
you’ll do the same thing once you’ve gone through it and you’re going to pass that
FROM THE PERSPECTIVES OF THE STUDENTS 93
knowledge along.’ That curriculum is always changing because there are always people
interning, so it’s always coming back to what works and what doesn’t. (SK1)
I think my professors in every class have always treated us as if we were in the
workplace. They treat us like students, but they also expect a higher caliber than any
general education class I have. They expect us to be on time and if we’re not, they kick
us out of class because in Hollywood, if you’re not on time, you’re fired. They give us
all these practical uses to make sure that we are prepared. (GM)
I think giving us more practical assignments rather than busy work. They give us a script
and go, ‘Cover this.’ I think when they grade us, they should grade us as a professor, but
they should also grade us as a producer would. What does the producer not care about?
What does the producer want to see more of? I think if that’s the mindset and we go out
there, we’ll be, ‘Oh, this is what a producer wants.’ I think really using it. I think our
university actually does a really good job of making us have practical skills. I really,
really do because I felt very prepared going out there, but I think even more of what we
need to be doing . . . On set, this happens on set. What do you do? Throwing us into
situations we’re not prepared for so that our snap back is faster. I think being able to
think on your feet is the best skill you can have in Hollywood. I think that’s really
important. (GM)
Many of the respondents reinforced the value of Professional/Work Ethic during their interviews,
“15 minutes early is on time, on time is late” according to BA; “Check your ego at the front
door” was WA’s comment; and SD said,
FROM THE PERSPECTIVES OF THE STUDENTS 94
Be humble, interested in working, be happy to do any job, you are not entitled, easy to
get along with others, learn how to follow instructions to great detail, pay attention to
what they want you to do and follow through; make life better for the employer by being
there.
SD that you should study the room, know the names of the players, and their roles in the
organization and that this helped to eliminate many of the pitfalls and trappings and made the
intern experience a positive one. Also, he added, “Know the names of everyone.”
Oral/Written Communication
Oral/Written Communication as defined by NACE is:
Oral/Written Communications: Articulate thoughts and ideas clearly and effectively in
written and oral forms to persons inside and outside of the organization. The individual
has public speaking skills; is able to express ideas to others; and can write/edit memos,
letters, and complex technical reports clearly and effectively. (NACE, 2018, Definition
of Career Readiness and Competencies, para. 2)
The second highest skill was Oral/Written Communication. The mean score was 3.85.
Through the lens of percentages, Table 12, 48, or 87.27%, of the 55 respondents stated that they
were “prepared” as it related to Oral/Written Communication.
The respondents said that they were able to communicate either orally or in a written
format because some of the class projects prior to their internships emphasized the importance of
this skill. In both departments, writing cover letters and resume writing were perfected before
the respondents began applying for their internship positions. In the motion pictures department,
heavy emphasis was placed on script coverage and film production. There was an emphasis on
how to be a “superb intern.” This concept was reinforced by the chair of the department. “How
FROM THE PERSPECTIVES OF THE STUDENTS 95
to be a Hollywood Intern” was part of the school’s “Internship Bootcamp” where working
professionals and alumni were brought to the campus or by Skype to work with prospective
interns. Many examples and scenarios of past internships were discussed and evaluated.
I did multiple things of coverage before I got to Hollywood. I went to an Intern
Bootcamp to teach me how to do everything an intern would do so that when I walked in
there, I wouldn’t be completely naïve to my surroundings. (GM)
classes that they teach you how to be a good intern. I think it’s better just to hear it
straight from someone who either deals with interns on a daily basis or was a successful
intern and got hired because, like I’ve said before, there’s the hopeful things that you’ll
work on these big projects, but then there’s the real stuff too where people are just like
‘Yeah, if you get asked to get coffee for someone, get it and get it right.’ (SD)
They prepped how important it was to write coverage, and not just how to write
coverage, but what it is that you’re doing and why it’s important that you’re doing it and
why to take it seriously and not just like, oh, it’s just like an internship duty. It’s the one
thing that you can do to stand out. It’s the one thing you can do that isn’t an intern duty.
It’s a thing that puts you on the playing field with everybody else. They really drove that
home. (SK3)
We did get special training in how to write script coverage, which didn’t apply to this
particular internship, but that was something I know a lot of people utilized in the
program. Script coverage was something that we learned that’s not something that’s
taught especially here, but we were taught that before we specifically went out into the
internship program. (MC)
FROM THE PERSPECTIVES OF THE STUDENTS 96
In the Music Business Department, an Internship class was a mandatory requirement
prior to taking an internship. Here the emphasis was on communication skills, resumes, cover
letters, and interviewing skills, as well as an overview of the major areas of the music industry.
The Chair of the Music Department at HHU stated, “To achieve success, the students need to
know how to communicate an idea, how to speak clearly and reasonably about an idea, and how
to develop long-term plans for bringing the product to fruition.”
Specific courses focused on specific communication skills that were necessary to be
successful in various facets of the industry. Examples of these topics were: Music Production,
Audio Engineering, Contracts, Licensing, Public Relations, and on a working knowledge of
Excel and Advertising.
Teamwork/Collaboration
Teamwork/Collaboration as defined by NACE was,
Teamwork/Collaboration: Build collaborative relationships with colleagues and
customers representing diverse cultures, races, ages, genders, religions, lifestyles, and
viewpoints. The individual is able to work within a team structure, and can negotiate and
manage conflict. (NACE, 2018, Definition of Career Readiness and Competencies,
para. 3)
The third highest skill was Teamwork/Collaboration. The mean score was 3.75.
Through the lens of percentages, Table 12, 41, or 74.55%, of the 55 respondents stated that they
“prepared” as it related to Teamwork/Collaboration. Teamwork was emphasized throughout the
curricula in both the motion pictures department and the music industry department.
In the Entertainment Industry, teamwork can be practiced in an office setting, through
creating small group (projects), in collaboration with others in writing scripts for television,
FROM THE PERSPECTIVES OF THE STUDENTS 97
movies, digital productions, and now gaming. It also encompasses larger endeavors such as
producing student films as part of the individual class projects where all facets of production are
under control, whether it is in front of or behind the camera, or how you feed your cast and crew.
Finally, all students of the motion pictures program at HHU produce or direct their own Thesis
Film or Capstone project. The major area of concentration of the student determines the role of
the student in the production of the film. This Capstone project is a degree requirement.
Concluding in the film department, teamwork and collaboration is a major component of the
philosophy of the department because it requires the students to work together as a unit whether
it is in producing, directing, writing, or other facets of a film production.
In music, students use teamwork for live performances (concerts), and music recordings
as well as being able to work in an office setting. Students perform in on-campus programs
where they “showcase” their skills. These programs allow students to perform, but it also allows
others to work behind the curtain and help in these productions. As SM1 stated, “Our group was
one of the acts who played in a two-hour holiday program at HHU. It was like going to a rock
concert.” Another area of cooperation is where groups of students collaborate and perform in a
more intimate, cabaret-like environment at a school-run café.
Critical Thinking/Problem Solving
Critical Thinking/Problem Solving as define by NACE was:
Critical Thinking/Problem Solving: Exercise sound reasoning to analyze issues, make
decisions, and overcome problems. The individual is able to obtain, interpret, and use
knowledge, facts, and data in this process, and may demonstrate originality and
inventiveness. (NACE, 2018, Definition of Career Readiness and Competencies, para. 1)
FROM THE PERSPECTIVES OF THE STUDENTS 98
The fourth highest skill was Critical Thinking/Problem Solving. The mean score was
3.69. Through the lens of percentages, Table 12, 39, or 70.91%, of the 55 respondents stated that
they “prepared” as it related to Creative Thinking/Problem Solving.
The respondents stated the ability to think critically and problem solve are inherent in
their fields of study. In the film industry, it can start with the ability to evaluate a script (script
coverage) which in many instances can be the first step of many in which an idea becomes a
film, movie, television pilot, or a finished product for distribution to the public. One interviewee
said,
When doing script coverage, one has to feel that the script they are evaluating is well
written, the script fits the philosophy of the company, has commercial value, and can be
produced. Also, on the flip side, if the script is poor, you must have the conviction to say
so and be able to support your reasons. (BA)
There are examples that go beyond choosing a script. In this industry, decisions are
critical. The ability to analyze, make decisions, be creative, and sometimes think “out of the
box” played important roles as the student produced their own films or projects. As SK3, a film
student, said, “You think everything is all set, but suddenly something pops up. Time was
limited and in some cases costs money, you have to think, act, quickly, and hope you made the
correct choice.”
In the music business, critical thinking and problem solving played integral parts in the
different facets of the industry. A simple thing of who retains the licensing rights to the
entertainer’s music is critical. Who owns the copyrights to the music and how the music is
distributed are main issues today because of the many different platforms that are available to the
consumer. One student who writes, performs and produces her own music said,
FROM THE PERSPECTIVES OF THE STUDENTS 99
Writing and producing my own music was not the difficult part. Making sure that I
controlled and protected my copyrights, controlled distribution and ancillary rights while
balancing these things and dealing with the companies that create the industry.
Otherwise, I lose big time! (SM1)
Another student who works in live entertainment talked about how the school’s program
created opportunities where the students were required to use these skills. She helped plan a live
concert for an audience of 900 and then stage managed the show. Like the film industry, there
are many facets of the music industry from writing, recording, performing, distribution, to
ownership that rely on critical thinking and decision making.
Leadership
Leadership as defined by NACE is:
Leadership: Leverage the strengths of others to achieve common goals and use
interpersonal skills to coach and develop others. The individual is able to assess and
manage his/her emotions and those of others; use empathetic skills to guide and motivate;
and organize, prioritize, and delegate work. (NACE, 2018, Definition of Career
Readiness and Competencies, para. 5)
The fifth highest skill was Leadership. The mean score was 3.53. Through the lens of
percentages, Table 12, 35, or 63.64%, of the 55 respondents stated that they “prepared” as it
related to Leadership.
Leadership again is a skill that is a common characteristic of both programs. The
programs provided opportunities for the students to partake in different experiences where they
were needed to step up or to lead the project to a successful completion. Just as important was
the ability of the leader, albeit a director, stage manager, or a music producer to create a team
FROM THE PERSPECTIVES OF THE STUDENTS 100
that worked well together. The students stated, “The hardest part of leadership was getting all
on-board, making all happy and yet finish a quality product.”
In conclusion, even though many felt that leadership was not emphasized in their
programs the students discovered how the concept of good leadership played an important part in
their internships.
Career Management
Career Management as defined by NACE is:
Career Management: Identify and articulate one’s skills, strengths, knowledge, and
experiences relevant to the position desired, career goals, and identify areas necessary for
professional growth. The individual is able to navigate and explore job options,
understands and can take the steps necessary to pursue opportunities, and understands
how to self-advocate for opportunities in the workplace. (NACE, 2018, Definition of
Career Readiness and Competencies, para. 7)
The sixth highest skill was Career Management. The mean score was 3.45. Through the
lens of percentages, Table 12, 31 , or 56.36%, of the 55 respondents stated that they “prepared” as
it related to Career Management.
Career Management is a skill which is not taught as a class at HHU. Students in these
programs have skills that have drawn them to this university. When speaking with these
interviewees, many recognized their strengths and weaknesses, but are still trying to figure out
what they want to do. The university provided guidance and direction at the main campus. One
way that had a large impact was that each department hired working professionals to teach
students. Whenever possible, both departments invited working professionals to campus to hold
“bootcamps.” At these bootcamps, students were provided with opportunities to discuss their
FROM THE PERSPECTIVES OF THE STUDENTS 101
career aspirations, network, and to learn from professionals who teach them specific skills and
about jobs in the “real world.” These bootcamps usually ran from one to two weekends. In the
motion pictures department, these bootcamps were a mandatory requirement to participate in the
Los Angeles Internship Program.
Since the spectrum of “have not figured it out” to “I know what I want to do,” is an
accepted norm for the students, career management seems unimportant to them at this time and is
not a priority. During the interviews and during the students’ internships, many students said
that they discovered that the pathway to their career changed while they attended the program.
As discussed later on, career goals and paths can and do change. SM1 stated, “At age 10, I knew
I wanted to write and sing. During my internship, I learned about the other end of the business.
It did not change my mind.” Another student, WE, stated, “I came out to LA as a music major
and returned home wanting to work in the film industry.” These are two examples of how
university students viewed their career goals and options as they planned their next step in their
lives.
In conclusion, Career Management to many was not a priority early in their college
career, but the closer they came to graduation, the more important it became to them. As one
interviewee, SD, stated, “I did LA [internship] twice. The first one I had a good time. The
second one I was serious, and the internship became my first paid position in the film industry.”
Digital Technology
The skill that the students said they were least prepared for was Digital Technology. The
mean score was 3.36. Through the lens of percentages, Table 12, 26, or 47.27%, of the 55
respondents stated they “prepared” as it related to Digital Technology.
Digital Technology as defined by NACE is,
FROM THE PERSPECTIVES OF THE STUDENTS 102
Digital Technology: Leverage existing digital technologies ethically and efficiently to
solve problems, complete tasks, and accomplish goals. The individual demonstrates
effective adaptability to new and emerging technologies (NACE, 2018, Definition of
Career Readiness and Competencies, para. 4).
This result was not unexpected because technology keeps changing “hourly.” When
universities expend large sums of money in building departments, it becomes an issue and costs
every time a technology changes or improves that you must update it such as cameras, recording,
and editing equipment. It is almost impossible. Likewise, some companies where technology is
utilized face the same dilemma as the universities. Production is a very expensive proposition.
On the other hand, the university continues to “keep up” technology in areas that are more
software or application functions. MJ said, “I worked in a recording studio with top music
producers and used the newest cutting-edge equipment in the industry. It was great!”
Hard Skills
The next type of skills or competencies are called Hard Skills. Hard skills or
competencies are specific, teachable skills that can be defined and measured. In the film
business, some of these skills are scriptwriting, production, directing, editing, rolling calls, and
script coverage. In the music industry, some of these skills are songwriting, audio engineering,
production, music licensing, rolling calls, and public relations.
Film, Television, Digital, Streaming
The next part of the survey discussed the importance of “hard” skills that film, television,
digital, and streaming interns may need to know as they venture into their Los Angeles
Internships. Hard skills or competencies are specific skills that pertain to an individual position
with a company, or specific to industries, businesses, or organizations. In film, television,
FROM THE PERSPECTIVES OF THE STUDENTS 103
digital, and streaming there are obvious skills such as directing, editing, production,
scriptwriting, set production, and special effects. Others that are less known but important to this
area of the entertainment are skills like script coverage, rolling calls, Excel, resume writing, and
the ability to create a good cover letter. Figure K, Tables 13 and 14 looked at 13 specific skills.
Using a Likert scale where “1” indicated Unprepared, “2” indicated Somewhat Unprepared, “3”
indicated Somewhat Prepared, and “4” indicated Prepared, Film, Television, Digital , and
Streaming majors were asked to rate their preparedness as it pertained to learning these “hard
skills” prior to their internships.
Figure K: Film, Television, Digital, and Streaming Students’ Hard Skills Learned PRIOR to the
Internship
FROM THE PERSPECTIVES OF THE STUDENTS 104
Table 13
Film, Television, Digital, and Streaming Hard Skills learned PRIOR to Internship (Statistical
Graph)
# Field Minimum Maximum Mean
Standard
Deviation Variance Count
1
Script
Coverage 1.00 4.00 3.06 0.97 0.93 16
2
Rolling
Calls 1.00 4.00 2.00 1.17 1.38 16
3 Excel 1.00 4.00 2.63 0.99 0.98 16
4 Scriptwriting 3.00 4.00 3.75 0.43 0.19 16
5
Pitching
(Script, Film,
Etc.), Pitch
Deck 2.00 4.00 3.19 0.63 0.40 16
6 Directing 1.00 4.00 3.25 0.75 0.56 16
7 Production 3.00 4.00 3.75 0.43 0.19 16
8 Editing 3.00 4.00 3.50 0.50 0.25 16
9
Special
Effects 1.00 4.00 1.75 0.97 0.94 16
10
Resume
Writing 1.00 4.00 3.19 0.95 0.90 16
11
Writing Cover
Letters 1.00 4.00 3.19 0.95 0.90 16
12
Set
Operations 1.00 4.00 3.44 0.86 0.75 16
13
Other (please
specify) 1.00 4.00 2.83 1.34 1.81 6
Table 14
Film, Television, Digital, and Streaming Hard Skills learned PRIOR to Internship (Percentage
Graph)
# Question Unprepared
Somewhat
Unprepared
Somewhat
Prepared Prepared Total
1 Script Coverage 12.50% 2 6.25% 1 43.75% 7 37.50% 6 16
2 Rolling Calls 50.00% 8 18.75% 3 12.50% 2 18.75% 3 16
3 Excel 12.50% 2 37.50% 6 25.00% 4 25.00% 4 16
FROM THE PERSPECTIVES OF THE STUDENTS 105
Table 14 (Cont’d.)
# Question Unprepared
Somewhat
Unprepared
Somewhat
Prepared Prepared Total
4 Scriptwriting 25.00% 4 75.00% 12 16
5
Pitching (Script,
Film, Etc.), Pitch
Deck 12.50% 2 56.25% 9 31.25% 5 16
6 Directing 6.25% 1 56.25% 9 37.50% 6 16
7 Production 25.00% 4 75.00% 12 16
8 Editing 50.00% 8 50.00% 8 16
9 Special Effects 56.25% 9 18.75% 3 18.75% 3 6.25% 1 16
10 Resume Writing 6.25% 1 18.75% 3 25.00% 4 50.00% 8 16
11
Writing Cover
Letters 6.25% 1 18.75% 3 25.00% 4 50.00% 8 16
12 Set Operations 6.25% 1 6.25% 1 25.00% 4 62.50% 10 16
13
Other (please
specify) 33.33% 2 16.67% 1 50.00% 3 6
Since the Motion Pictures Department is relatively new, only 49 students participated in
the Los Angeles Internship program. Of these 16, or 32.65%, participated in this survey. Figure
K is viewed in three different ways. First, the graphic description, Figure K; second Table 13, a
statistical graph; and last Table 14, a percentage graph. Using the statistical graph, (Table 13),
the range of response values were from a minimum of 1.00 to a maximum of 4.00; the mean
range was from 1.75 to 3.75. Both Scriptwriting and Production ranked the highest at 3.75. The
lowest response mean was Special Effects at 1.75.
Through the lens of Table 14, the range of Prepared was from 75% of the respondents
(Scriptwriting and Production) to 6.25% (Special Effects). The number of respondents of
Prepared was from 12 of 16 respondents for both Scriptwriting and Production to 1 of 16 for
Special Effects.
In defining Scriptwriting or Screenwriting it is important to understand the exact
description of this special skill set which is the foundation and first step of the production
process. It is the ability to tell a story visually with a structure that allows a protagonist (the
FROM THE PERSPECTIVES OF THE STUDENTS 106
main character) to actively engage in advancing the story as he/she undertakes to overcome
obstacles that an antagonist (the opponent) sets up to prevent the protagonist from achieving
his/her goal. The main character begins a journey (a hero’s journey) through the various stages
along their path to accomplish the goal and realize that they will learn something that they did
not know before and their life will change as a result of it.
Interns must understand the basics of three-act screenwriting structure in order to analyze
and criticize screenplays that are being submitted for potential production to the production
company, network, or studios. Students should be prepared in advance of their internship by
having screenwriting courses, knowing the basics of dramaturgy, watching movies, and reading
scripts.
The results of this survey question compare favorably to the curriculum of the Film
School as well as with the curriculum at other universities. Since the current Chair of the Motion
Pictures Department is a screenwriter, it was not a surprise that scriptwriting scored very high.
The use of professors with professional screenwriting credits and credentials only reinforced this
finding. The school also emphasized and reinforced this skill as part of the Intern Bootcamp
which includes a Script Coverage workshop. Interviewees stated the importance of the Intern
Bootcamp.
the coverage workshop was a huge, huge help because both of the companies that I
interned at required fairly heavy script coverage. So that was huge. (WA)
I did multiple things of coverage before I got to Hollywood. I went to an Intern
Bootcamp to teach me how to do everything an intern would do so that when I walked in
there, I wouldn’t be completely naïve to my surroundings. (GM)
FROM THE PERSPECTIVES OF THE STUDENTS 107
We did get special training in how to write script coverage, which didn’t apply to this
particular internship, but that was something I know a lot of people utilized in the
program. Script coverage was something that we learned that’s not something that’s
taught especially here, but we were taught that before we specifically went out into the
internship program. (MC)
They prepped how important it was to write coverage, and not just how to write
coverage, but what it is that you’re doing and why it’s important that you’re doing it and
why to take it seriously and not just like a, oh, it’s just like an internship duty. It’s the
one thing that you can do to stand out. It’s the one thing you can do that isn’t an intern
duty. It’s a thing that puts you on the playing field with everybody else. They really
drove that home. (SK3)
Another aspect of the Intern Bootcamp was to prepare students to be the best interns
during their internship experience by hearing from past interns and modelling their advice as
they prepare for the program. Some of the interviewees commented on this aspect of their
preparation at the Intern Bootcamp,
I attended an Intern Bootcamp where they teach you how to be a good intern. I think it’s
better just to hear it straight from someone who either deals with interns on a daily basis
or was a successful intern and got hired because, like I’ve said before, there’s the hopeful
things that you’ll work on these big projects, but then there’s the real stuff too where
people are just like ‘Yeah, if you get asked to get coffee for someone, get it and get it
right.’ (SD)
FROM THE PERSPECTIVES OF THE STUDENTS 108
We were just taught how to be a good intern. How to follow orders and do the best job.
We just pretty much learned that as an intern, you do whatever they tell you to do. You
can’t ask why or anything like that. You just do everything to the best of your ability.
(MC)
They talked about the social aspect of (being an intern) too. How to behave in that weird
corporate social environment when you’re going to be in an office like I was. I was in an
office with somebody who wrote at SNL for 15 years and all these people who had been
in the industry a long time and didn’t want to screw around. They really drove that home
in a way that was both like, we’re preparing you and you should be a little nervous, but
also, you’re going to be well equipped . . . That’s why I said social is because they teach
you how to act appropriately and well, be a human and to form human relationships in a
workplace environment. I did that, and I know PG did that and I know that [it] not only
helped me get jobs later and helped me get set up, but it also gave me friends, which is
very important to your success in a new city. (SK3)
The following was the comment of the former Chairperson
7
of the Motion Pictures Department
at HHU,
There are two mandatory sessions that they go to also, if they are selected. They have to
apply. Not everybody who applies is accepted. They have a mandatory Internship
Bootcamp, which is essentially what interns do and how to be professional. Then we
usually have someone who has already been through it and is now working in the
industry, talk about what they look for in interns. They do that, and then we have a
coverage writing workshop also that is mandatory. By the time they actually go, they’re
7
Identification withheld for confidentiality
FROM THE PERSPECTIVES OF THE STUDENTS 109
not as clueless as they could have been, and they tell me actually, that they are much
more prepared from interns from other schools. They’ve made a point of saying that.
That other interns have been, ‘How do you know that?,’ or ‘How do you know how to do
that.’ so that’s a good thing.
This program provided the students with the added confidence and skills as they prepared
to embark on their Los Angeles Internship.
Production
The former chairperson was a line producer in her professional career. She not only
encouraged scriptwriting, and script coverage, but focused on the production areas (budgeting,
scheduling, on-set responsibilities) of the film industry. The university continues to follow this
two-pronged approach.
As mentioned earlier, one of the requirements for graduation was the completion of a
Thesis film or Capstone project. Completion of these films required students to work together as
the production moved forward. It created an environment where students assisted each other and
collaborated as the production came to fruition. Some worked on many projects together.
Teamwork and scheduling became major parts of these productions. Some comments by the
respondents were,
On the weekends, what’s cool about the film program for multiple schools, it’s one of the
few majors that requires you to spend time with people on the weekend outside of class,
doing projects. So, it’s like being on a sports team more or less. (WA)
On set, this happens on set. What do you do? Throwing us into situations we’re not
prepared for so that our snap back is faster. I think being able to think on your feet is the
best skill you can have in Hollywood. I think that’s really important. (GM)
FROM THE PERSPECTIVES OF THE STUDENTS 110
I told the internship administrator what I wanted to do, which was be on set and work in
physical production as much as possible, so that was kind of how she connected me with
the production company. As far as feeling prepared, at that time I had worked on a lot of
student films and had worked on some smaller productions. I definitely felt somewhat
prepared, although the projects I worked on were definitely much bigger scale than what
I had done before. I was kind of taking knowledge that I had in the sense of smaller
productions and using those skills on much bigger sets with working professionals and
people that work in Los Angeles full-time in physical production. (PG)
Teamwork and scheduling enabled students to combine their skills to create short films
with tight schedules as part of their motion pictures curriculum at their school and modelled
larger productions that students would have a chance to work on as production assistants or to
observe during their internship experience in Los Angeles. The insight that they gained from the
smaller-scale student projects was invaluable to the skills they needed if they were going to work
in production.
Script Coverage and Rolling Calls
Two skills which scored at the lower end of the spectrum were script coverage and
rolling calls. These entry-level skills, especially rolling calls, were not considered important to
the program, but have become skills for those who are entering the entertainment industry.
These definitions are, Script Coverage – creating a document to study a script that is under
consideration by a company with a logline, a synopsis, and a critical analysis of the script; and
Rolling Calls – Rolling calls is one of the many essential tasks assigned to an assistant. This is
the process where the assistant will connect a call between his/her boss and a third party. He/she
will stay on the line and when the call is finished, he/she will connect their boss to another call.
FROM THE PERSPECTIVES OF THE STUDENTS 111
This allows the boss to make several phone calls without ever having to hang up or dial (Sierra,
2012). In other words, it is the ability to juggle calls between your “boss” and others including
clients whether your boss is in or out of the office. In some cases, good notetaking skills are
required since the intern is expected to update the boss on the content of the phone conversation.
Music Business
The HHU Music Business program is 15-years-old. This program was established to
give its students the skills to be successful in the music industry. The internship component of
the program was intended to expose students who attended HHU’s home campus to other
cultures, other genres, other major music centers, and give them an opportunity to see what skills
are needed to gain employment in those other entertainment centers.
HHU supplemented its internship program by encouraging their students to take
internships away from the main campus. Since New York and Los Angeles are the major
markets for the music industry, students are encouraged to take at least one internship either in
New York or in Los Angeles. It provides the students with the opportunity to gain the
experience they need, the ability to work well in an employment situation, and to understand
what is needed for their future job.
The next part of the survey discussed the importance of “hard” skills that Music Business
interns may need to know as they venture to their Los Angeles internships. Since the Music
Business Department had different majors, many of the skills did not align with the skills learned
by the respondents. Therefore, the total responses reflected the types of courses that each student
had completed. It was possible that each skill was not applicable to the particular major or area
of study. It is also possible that the respondent did not complete the question. Of the 38 Music
Business majors, the largest response for any skill area was 29; number 29 was used as my basis
FROM THE PERSPECTIVES OF THE STUDENTS 112
for analysis (see Figure L and Tables 15 and 16). Using a Likert scale where “1” indicated
Unprepared, “2” indicated Somewhat Unprepared, “3” indicated Somewhat Prepared, and “4”
indicated Prepared, Music Business majors were asked to rate their preparedness as it pertained
to learning these “hard skills” prior to their internships.
Figure L: Music Business Students’ Hard Skills Learned PRIOR to the Internship
FROM THE PERSPECTIVES OF THE STUDENTS 113
Table 15
Music Business Hard Skills Learned PRIOR to Internship (Statistical Graph)
# Field Minimum Maximum Mean
Standard
Deviation Variance Count
1 Music Supervision 1.00 4.00 2.43 1.18 1.39 28
2 Sync and Licensing 1.00 4.00 2.86 0.87 0.77 28
3 Contracts 1.00 4.00 3.07 0.78 0.62 29
4 Audio Engineering 1.00 4.00 2.37 1.16 1.34 27
5 Songwriting 1.00 4.00 2.22 1.23 1.51 27
6
PR, Social Media, and
Marketing 1.00 4.00 3.17 0.91 0.83 29
7 Rolling Calls 1.00 4.00 2.21 1.16 1.34 29
8 Artist Management 1.00 4.00 2.69 1.05 1.11 29
9 Event Management 1.00 4.00 2.79 1.03 1.06 29
10 Concert Touring 1.00 4.00 2.41 1.10 1.21 29
11 Music Publishing 1.00 4.00 3.32 0.85 0.72 28
12 Resume Writing 2.00 4.00 3.55 0.67 0.45 29
13 Writing Cover Letters 2.00 4.00 3.41 0.77 0.59 29
14 Other (please specify) 1.00 4.00 3.13 1.27 1.61 8
Other (please specify) - Text
Music Production
Table 16
Music Business Hard Skills Learned PRIOR to Internship (Percentage Graph)
# Question Unprepared
Somewhat
Unprepared
Somewhat
Prepared Prepared Total
1
Music
Supervision 32.14% 9 17.86% 5 25.00% 7 25.00% 7 28
2
Sync and
Licensing 10.71% 3 14.29% 4 53.57%
1
5 21.43% 6 28
3 Contracts 3.45% 1 17.24% 5 48.28%
1
4 31.03% 9 29
4
Audio
Engineering 33.33% 9 18.52% 5 25.93% 7 22.22% 6 27
5 Songwriting 44.44% 12 11.11% 3 22.22% 6 22.22% 6 27
FROM THE PERSPECTIVES OF THE STUDENTS 114
Table 16 (Cont’d.)
# Question Unprepared
Somewhat
Unprepared
Somewhat
Prepared Prepared Total
6
PR, Social
Media, and
Marketing 6.90% 2 13.79% 4 34.48% 10 44.83% 13 29
7 Rolling Calls 37.93% 11 24.14% 7 17.24% 5 20.69% 6 29
8
Artist
Management 20.69% 6 13.79% 4 41.38% 12 24.14% 7 29
9
Event
Management 17.24% 5 13.79% 4 41.38% 12 27.59% 8 29
10
Concert
Touring 27.59% 8 24.14% 7 27.59% 8 20.69% 6 29
11
Music
Publishing 3.57% 1 14.29% 4 28.57% 8 53.57% 15 28
12
Resume
Writing 10.34% 3 24.14% 7 65.52% 19 29
13
Writing Cover
Letters 17.24% 5 24.14% 7 58.62% 17 29
14
Other (please
specify) 25.00% 2 0.00% 0 12.50% 1 62.50% 5 8
Ironically, the two major skills that the respondents reported they were “prepared” for
was in the area of Resume Writing and Writing Cover Letters. Figure L is viewed in three
different ways. First, the graphic description, Figure L; second, Table 15 is a statistical graph;
and last, Table 16 is a simple graph. Using the statistical graph, (Table 15), the range of
response values were from a minimum of 1.00 to a maximum of 4.00; the mean range was from
Resume Writing ranked the highest at 3.55; Writing Cover Letters was second highest at 3.41;
and the lowest response mean was Rolling Calls at 1.75.
Through the lens of Table 16, the range of Prepared was from 20.69% (Rolling Calls) to
65.52% of the respondents (Resume Writing). The number of respondents of Prepared was from
19 of 29 respondents for Resume Writing to 6 of 29 respondents for Rolling Calls.
FROM THE PERSPECTIVES OF THE STUDENTS 115
Resume Writing
Resume Writing and Writing Cover Letters are essential to obtaining internships in Los
Angeles as well as in other cities. The level of professionalism for these positions is extremely
fierce and competitive. Since a candidate’s cover letter and resume are the first steps in
obtaining interest from a potential employer, it needs to stand out without being over the
expected norms of the industry. Because of these high stakes, Resume Writing and Writing
Cover Letters were emphasized both on campus and also by the on-site administrator in Los
Angeles. The on-site administrator made sure that each resume and cover letter was tailored to
meet the specific job description of the position the student had applied for in the industry.
Interviewees were asked about their preparation in writing resumes, cover letters, and
knowing specific software prior to having an internship in LA.
We had to take that class before you can intern, what is it called? Foundations of
internship or something like that, but basically, it’s like a once a week course and it just
went over interviews and how to build your resume and all that kind of stuff . . . I agree
the internship foundations class is definitely a big help and helps you to get your foot in
the door in certain places and it helps make connections I would say. (WK)
It helped me a lot I think with just the interview process and having my resume all ready
to go… . . . they have a career center there where . . . I’ve taken my resume to people
there a few times to just go over and review and all that kind of thing. (SM2)
I think they did a fine job preparing us for the application process and the interview
process. They have us take a class that’s specifically aimed at educating and really
preparing people to take the internships . . . It was really good for getting the resumes
FROM THE PERSPECTIVES OF THE STUDENTS 116
sorted out, cover letters sorted out. Very basic prep work, but I wouldn’t say that it was
necessarily influential on how the internships operate, at least in my personal experience.
(MJ)
I think that’s just the nature of the field. It’s probably good that I know Excel and Word
and all those software packages just to keep things organized and, you know, I can keep a
record of, you know, if I have tracks that are being used by an artist or something I could
organize saying is this song mixed? Yes. Is it consent? Yes. To whom? Has payment
been received? You know, things like that. It’s kind of a bookkeeping aspect. (MJ)
Also, GM stated, “Excel is something that none of us know how to use; that’s so bad
because I used it so, so much.”
Research Question 1b. – During the Internship
What are the agreed upon skills that students need to obtain in the entertainment industry
during their internship?
Most internships in the entertainment industry are the stepping stones to entry-level
positions such as assistant level positions. Examples of these entry-level positions are
production assistant, agency training programs, apprentice film and audio editors, assistant to the
music supervisors, sync and licensing assistant, assistant sound editor, assistant copyright clerk,
and other entry-level positions.
As the students’ internships progressed, the interns discovered that they needed and
learned new skills. The interns’ internship, or in some cases internships, needed to be
incorporated with an academic component either by taking classes in Los Angeles or online with
the university. With some interns, it meant being able to juggle their schedules and lives to meet
the demands of the program. In the Music Business program, some interns had full-time
FROM THE PERSPECTIVES OF THE STUDENTS 117
internships (35 hours per week) and simultaneously were taking up to 16 credits per semester (15
weeks) which included up to four credits per semester for their internship. Summer internships
(Film Industry) were for nine weeks, full-time (35 or more hours) with an academic load of up to
nine credits in which three were for their internship.
With all these variables playing a role in an intern’s life, the most important value of an
internship is that it brings the classroom to life and is a bridge to entering the profession of one’s
choice (Akers, 2012). With this in mind, this survey asked the question: “What skills did you
learn during your internship?” (see Table 17). The study investigated the Film, Television,
Digital, Music, and Streaming Industry first. Since skills of entry-level positions differ from
higher level positions, the responses reflected the positions and/or jobs where each intern
worked. The skill that made the largest impact or gain is “rolling calls;” 66.67% of the
respondents said they needed, learned, and used this skill on a daily basis.
A result of this study was that HHU’s Motion Pictures Department has made “rolling
calls” as an integral part of the school’s “Internship Bootcamp.”
it’s knowing the script and phone etiquette. The things that you say, how you engage,
because every phone call as an assistant, there’s gates that you have to get through. And
certain bosses, obviously it varies, they’re very particular. But if you have phone
experience, that’s something that’s huge, jumps out on a resume for sure . . . So, at the
start it was mostly just, when the phone rang, I needed to answer it and take down the
name and the number, and that seemed like a huge task. Now, I can very noticeably see
the improvement looking back to now, it’s where that’s easy. That’s so easy now, I can
roll calls, now if three calls come in at once I know how to prioritize and handle that. If
an urgent meeting needs to be set, I can handle that. And that’s just a great way that I’ve
FROM THE PERSPECTIVES OF THE STUDENTS 118
proven myself . . . the hope is that you get good at one thing and then you continue to
build off of that to where you continue to handle the more advanced, we’ll say, version of
what you started doing. (WA)
I actually learned that at the production company. I was actually not allowed to touch the
phones at my other internships because they were so afraid I was going to mess up.
Rather than practicing with me, rather than teaching me, I just didn’t do it at all. Then,
the one time they had an emergency because there was only five people in the office,
someone was calling. They made me answer it . . . I think if we go to school and we
practice. They call. This is what you do. This is your etiquette I think in LA, you need
to know who is important. What projects are you on? Who was calling that’s going to be
important? Keep a list of who are the main players in your office and if they call, do not
put them on hold. Do not ask them who they are. You should know that. I think phones
are a really, really big deal. (GM)
In keeping with the theme of the skills needed for entry-level positions, the responses to
this question aligned itself to the skills needed to perform one’s job. Writing script coverage was
the second highest ranked skill (60.00%) learned by the interns. Writing coverage is the ability
to write a short summary of a story while commenting on the skill and craft of the writing. Also,
they are expected to evaluate to see if the script is one that the company would like to option,
produce, meet the writer, or just pass on the script. This is the main entry point into a career as a
screenwriter, development executive, producer, or a career pathway into the industry. Writing
coverage is one of the most important skills needed for interns to master since it is a catalyst and
an early step that will lead to the production of a film. This skill stays with the person as they
FROM THE PERSPECTIVES OF THE STUDENTS 119
grow and advance in their careers. BA stated, “Writing coverage for people on a lower scale
prepared me to write coverage for people on a higher scale.”
Coverage was the biggest thing because in every internship that I had, I did some sort of
coverage, whether it was on a feature script, a pilot, a book, or like in casting, I had to go
through a script and find all the parts. Being able to break down a script and being able
to find all of the mechanics of it was the best thing I could ever have had before I walked
in there . . . Learning how to write summaries. I think most of us are either too short or
too lengthy. I think finding the balance of what is important to a producer? What does
the producer want to see in coverage? That was the main thing I learned was they want
to know more about the story. They don’t really care if the grammar’s good. They don’t
care if the structure’s good. They want to know can they produce this story. (GM)
My main goal was to develop my main craft as a writer. I know that’s weird, but like
script coverage and reading scripts every day has really helped me with that, so it’s
exceeded my expectations. (WE)
For example, when we do script coverage, something that I did and something that I
continue to do is I tell the interns, ‘Hey, when you complete coverage and you send it off,
it’s up to you to send it off and open up that channel between yourself and the assistants.’
For numerous reasons, I don’t need to be the one doing that but the most important one
is, I think it’s important for . . . an intern who does the work, they need to be the one to
present that, and that’s a great way to interact with assistants on that level. (WA)
FROM THE PERSPECTIVES OF THE STUDENTS 120
Film, Television, Digital, and Streaming Students
Figure M: Film, Television, Digital, and Streaming Students’ Skills LEARNED DURING the
Internship
FROM THE PERSPECTIVES OF THE STUDENTS 121
Table 17
Film, Television, Digital, and Streaming Hard Skills LEARNED DURING the Internship
# Answer % Count
1 Script Coverage 60.00 9
2 Rolling Calls 66.67 10
3 Excel 40.00 6
4 Scriptwriting 20.00 3
5 Pitching (Script, Film, Etc.) Pitch Decks 33.33 5
6 Directing 20.00 3
7 Production 66.67 10
8 Editing 26.67 4
9 Special Effects 13.33 2
10 Resume Writing 26.67 4
11 Writing Cover Letters 20.00 3
12 Set Operations 33.33 5
13 Other (please specify)* 26.67 4
Total Responding 100 15
*Other (please specify) - Text
Walkie-Talkies
Voiceover production; casting
Arbitration
Running reception
Learning this skill prepares you to understand and present material to your immediate
supervisor who has assigned the scripts to read and cover and also allows access to express your
opinion and to back it up to the assistants who work directly for the executives or producers in
the production companies. The ability to improve over time with repeated opportunities to write
FROM THE PERSPECTIVES OF THE STUDENTS 122
script coverage helps students to gain exposure at the company and to list this as one of their
skills on the resumes to obtain future positons that require the assistants to write script coverage.
The internships in the Music Business follow a similar pattern as the Film and Television
internships. These internships are equivalent to or prior to the entry-level positions in the Music
Business. Some of the interns are also performers and looked at their internships as a way of
broadening their knowledge of the industry and as the start of their performing careers.
Understanding these characteristics, the results of learning specific skills included those that will
carry these interns throughout their careers in the industry (see Figure N).
The diverse programs or majors led to a wide range of skills learned and not to that of
one skill that dominated the study. One cluster of skills related to music was that of artist
management and scored highest. These skills were: Contracts 50.98%; Public Relations, Social
Media, and Marketing 43.14%; and Sync and Licensing 37.25%. A second cluster was Rolling
Calls 35.29%, Artist Management 35.29%, Music Supervision 33.33%; and Music Publishing
31.37%. With the exception of Rolling Calls, all of these skills are directly related to the artist or
performer. Skills like Songwriting 17.65% and Concert Touring 3.92% scored low because of
the lack of accessibility to those type of internships. One intern assisted in scheduling and
developing a concert tour for her mentors who managed two up-in-coming singers.
FROM THE PERSPECTIVES OF THE STUDENTS 123
Music Business Students
Figure N: Music Business Students’ Skills LEARNED DURING the Internship
FROM THE PERSPECTIVES OF THE STUDENTS 124
Table 18
Music Business Hard Skills LEARNED DURING the Internship
# Answer % Count
1 Music Supervision 33.33 17
2 Sync and Licensing 37.25 19
3 Contracts 50.98 26
4 Audio Engineering 9.80 5
5 Songwriting 17.65 9
6 PR, Social Media, and Marketing 43.14 22
7 Rolling Calls 35.29 18
8 Artist Management 35.29 18
9 Event Management 21.57 11
10 Concert Touring 3.92 2
11 Music Publishing 31.37 16
12 Resume Writing 21.57 11
13 Writing Cover Letters 13.73 7
14 Other (please specify) 7.84 4
Total Responding 100 51
Time Management
Besides using the soft and hard skills learned in the classroom and in earlier internships,
an interesting phenomenon of time management presented itself to the interns. Being able to
juggle one’s internship with the requirements put forth by the university during their internship
experience helped to prepare them for the realities of the workplace. The Entertainment Industry
as a whole does not have typical work hours especially in the production side of the industry.
This study looked at these variables to draw a picture of how students handle the internship
experience.
FROM THE PERSPECTIVES OF THE STUDENTS 125
Most internship programs require an academic component to its program. The Federal
Labor Standards Act (FLSA) required that internships have seven criteria. One being that an
intern is enrolled in college and receives academic credit for his internship. Understanding this
requirement, HHU allowed its individual programs the ability to establish criteria as to the
number of internships, length of internship, number of credits received, number of hours weekly
for the actual internship, and class attendance.
Number of Internship and Credits Received during the Los Angeles
Internship Experience
The number of internships a student can take varies as long as it does not exceed the
number of internship credits earned by a student as permitted by the department. Thirty -eight,
or 69.10%, respondents had participated in one or more internships prior to their first Los
Angeles internship (see Figure H and Table 10). In their Los Angeles Internships, most
respondents participated in a one semester internship, 39, or 70.91%; one respondent
participated for two semesters (1.82%), and 15, or 27.27%, participated in the internship
program during the summer (see Figure O). Through interviews with some of the respondents,
five of the students interviewed stated that they participated in different internships over two
summers. Since each summer session lasts nine weeks, they felt they needed more exposure to
Los Angeles and most used their last internship to transition and obtain a paying, entry-level
position at the company where they interned.
‘Look, I did this.’ For me personally, I did it for two years. I went out and I sought it
out. I got all this experience that maybe someone else graduating doesn’t have. I think
that gives us a leg up for being employed. I just worked five days a week, so I worked
three, and then two . . . added so many more connections and so much more experience
than I would have had with just one (let alone four). (GM)
FROM THE PERSPECTIVES OF THE STUDENTS 126
Figure O: Number of Semesters Students Participated in the Los Angeles Internship Experience
Table 19
Number of Semesters Students Participated in Los Angeles Internship
# Answer % Count
1 One Semester 70.91 39
2 Two Semester 1.82 1
3 Summer 27.27 15
Total 100 55
I was pretty well-experienced. I felt pretty good about it. I’d said before, I’d interned a
lot, so every office is different, but there are a lot of ways that they’re all the same too, so
FROM THE PERSPECTIVES OF THE STUDENTS 127
I kind of knew what was going to happen. I knew where I should be looking for people
to give me assignments and where I can help out and things I can make better . . . I
purposefully didn’t do two internships, so I had three days a week where I was at the
office, but two days a week where I was secretly working on stuff that made it seem like I
was fast. I would go home and worked more. I think the feature of the internship is
there’s no classes during the day. While you’re transitioning into life in L. A., you have
weekdays to go to the grocery store, and do your laundry, and live life, and explore, and
go to museums. You’re not working five days a week, because it’s hard to go from
college to a nine to five job. (BA)
In my personal experience, it helped that I had worked at so many other companies
before and interned at other companies and I just kind of learned how to adapt to
environments . . . because everyone works differently and so you have to learn how to
work with people and difficult people and how to deal with them and their really easy
people, so how to just keep your relationship with them strong. (SD)
I at least have a little bit of a leg up on a lot of the interns because I had done a previous
internship out in Los Angeles before . . . kind of my first taste. I had never been out to
LA before, so doing that internship prepared me for, I guess, ‘my-for-real internship’
where I knew I wanted to get a job out of this. I was (now) a graduating senior, and my
level of readiness and eagerness to be done with school . . . I had done the full four years
of schooling at that point. It really helped set me apart from those who were interning as
a second year [student] or this might be their first internship. (WA)
FROM THE PERSPECTIVES OF THE STUDENTS 128
I worked like four internships because each production I worked on was a very distinct
thing in my memory. I think each production had a whole different feel to it. I definitely
feel like I was thrown in . . . [Later] I asked if they had any open positions. I just straight
up asked, and they did. They remembered me because I had been there and had done
well as an intern and a volunteer. They just hired me for the position, partially just
because I asked. It was also timing too. It was the luck of the timing and also the fact
that they remembered I did a good job. (PG)
The other part of it was that I had a set of skills that aligned with what I wanted to do and
then when the time came, I was a natural fit for the job that he had . . . someone is always
looking for someone to do something for their company. We’re always hiring. I don’t
know if that’s the case for your show because it’s a little bit different, but for, I know that
[the production company that I interned for] is always looking for PAs and editors. I
know that my company is always looking for freelance, like everybody is always looking
for something, so you have to take those jobs first, and then you build a reputation. It’s a
combination of right place, right time, but having the right skills at the right place at the
right time. (SK3)
Since FLSA requires that interns be enrolled in a university program in order to take an
internship, HHU established a protocol and a limit to the number of internship credits one
receives. Students are able to take up to six credits through the university. For their Los Angeles
Internship, most students received three credits. This number became apparent during the
interviews with 18 interns (see Figure P).
FROM THE PERSPECTIVES OF THE STUDENTS 129
Figure P: Number of Credits Received for Your Los Angeles Internship
Table 20
Number of Credits Received for Los Angeles Internship
# Answer % Count
1 0 - 2 credits 25.45 14
2 3 - 5 credits 65.45 36
3 6 credits 9.09 5
Total 100 55
The number of hours worked weekly varied depending upon the kind of internship each
student worked. Many had traditional hours while others were impacted by the demands of the
internship. Internship hours are usually determined by the number of credits received for the
FROM THE PERSPECTIVES OF THE STUDENTS 130
internship, i.e., 1 credit equals 10 hours. If a company is in production, then the intern is
expected to work longer hours. In many cases, companies provided comp time to the intern or in
rare cases paid the intern. An example of this was an intern who worked for a production
company. Whenever this company went on location, the intern was paid $100.00 for the daily
shoot, rather than work in the office as a regular intern.
Most interns, 25 or 45.45%. worked between 20 to 34 hours per week. Some interns, 10
or 18.18%, chose to work longer than 35 hours per week because of the nature of the internship.
Depending on the internship such as film/television production, theatre production, live concerts,
and special “Red Carpet Events” such as the Emmys, Grammys, Film Premieres, CinemaCon
(Las Vegas), ComicCon (San Diego), and other special events, the interns knew in advance that
these types of internships required more than 35 hours per week (see Figure Q).
I didn’t have normal hours in my internship. Mine was kind of unique, so I was not fully
prepared for the timeline that I would be working. I would have a few days off in a row
and then I would work, there was a period that I worked twelve days in a row at a
minimum of twelve hours each day, and that was the longest consecutive [time] I’d ever
worked on anything. That was definitely something I had to get used to, but there wasn’t
much I could have prepared to be ready to do something like that. That’s just something
you have to do and figure out how it’s done. I think what we were talking about with the
social aspect and just working hard. Things like that made me at least prepared to get
through those long days. (PG)
When it was my day to intern and they had a shoot going on, they would pretty much
make it mandatory, unless you really didn’t want to, to actually work on the production
and be a production assistant and basically work that same job that would be the entry-
FROM THE PERSPECTIVES OF THE STUDENTS 131
level production assistant job. You had that hands-on experience, so if I wanted to
become a production assistant after this internship, I would have the right qualifications.
(KR)
they’ve treated me like family. And along with that they’ve been really good at like ...
she’ll just call me up sometimes and be like, “hey you want to come to this event or this
show?” . . .I’ve been backstage with them and I get to meet [music] executives. (SM2)
Being able to be okay with taking work home. Don’t complain about taking work home.
You’re an intern and you’re unpaid, yes, but you need to be willing to do that because
that’s what’s going to get you further than other interns if you’re willing to take that work
on… but I just worked five days a week. (GM)
Figure Q: Weekly Internship Workload
FROM THE PERSPECTIVES OF THE STUDENTS 132
Table 21
Weekly Internship Workload (Hours)
# Answer % Count
1 0 - 19 hours 36.36 20
2 20 - 34 hours 45.45 25
3 35 hours or more 18.18 10
Total 100 55
Classes Attended during the Los Angeles Internship
During these internships, many students were required or desired to attend classes in Los
Angeles or have online classes either as part of their internship program or as regular courses
offered online. Of the 55 respondents, 53 or 96.36% attended classes offered by the university in
Los Angeles or via online (see Figure R).
Figure R: Classes Attended (Including Online Classes) during the Los Angeles Internship
FROM THE PERSPECTIVES OF THE STUDENTS 133
Table 22
Classes Attended (Including Online Courses) during the Los Angeles Internship
# Answer % Count
1 Yes 96.36 53
2 No 3.64 2
Total 100 55
During the summer, in addition to the credits the student receives for their internship,
they are required to attend a weekly class referred to as “Pizza and a Guest,” but labelled by the
university as a Motion Pictures Industry class. Each week they go to a different section of Los
Angeles near where the guest lives or works to meet them for dinner and conversation. The
students prepare by researching the guest, their film and television credits, and their many
accomplishments that they have obtained in their careers. This allows them to prepare more
detailed questions to ask the guest and to be able to see how their career path allowed them to
excel in their particular part of the industry. There are at least 10 meetings with guests from
entirely different areas of the industry from directors to writers to actors to producers to
executives at the production companies, networks, studios, and digital and streaming companies.
Some of the guests are only a step or two above the interns, but others have worked in the
industry for a long time.
I can’t imagine not doing those. I really can’t. Nothing specifically ever came for me out
of doing that. It didn’t provide a lucrative job opportunity, but I just remember being out
here and being like, ‘I got to do this,’ or ‘I got to do this.’ That was such a cool and
integral part of it that I can’t believe other schools stopped doing . . . it’s a direct line to
FROM THE PERSPECTIVES OF THE STUDENTS 134
people that we would otherwise not really have any contact with, which is important.
(SK3)
It creates a routine and kind of makes everyone reset each week and come back and talk
about the week, reset and go back to their week. I think that’s important because time is
so weird out here in LA with the lack of seasons and just getting so involved in what
you’re doing. I think those weekly meetings helped people reset and just be able to come
together and externalize what they’re doing at their jobs with other people who are doing
similar things at their jobs. (PG)
Number of Credits Taken During Los Angeles Internships
If students participated in an internship during a regular school semester, they were
required to pay tuition plus a housing surcharge in Los Angeles. In order to keep their expenses
under control and get the best “bang” for their dollars, interns signed up for as many credits
possible (up to 16 non-intern credits). Summer students were able to sign up for six non-intern
credits per summer semester. Twenty one, or 38.18%, respondents elected to take 12 or more
credits. Another 15, or 27.27%, of the respondents elected to take nine to 12 credits (see Figure
S). Students who interned during the summer usually elected to take a three-credit course related
to the school’s internship program.
Research Question 1c. – After the Internship
What are the agreed upon skills that students need to obtain in the entertainment industry
after their internship so that they are best prepared for the workplace?
Most interns find their jobs in what the industry calls “entry-level” positions. These
positions have emphasized skills that have been defined to meet the hard skills that interns will
FROM THE PERSPECTIVES OF THE STUDENTS 135
Figure S: Number of Additional Credit Hours (Including Online Courses) Taken by the Intern
during the Los Angeles Internship (Internship Credit Not Included)
Table 23
Number of Additional Credit Hours (Including Online Courses) Taken by the Intern during the
Los Angeles Internship (Internship Credit not Included)
# Answer % Count
1
2 1 - 4 credits 18.18 10
3 5 - 8 credits 16.36 9
4 9 - 12 credits 27.27 15
5 12 or more credits 38.18 21
Total 100 55
FROM THE PERSPECTIVES OF THE STUDENTS 136
need for their first paid position in the entertainment industry. In Film, Television, Digital, and
Streaming respondents, script coverage was the skill that most interns felt was important (see
Figure T). Of the 15 respondents, 11, or 73.33%, ranked script coverage number one. During
interviews, many of the respondents stated that being able to write script coverage was a
necessary skill for many entry-level positions.
I think my first writing coverage internship so prepared me for this one. I was really
prepared, and then because I was prepared for the internship, I was really prepared for the
job. They prepared me . . . I think the more you write coverage the better you are. I was
better at coverage, that was what my internship gave me. (BA)
the coverage workshop was a huge, huge help because both internship companies
required fairly heavy script coverage. So that was huge . . . For example, when we do
script coverage, something that (my internship coordinator, SD) did and something that I
continue to do is I tell the interns, ‘Hey, when you complete coverage and you send it off,
it’s up to you to send it off and open up that channel between yourself and assistants.’
For numerous reasons, I don’t need to be the one doing that but the most important one
is, I think it’s important for . . . an intern who writes the coverage, they need to be the one
to present that, and that’s a great way to interact with assistants on that level. (WA)
FROM THE PERSPECTIVES OF THE STUDENTS 137
Figure T: Film, Television, Digital and Streaming Interns – Skills You Used during Your
Internship which will be Applicable to Future Positions
FROM THE PERSPECTIVES OF THE STUDENTS 138
Table 24
Film, Television, Digital, and Streaming Interns – Skills USED DURING the Internship which
will be Applicable to Future Positions
# Answer % Count
1 Script Coverage 73.33 11
2 Rolling Calls 66.67 10
3 Excel 66.67 10
4 Scriptwriting 33.33 5
5 Pitching (Script, Film, Etc.), Pitch Decks 46.67 7
6 Directing 13.33 2
7 Production 53.33 8
8 Editing 26.67 4
9 Special Effects 6.67 1
10 Resume Writing 33.33 5
11 Writing Cover Letters 40.00 6
12 Set Operations 26.67 4
13 Other (please specify)* 20.00 3
Total Responding 100 15
*Other (please specify) - Text
Walkie-Talkies
Voiceover production; casting
Running reception
I think the script coverage thing is a good idea if you know you’re going to go into script
coverage, or if there’s like a very high percentage chance that you’re going to. (BB)
The structure of the company is built in a way where they’re really relying on interns, so
we do the script coverage and send it directly to the assistants and a lot of our work is
FROM THE PERSPECTIVES OF THE STUDENTS 139
being an assistant to the assistants, so they do rely on us a lot, so we always have stuff to
do. (WE)
They prepped how important it was to write coverage, and not just how to write
coverage, but what it is that you’re doing and why it’s important that you’re doing it and
why to take it seriously and not just like a, oh, it’s just like an internship duty. It’s the
one thing that you can do to stand out. It’s the one thing you can do that isn’t an intern
duty. It’s a thing that puts you on the playing field with everybody else. (SK3)
The skill of handling “rolling calls” was the second highest response of this group. Ten,
or 66.67%, responded that they used “rolling calls” as they prepared for the first paid position.
By learning how to handle rolling calls, the respondents replied they were able to broaden their
knowledge of the industry by using this skill appropriately. Three respondents stated,
Phone, not so much even working a phone, it’s knowing the script and phone etiquette.
The things that you say, how you engage, because every phone call as an assistant,
there’s gates that you have to get through. And certain bosses, obviously it varies,
they’re very particular. But if you have phone experience, that’s something that’s huge,
jumps out on a resume for sure. (WA)
I actually learned that at the production company. I was actually not allowed to touch the
phones at my other internships because they were so afraid I was going to mess up.
Rather than practicing with me, rather than teaching me, I just didn’t do it at all. Then,
the one time they had an emergency because there was only five people in the office,
someone was calling. They made me answer it . . . I think if we go to school and we
practice. They call. This is what you do. This is your etiquette I think in LA, you need
FROM THE PERSPECTIVES OF THE STUDENTS 140
to know who is important. What projects are you on? Who was calling that’s going to be
important? Keep a list of who are the main players in your office and if they call, do not
put them on hold. Do not ask them who they are. You should know that. I think phones
is a really, really big deal. (GM)
Answering the phones, being able to talk to people is also a huge one. Just being able to
be social with somebody and not come off in a certain way that might be frowned upon.
(EE)
Being able use Excel in keeping track of productions including budgeting and scheduling,
was a surprising third. Again, 10, or 66.67%, respondents replied that understanding and being
able to use it daily was very important. The use of technology has helped organize workers in
the industry as well as in other industries in general. Many interviewees reinforced the
importance of being able to use Microsoft Office in general and specifically Excel. SM2 stated
“Proficiency in Excel;” and GM said “Excel is something that none of us know how to use and
that’s so bad because I used it so, so much.” Others stated,
Excel was definitely a big one. I’ve done Excel before, and I always knew I was going to
use it, but they just put me to it. It wasn’t that hard to figure out once you kind of know.
Like Microsoft Office, in general, being able to lay out a Word document or a
PowerPoint, or anything like that is definitely important. (EE)
I think that’s just the nature of the field. It’s probably good that I know Excel and Word
and all those software packages just to keep things organized and, you know, I can keep a
record of, you know, if I have tracks that are being used by an artist or something I could
FROM THE PERSPECTIVES OF THE STUDENTS 141
organize saying is this song mixed? Yes. Is it consent? Yes. To who? Has payment
been received? You know, things like that. It’s kind of a bookkeeping aspect. (MJ)
I have access to the calendars of everyone she manages, everyone her husband manages.
And part of my job with them is to add things to their calendars or notify their artists of
different things. And then they also have let me come along and like I said, do photos for
stuff. (SM2)
Definitely computer proficiency. Worked a lot on Word documents and Google
documents. Also, I was in the development and the research department, so I did a lot of
research. I did a lot of Google searches, so I kind of had to know. If I was asked to
research something, I knew certain keywords, would get me certain results and to look
beyond the first page of a Google search. To find actual answers that they wanted,
because some of what they wanted was very specific. (MC)
In the Music Business Industry, the respondents who are entering or entered the work
place stated that many skills used during their internships transferred readily into their first
position (see Figure U).
Many of these skills are used as interns’ transition to their first paid music industry
position. Understanding contracts and their importance to the industry is important to the
different facets of the film industry. If the respondents were artists or were in the part of the
industry that supported the artists, the respondents learned about contracts and how contracts
affect the artist. Twenty four, or 51.06%, of the 47 respondents affirmed that contracts and its
implications impact the industry.
FROM THE PERSPECTIVES OF THE STUDENTS 142
Figure U: Music Business Interns – Skills You Used during Your Internship which will be
Applicable to Future Positions
FROM THE PERSPECTIVES OF THE STUDENTS 143
Table 25
Music Business Interns – Skills USED DURING the Internship which will be Applicable to
Future Positions
# Answer % Count
1 Music Supervision 31.91 15
2 Sync and Licensing 38.30 18
3 Contracts 51.06 24
4 Audio Engineering 10.64 5
5 Songwriting 8.51 4
6 PR, Social Media, and Marketing 46.81 22
7 Rolling Calls 29.79 14
8 Artist Management 31.91 15
9 Event Management 17.02 8
10 Concert Touring 8.51 4
11 Music Publishing 27.66 13
12 Resume Writing 27.66 13
13 Writing Cover Letters 23.40 11
14 Other (please specify)* 8.51 4
Total Responding 100 47
*Other (please specify) - Text
Script review and revision, sweat box, prop and costume design, production file management,
continuity reel, call outs, sound effects, asset reviews, script breakdown, voice acting and
recording sessions
In Entertainment
General Research
A&R
Another set of skills that the respondents felt were important to them in the future was
Public Relations (PR), Social Media, and Marketing as important skills in the Music Industry.
Twenty two, or 46.81%, of respondents stated this group of skills were necessary and will be part
FROM THE PERSPECTIVES OF THE STUDENTS 144
of their future. The next highest skill noted by the respondents was Sync and Licensing.
Eighteen, or 38.30%, of the respondents felt that this skill would help them in the future. A
cluster of skills that are “people related skills” scored next highest by the respondents. These
skills were: Music Supervision (15 or 31.91%), Artist Management (15 or 31.91%), and Rolling
Calls (14 or 29.79%). SM2 stated, “classes in general taught me more about what the
internship’s talking about if they need a sync license or whatever, I know what that is, because I
took classes on it.” Some of the others interviewed stated,
I expected to learn a lot about the industry which for me was music. It was music studio
production and music supervision. Those were the two tracks that I explored. I expected
to learn about the industry, and just what it is, what it is to have a career in these fields
because at 18 through 21, I had no idea. I had no idea what the workforce is like . . .
thought [what] was going to happen was I would be thrown to this environment where I
could really learn the day-to-day of a company, and take that knowledge, and apply it to
my career path, my perspective career path. (SK1)
I needed to know essentially how every piece of equipment operated, so that’s from all
the aspects and facets of the computer and the various recording software(s) that he uses
there, the different processing software(s), that outboard equipment for signal processing
and things like that, the instruments . . . It’s kind of a wide-reaching bank of knowledge
that you have to know to apply it to that setting because there’s so many different . . . It’s
kind of an odd scenario where there’s so many different places that one thing could go
wrong and so you have to, in a lot of situations, when you’re solving a problem most of
the time it’s just figuring out where along the line that that problem occurred . . . I
watched a lot of YouTube tutorials and videos when I got into engineering and
FROM THE PERSPECTIVES OF THE STUDENTS 145
production and I would say that was definitely the strong foundation for what I know.
(MJ)
Being able to read music and interpret music . . . I ended up listening to a lot of music,
and then kind of deciding whether it could fit in one of their shows or not . . . Good
listening skills, and you have to be able to describe why you like something ... You have
to have an opinion and be able to dictate it clearly. You can’t just say, ‘I don’t like this.’
. . . lot of times, we would actually have artists come in and give us a mini concert,
because they wanted their music on TV, obviously. And so (the head of the TV music
department) would ask my opinion, what I would think of them. (BB)
It was music studio production and music supervision . . . I learned how to read . . . This
is very specific to what I do, but read emails, briefs that a movie may be looking for a
specific type of song. Then, how to analyze what the studio wants and search for the
music that’s appropriate for the scene. (SK1)
Research Question Two
How can internship programs prove to be the catalyst for students seeking entry-level jobs and
does it speed up the process of obtaining a job?
Will Akers, a film professor, author, and screenwriter once stated, “A student who
successfully participates in an internship program speeds his entrance into the entertainment
industry by three years” (Akers, 2012, n.p.). This comment encapsulated the impact that
internships had as interns made their transition to a paid position in the entertainment industry.
The importance of participating in an internship program is apparent today as many companies
FROM THE PERSPECTIVES OF THE STUDENTS 146
use the internship experience as a proving ground to determine if the intern fits into the culture of
the company.
Today, the internship is a cornerstone of the modern college labor market. Job-seeking
students use internship experiences to gain relevant work experience and, in some cases, to
transition directly into a full-time entry-level position with the internship employer (Crain,
2016). Employers have taken a keen interest in converting interns into full-time hires, early
talent identification, greater retention of hires coming from the internship program, and a
competitive advantage over other organizations seeking college talent are all benefits of such an
effort (Market, 2016).
The importance of internships was reflected in various studies. The trend is that students
graduating with internship experiences are more likely to find employment upon graduation than
those who did not have an internship (Saltikoff, 2017). Another trend is shown in a Looksharp
Report, entitled 2016 State of Millennial Report (McCammon, 2016). It reported that students
who participated and completed three or more internships were more likely to secure full-time
employment than those who did not meet this criterion. Each respondent in this survey
participated in a Los Angeles internship as part of the HHU’s Internship Program. Table 10
showed the number of internships each respondent participated in prior to the Los Angeles
internship. Table 9 showed the total number of internships the respondents participated in while
attending the university. Since some of the respondents are still in school, the statistics will
change upon these respondents’ graduation. The number of internships the respondents
participated in varied from 0 to greater than five internships prior to the Los Angeles internship.
In this study, 18 respondents, or 32.73%, completed three or four internships and 11 respondents,
or 20%, completed five or more internships during their university experience.
FROM THE PERSPECTIVES OF THE STUDENTS 147
In the first research question, the respondents were questioned about the number of
internships they participated in prior to their Los Angeles internship (see Table 10). The
philosophy of the internship program was to encourage students to take as many internships as
possible and still meet the class and academic requirements of the university.
Most students were able to work and take internships during the school year because of
the location of the school especially in the Music Industry. The main campus is located in one of
the largest music business, production, and recording centers in the United States. The
entertainment industry is a very unique industry and they prepare students not only through their
curriculum and courses, but also through internships. The school encourages multiple
internships to give students the kind of experience in the workplace that is needed to help them
make an intelligent decision about their career path. The chairperson also encourages the
students to take multiple internships.
As for the film industry, it is growing in this city and is welcomed by the university.
With this fertile area, it was inevitable that the next step is to go to Los Angeles to determine if
this is where students want to work professionally and if they want to live in the environment
that comes with the territory. The Chairperson
8
of the Motion Pictures Department at HHU
stated in a recent interview that:
Get an internship. Get several. Try to get one in your hometown, at wherever your
college is, where the stakes are lower, and the speed is slower. So, if you have an
internship or two before you go to Los Angeles I think you’ll be a much better Los
Angeles intern if you’ve had some practice, because the Los Angeles internships can be
pretty scary. People don’t set out to be scary, but it’s harder, and I think if you practice at
home you’ll get to California with a much greater level of confidence in your abilities.
8
Identification withheld for confidentiality
FROM THE PERSPECTIVES OF THE STUDENTS 148
Following these recommendations, the survey asked the question about the number of
internships a student had participated in during their years as an undergraduate student. Even
though some of the of the students are still in school, it reflects the philosophy of the university
(see Figure V).
Figure V: Number of Internships Participated in during Your College or University Experience
Table 26
Number of Internships Participated in during College/University
# Answer % Count
1
2 1 - 2 internships 47.27 26
3 3 - 4 internships 32.73 18
4 5 or more internships 20.00 11
Total 100 55
FROM THE PERSPECTIVES OF THE STUDENTS 149
Internships provide opportunities for the interns to build relationships with people who
might play an important role in their search for employment in their fields of endeavor. Building
relationships, networking with fellow interns, mentors, supervisors, colleagues, bosses, and
others can be the connection to the intern’s next job. The ability to network was a big
component of the internship experience. Of the 55 respondents, 48, or 87.27%, stated that
networking and meeting people opened the doors to employment. As one intern stated, being in
the right place at the right time with the right people helped him get his first position. BB said,
“networking. I mean, it got me a job. I mean, that was very important. Again, pretty much just
being there with everyone and making friends.” Other respondents stated,
I know that my company is always looking for freelance, like everybody is always
looking for something, so you have to take those jobs first, and then you build a
reputation. It’s a combination of right place, right time, but having the right skills at the
right place at the right time. (SK3)
It’s very directly gotten me a position, because I didn’t know [him] very well prior to that
initial internship program. From there, he became one of my closest friends throughout
film school. That didn’t go away once we left LA, we got back to school, and it just
strengthened from there and then he ended up getting a job out here and obviously the
bond we made as interns together, not even at the same company. Just out here doing the
same thing and working in Los Angeles. From there, it very directly got me a job. It’s
been invaluable. I would not be here, I can confidently say that, without the connections
that I’ve made. (WA)
FROM THE PERSPECTIVES OF THE STUDENTS 150
I think [HHU] puts a lot of emphasis on standing out, just as an individual in the
workplace, so whether that means, I mean, on top of working hard, I think [HHU] makes
it known that you need to stand out personally, because people want to enjoy being
around you. That’s just how jobs work generally. Especially in the entertainment
industry, people get jobs through their friends and their colleagues and people they’re
close with. I think [HHU] made it known that it’s important to, I guess I’ll use the word
network, although it truly means get to know people and maintain those relationships
with people. I think that’s another thing [HHU] focused a lot on . . . I’ve never heard of
someone in the entertainment industry just blindly submitting a resume and cover letter
and getting hired, just out of an online submission. I’ve never heard of that happening.
(PG)
That was a nice transition from internship to job . . . My internship job wasn’t that
different from my job. When I first started, now it’s very different. I basically just added
answer[ing] the phones and made sure the magazines were straight. From intern to
reception, the only thing was phones and a little bit of office stuff. I built it in, I started to
add and take on projects from other departments, and then it became a little bigger. In
terms of preparing me for my current job, I think the more you write coverage the better
you are. I was better at coverage, that was what my internship gave me. Knowing
people, and then being better . . . You have to learn how to do the job, and learn how to
do the people, and learn how to get around the office. It’s nice that I had a lot of the
boxes marked off that a first day would be. (BA)
FROM THE PERSPECTIVES OF THE STUDENTS 151
because I made a good impression on people and when the internship was coming to an
end, they knew I was looking for a job and they knew they could trust me and they were
the ones who reached out to me about getting a job there. I didn’t ask them about it, so
definitely the connections were most helpful in getting hired. (SD)
It was really hard. I interviewed and applied to every music industry position I could find
on social media and wherever I could find something, every job board. I went to
networking events, but eventually, it just worked out. I don’t know if it was right place,
right time again but the job that I went into after that first opportunity actually was, again,
from my school’s job board. I do think that my internship and then [my] first job
experience played a big hand into my getting that next job. (SK1)
Another important part of building working relationships with your employer is how the
internship supervisor values the interns’ contributions to the company. One of the interns stated,
Be humble, interested in working, be happy to do any job, not entitled, easy to get along
with others, learn how to follow instructions to great detail, pay attention to what they
want you to do and follow through. Make life better for the employer by being there.
(SD)
Interns discovered that the effort they put into their internship can pay dividends. As
mentioned earlier, the internship experience for many becomes the gateway into the
entertainment industry. Employers are looking for new people who bring new skills and ideas to
their company. Two interns interviewed are excellent examples of what effort and being in the
right place mean. The first intern, SD worked hard in his internship, networked and
communicated with his fellow interns and with the administrators in positions directly over him.
The company was so impressed with him that they offered him a position. The position he was
FROM THE PERSPECTIVES OF THE STUDENTS 152
hired for was “Internship Coordinator.” The second intern, WA, who was a fellow alumnus was
hired by SD to be an intern at this company. The next event in the chain of events happened
when the internship coordinator moved to another company. One of the last acts that SD did was
to hire the new internship coordinator; that person was WA. For WA, this was the ideal position
for him.
One of the questions asked was if they, the interns, were offered a paid position upon
completion of their internship. Twelve, or 22.64%, of 53 respondents were offered a paid
position by their company at the completion of their internship (see Figure W). However, by
drilling down, the data of this survey revealed that only 28 respondents were graduating seniors,
and in a position to accept a paid position (see Table 6). Using that statistic, the percentage
increased to 42.86%.
Figure W: If You are Graduating, Were You Offered a Paid Position at the Company Upon
Completion of Your Last Internship?
FROM THE PERSPECTIVES OF THE STUDENTS 153
Table 27
Offered a Paid Position by the Company upon Completion of Internship
# Answer % Count
1 Yes 22.64 12
2 No 77.36 41
Total 100 53
After completing an internship, interns are sometimes faced with the dilemma of whether
to accept a paid position with the company where they interned. Using a Likert scale where “1”
indicated Definitely Not, “2” indicated Probably Not, “3” indicated Probably Yes, and “4”
indicated Definitely Yes, the respondents were asked: “If you were offered a position would you
take a position with that company?” Thirty five, or 64.81%, of the 54 respondents answered they
would want the opportunity to work for the company they interned (see Figure X).
Figure X: Would You Accept a Paid Position if Offered by the Internship Company?
FROM THE PERSPECTIVES OF THE STUDENTS 154
Table 28
Would You Accept a Paid Position, if Offered by the Internship Company?
# Answer % Count
1 Definitely Not 7.41 4
2 Probably Not 27.78 15
3 Probably Yes 31.48 17
4 Definitely Yes 33.33 18
Total 100 54
Just as the internship experience provided future employers the opportunity to “tryout” a
company, the intern had the same opportunity to determine if the intern wanted to work for the
company they interned. It was like having a test run before one buys a car. Interns commented
that by having internships one can determine if they want to work in Los Angeles or even in the
entertainment industry.
I think just going to LA, seeing what LA is like because I honestly had the cliché, LA’s
busy and it’s so glamorous and fun. Really seeing the gritty side of the film industry,
because I don’t see that in school, because everything we talk about is well, maybe this,
maybe that, so really seeing how it works. That was my expectation and that was met . . .
if I had not been in the program, I never would have had. I would have been alone, trying
to navigate a city I’ve never been in, when I had a really great network being in the
program . . . I really got the sense of this is what my life’s going to be like in the film
industry. This is what I need to know to be in the film industry. There are many things I
learned and skills I gained that I would not have had, had I just been in school and not
had the internship. (GM)
FROM THE PERSPECTIVES OF THE STUDENTS 155
There are every day thousands of people apply for internships and specifically in Los
Angeles for the film industry. And the film industry is very competitive, so the fact that
they’re even there at that company interning is a blessing for them. And I would say treat
it as such. It’s a privilege. But enjoy it, try your best to learn something. It’s your job as
an intern to make the best of that and try to learn as much as you can because even if you
are moving boxes, everyone in the company is watching you. Even if it is a small
company, small companies grow and as they say in Hollywood everyone knows
everyone. I would say it’s just really important to do the best work you can do, no matter
where you’re at, because even though it doesn’t seem like it or you don’t realize it,
someone is watching you and someone is noticing that you’re doing a good job even at
the small stuff. And that will make a name for you later . . . Being from outside LA, I
wanted to get a feel for the city, and I wanted to get a feel for how the industry works in
its prime territory, and I felt like I did get a good taste of what the industry is like, what
day-to-day life is like for some of these people that are doing what they love. (MC)
The company did offer me a position at the end of the internship. I had to decline,
because I had two more years of school left. I did think about it for a bit, and I was
actually talking with one of the guys at the company, who’s leaving to go to another job.
But he told, he’s like, ‘Don’t do it, just finish school. You’d probably make more money
later.’ He’s like, ‘It’s not worth it, you should go.’ And I thought about that, and I
thought about it myself, and like, ‘Yeah, I’ll just finish school.’ (BB)
In conclusion, internships are beneficial to both the intern and the company where the
intern works. Besides finding if the fit is between the intern and the company, other benefits of
FROM THE PERSPECTIVES OF THE STUDENTS 156
the experience became apparent. For the intern they include: networking, learning new skills,
determining whether Los Angeles is for you, whether the position is the correct position, how it
can help you move up in your career, if you can afford to accept it, and will the position allow
you the opportunity to make more money.
Nine of the people interviewed, five in the Film Industry and four in Music Business,
were working in the Entertainment Industry in Los Angeles. Three undergraduates were
interning via Skype with their mentors with the understanding that there would be a position for
them here upon graduation.
Research Question Three
What are the equity, diversity, gender, and socioeconomic issues that internships need to address
in the entertainment industry?
Equity, Diversity, Gender, and Socioeconomic Issues
Equity, diversity, gender, and socioeconomic issues have surged to the forefront in the
entertainment industry today. The current population of undergraduates at HHU in the 2017–
2018 school year, was 6293 students (U.S. News & World Report, 2017). This report stated that
3988 students, or 63.3%, were female and 2305 students, or 36.7%, were male. Of the 6293
undergraduate students at HHU, 80% or 5034 are White, 2% or 126 are Native American, 5% or
315 are African-American, 5% or 315 are Latino/Latina, 2% or 126 are Asian, and 6% or 378 are
either multiracial, Pacific Islanders, or international students (U.S. News & World Report, 2017).
Diversity
Diversity is a major issue in the entertainment industry today. Since 80% of the student
population at HHU was White, the number of interns over the last five years from HHU was
predominately White. This study looked at this diversity issue through the interview process of
FROM THE PERSPECTIVES OF THE STUDENTS 157
the qualitative part of the study. Interns were asked about diversity at their internship companies
where they interned. The results were very interesting depending upon the size of the company,
the focus of the company [reality television (unscripted) vs. scripted television], and international
vs. domestic companies. The interns were very direct in their observations and feelings about
diversity or lack of diversity at the companies where they interned in Los Angeles.
GM worked at two different companies during her second summer in the Los Angeles
program. One of the companies was considerably larger and had 25 interns working there. Like
the company, the interns reflected the diversity of the company. Many were of color and many
were female. It was an eclectic group that worked well together and respected each other. The
other internship was at a prestigious company [film production] where she was the only intern.
Even though the company was owned by two men, the head of the company and her supervisor
was a woman.
I’m going to talk about my company because I was actually the only Caucasian intern.
Everyone I worked with was either Latino or Black. I was the only White person. That
is something I’ve never seen. They really tackled it because they’re a worldwide
company. They really did shows worldwide. That was really interesting because I didn’t
expect that. They had LGBQT kids. They had a whole spread of people whereas every
other internship, only White people and only girls, which I think is nice for me because
I’m a girl and I know it’s a male-dominated industry, but I’ve noticed that being a female,
there were way more girls than boys in the internships. I don’t know if that has anything
to do with them trying to be more diverse, but I definitely think that the company was the
only place where I felt this is a really good mix of people. This is a really interesting
background of people that can contribute to different sides when usually it’s a bunch of
FROM THE PERSPECTIVES OF THE STUDENTS 158
20-year-old White kids. While we have an opinion, it’s not as progressive as it could be,
for sure. (GM)
I would say that diversity in the film industry is getting better, because of the way the
film industry was structured for a long time, a lot of women were not given the
opportunity to be directors, positions of power. I feel like that is growing a lot. Then
also, people of color are also becoming more prominent in the film industry in key
positions, as directors, as cinematographers. I think it is getting better. I know
specifically at [my internship company] was very diverse. People of all different walks
of life, which was nice to see, it was not a room of all White people. It was a pretty good
mix. It was comfortable. You could tell it wasn’t forced diversity or anything. You
know it was these are the best people for the job and it was diverse in that way. (MC)
MC worked at a reality production company. The production company was a
combination of all types of people. The goal of the company was to hire the best people
suited for the program no matter how the individual identified themselves. MC
commented, “Exactly. There are a lot of times people will hire by gender or race just to
say they did. That’s just a whole other issue in my opinion”
The truth is that Hollywood needs more voices. There’s been a clear, singular voice for a
very long time. The industry has been run by one specific kind of demographic and we
need to see more voices than just that. We need to stop seeing White dudes being the
storytellers. With the AFI doing women in film initiatives and all those things are more
widespread, I think that’s going to help solve those issues. (SK3)
FROM THE PERSPECTIVES OF THE STUDENTS 159
Gender
The issues of gender in this study focused on the number of women and men who
participated in HHU’s Los Angeles Internship Program and subsequently were able to find
employment in the entertainment industry as a result of their internship. Since the overall
student population at HHU is predominately female (63.3%), the number of females who
participated in the internship program was greater than their male counterparts. The number of
females compared to males participating differed from semester to semester. In the Music
Business, the number of women outnumbered the men by a ratio of 3 women to one man. Eighty
two women and 25 men participated in HHU Music Business Internship Program in Los Angeles
between the Fall of 2015 and the Fall of 2017. However, in the Motion Pictures Department at
HHU, the number of females versus the number of males is equally divided. This ratio was
reflected in the Motion Picture Department’s Los Angeles Internship Program where 22 women
and 29 men participated in the Summer Internship Program between the summers of 2014 to the
summers of 2017.
Of the alumni interviewed for this study, eight are presently working in Los Angeles.
Five are women and three are men. A ninth works in the film industry in Vancouver, BC. She
was in the process of obtaining a work visa to accept a position with a company in Los Angeles
(see Table 29). Of the remaining nine interviewees, all are students at HHU, seven are planning
to seek employment in Los Angeles and two are not planning to seek employment in Los
Angeles. Those who do not plan to return to Los Angeles cited the cost of living and the “speed’
of the city as their reasons for not returning after graduation.
FROM THE PERSPECTIVES OF THE STUDENTS 160
Table 29
Respondents Interviewed who are Presently Working in the Entertainment Industry in Los
Angeles
Gender Motion Picture Music Business
Female 3 2
Male 3 0
From data supplied by the Motion Pictures Department Chair, of the 48 students who
participated in HHU’s Los Angeles Internship Program from 2014 to 2017, 11 are employed in
the Entertainment Industry in Los Angeles. There are other alumni from HHU presently
working in Los Angeles who had been part of the Music Business Department, but data was
unavailable. Through discussions with alumni and students, they identified an additional 35
alumni who are working in Los Angeles. These alumni were Music Business majors who
interned in Los Angeles over the last eight years. PG commented about the diversity of her
company based on gender. She said
Our show is very female-driven. We have a majority of female directors on the show.
Our entire assistant director department is female, both first ADs, both second Ads; the
costume department is entirely women. It’s a very female-driven show, but we don’t talk
about it being female-driven because, it’s not because we’re not trying to put a mask on
like look at us, it’s female-driven. It’s because the story, the whole show, focuses on
female characters, so the people that have been hired to produce that show can, our entire
writer’s room is women except for one man, and that’s because we’re writing for a cast
of 15 female wrestlers. Exactly. So, we have one male writer in the room and he’s very
important obviously because we still have male characters and at the same time, a lot of
the female writers can still write for male characters. Male writers have been writing for
FROM THE PERSPECTIVES OF THE STUDENTS 161
women for forever. Our female writers are still able to write for the men. It’s just, I
guess what I’m getting at is because so many people, so many women are employed on
the show, it’s because those are the people that can best suit the show that we’re making.
Socioeconomic Concerns
Shade and Jacobson (2015) specifically addressed the issue of socioeconomics. Their
article raised questions about the impact that internships in general and specifically how unpaid
internships deal with gender and financial status. The participants in the study stated that
without the financial and emotional support from their parents they would not be able to
participate in the internship program. Again, the internship process created an elitist
environment where the chasm between the “haves and the have nots” continued to broaden.
These internships also impacted the employment rate.
This brings up the question of whom and how students are supported during their college
experience in general and as an intern. Finances were a major factor in determining whether a
student participated in an internship program in cities away from HHU’s main community rather
than staying on campus and working in local internships. Tuition was approximately $40,000
per year before housing, meals, and other costs. Summer school is either by number of credits or
for the Motion Picture Program at a flat fee for the Los Angeles Internship Program.
The first question asked was who paid for your tuition? Of the 55 respondents, 41 or
74.55% stated that their parents paid for their tuition. Seven, or 12.73%, respondents paid for
their own tuition while another seven received financial assistance from a third party, either
family or other sources (see Figure Y).
FROM THE PERSPECTIVES OF THE STUDENTS 162
Figure Y: Who Pays or Paid for Your Tuition?
Table 30
Who Pays or Paid for Tuition?
# Answer % Count
1 Self 12.73 7
2 Parents 74.55 41
3 Other (please specify) 12.73 7
Total 100 55
Drilling further down, two questions were asked. First was the family income because it
played a role in determining whether there was financial assistance available to the student.
Thirty two or 58.18% of the respondents’ family income exceeded $90,000.00 yearly. This
income is compared to the adjusted national median household income of $59,039.00 based on
FROM THE PERSPECTIVES OF THE STUDENTS 163
information from the US Census (Wikipedia, 2018, para. 2) (see Figure Z). The median income
of the respondents’ family was $90,000.00 and over. On the other end of the spectrum, only 8 or
14.55% of a students’ family earned less than $29,000.00. In all, 14 or 25.46% of respondents’
families earned less than the national median family income.
Figure Z: Household Income of Students
FROM THE PERSPECTIVES OF THE STUDENTS 164
Table 31
Household Income of Students
# Answer % Count
1 0 - $29,999 14.55 8
2 $30,000 - $59,999 10.91 6
3 $60,000 - $89,999 16.36 9
4 $90,000 - Over 58.18 32
Total 100 55
These numbers led to the next question, How did the students pay their tuition? Of the 55
respondents, 28, or 50.91%, received financial aid (see Figure AA).
Figure AA: Did You Receive Financial Aid?
FROM THE PERSPECTIVES OF THE STUDENTS 165
Table 32
Did You Receive Financial Aid?
# Answer % Count
1 Yes 50.91 28
2 No 49.09 27
Total 100 55
Of the students who received financial assistance, the two greatest areas of financial
assistance were scholarships/grants (25 or 86.21%), and student loans (18 or 62.07%). Nine, or
31.03%, were work study students and two received third-party grants (see Figure BB).
Figure BB: Types of Financial Assistance
FROM THE PERSPECTIVES OF THE STUDENTS 166
Table 33
Type of Financial Aid
# Answer % Count
1 Scholarships/Grants 86.21 25
2 Student Loans 62.07 18
3 Work Study 31.03 9
4 Other (please specify)* 6.90 2
Total 100 29
*Other (please specify) - Text
Third party
The data showed that the combination of family support and financial assistance was the
pathway that many of the respondents used as the means of paying for their education in general
and in particular their internships. At HHU there was an additional issue, the university did not
provide loans or scholarships for the summer internship program.
During the interviews, many students discussed how they paid for their program. Many
commented that their parents’ wealth enabled them to participate in their internships. Others
stated that they worked two or three jobs during the school year to fund their internships. One
student, who was raised by a widowed father, was able to pay for her tuition because her father’s
friends and customers raised money through a “GoFundMe” page. WA comments, “Even being
in Los Angeles, just existing in Los Angeles is tough if you don’t have the income.”
for me personally, I’m 25 and I’ve had to pay my way through school, and I’ve
waitressed for years and I know that I never want to have to do that again. It was a great
way to pay my way through college, but I wanted an internship that was going to lead
directly to a job and connections and not just be something that’s checked off a credit list
FROM THE PERSPECTIVES OF THE STUDENTS 167
for me as something I have to do through school. So, I think for me, that was one thing
that was really important . . . I was going to make sure I got an internship that would lead
to a job. (SM2)
I would not be able to do anything I did were it not for my parents’ socioeconomic
standing. We’re not super well off, but they, still I recognize that privilege and I know
that there are millions of people in this country that have those dreams and don’t get to go
after them because of socioeconomics. Those companies that have diversity initiatives
are going to places where people don’t have an equal socioeconomic standpoint, those are
the ones that everybody should be looking to and be like, what are they doing correctly?
How can we get people out here? (SK3)
Summarizing, the data reinforced the concept that students from families of means were
able to participate in internship programs in Los Angeles. Another conclusion was that the
issues of gender and diversity were apparent in the entertainment industry. It seemed that reality
or unscripted television was more open to diversity and gender than scripted television.
However, with new social movements such as #MeToo, Oscar’s So White, Time’s Up,
SheSaid.So, and other programs established by the various Guilds and Labor Unions that they
are now addressing these issues.
Right Place at the Right Time
Sometimes being in the right place at the right time opened the door for many interns as
they moved into a paid position with a company. Two interviewees related their experience
about being in the “right place at the right time.”
One day I was interning at a production company and the next day I was the internship
supervisor for that company. A year later, when I moved to a different company, one of
FROM THE PERSPECTIVES OF THE STUDENTS 168
the interns I supervised became the next internship supervisor of the same company.
(SD)
When I arrived in Los Angeles, I thought I would be thrown to this environment where I
could really learn the day-to-day of a company, and take that knowledge, apply it to my
career path, my perspective career path. I think that’s what I expected. ‘I ended up being
in the right place at the right time and ended up with a job.’ (SK3)
Research Question Four
How can students be evaluated to ensure that they have acquired the necessary skills and in turn
how can college and university programs be evaluated for providing these skills for their
students?
Evaluation of Students and Colleges and Universities
This research study through the lens of the interns of a university’s internship program
examined if the students were provided with the opportunity to acquire the necessary skills
during their internship experience. Simultaneously, it provided the opportunity to evaluate the
university’s program to ensure if the participants learned these skills and benefited from the
program. This question had six parts. It will analyze the quantitative data first and conclude
with the interviewees’ comments and evaluation of the strengths and weaknesses of the
internship program. These parts are:
 Why did you participate?
 Sources.
o Who? and What?
 Experiences
o At the University
FROM THE PERSPECTIVES OF THE STUDENTS 169
o LA Administrator
o At the Internship Site
 Student Preparation
 Value of the Internship
 Networking
Participation
By definition, an internship provides on-the-job training or a “real-life” experience in the
intern’s field of endeavor. It also provided the intern with the opportunity to find out if this is the
career path that the intern wishes to follow in the future.
In the quantitative part of the study, one of the questions asked was; “Why did you
choose to participate in the internship program?” The respondents’ answers were mainly
focused on the concept of internships as the bridge between the academics of the classroom and
the reality of the workplace (see Figure CC).
Of the 53 respondents, 50, or 94.34%, stated that the following reasons were why they
participated in the internship program. These were:
 Get hands-on experience in my major area of study.
 Become better prepared for employment in my flied of study.
 Gain professional development and personal growth.
Three other responses were significantly high. These were:
 Network and make professional contacts (49 responses or 92.45%).
 Learn new skills (48 responses or 90.57%).
 Gain a realistic preview of the work place (45 responses or 84.91%).
FROM THE PERSPECTIVES OF THE STUDENTS 170
Figure CC: Why Did You Choose to Participate in the Internship?
Table 34
Reasons to Participate in an Internship
# Answer % Count
1 Get hands-on experience in my major area of study 94.34 50
2 Become better prepared for employment in my field of study 94.34 50
3 Gain professional development and personal growth 94.34 50
4 Learn new skills 90.57 48
5 Gain a realistic preview of the workplace 84.91 45
6 Network and make professional contacts 92.45 49
FROM THE PERSPECTIVES OF THE STUDENTS 171
Table 34 (Cont’d.)
# Answer % Count
7 Explore a new organization 73.58 39
8 Earn money 7.55 4
9 Get a full-time/permanent job offer from this company 28.30 15
10 Fulfill degree requirements/Receive course credit 64.15 34
11 Fulfill my faculty advisor’s strong recommendation 16.98 9
12 Other (please specify)* 1.89 1
Total Responding 100 53
*Other (please specify) - Text
Learn more about previously unexplored facets of the music industry.
It is important to note that the lowest response was “Earn Money.” Of the 53 respondents, four,
or 7.55%, stated this was their goal. The interns had a good understanding about the goal of
providing the student with the bridge between school and work.
Sources
In preparation for their internships, the university’s approach was two-pronged. First, the
Music Business students had to use the career placement center on the campus while the Motion
Picture Department took a different path. The Motion Picture Department employed an
Internship Administrator based in Los Angeles who traveled to the main campus during the
school year to assist the students in preparation for the internships. This was a year-long process
which included communication by Skype, email, and telephone. Whereas the Music Business
advisors had various tasks other than placement, the Los Angeles Motion Picture Administrator’s
main focus was on the Internship program in Los Angeles.
FROM THE PERSPECTIVES OF THE STUDENTS 172
Respondents were asked the sources they used to find their internships (see Figure DD).
Of the 53 respondents, 20, or 37.74%, found their internships by postings on an internship job
board website (entertainmentcareers.net, productionhub.com, Handshake, mandy.com). The on-
campus advisors helped place 14, or 37.83%, of the 37 Music Business Interns. Fifteen
respondents, or 93.75%, of the 16 Motion Picture interns used their Los Angeles Internship
Administrator as their source for their internships. Using this percentage, the success of a
designated person for the program was very high. It must be noted that one of the goals of this
Administrator and the Chair was to have all their interns placed with their internship prior to the
interns’ arrival in Los Angeles.
Figure DD: Sources for Finding an Internship
FROM THE PERSPECTIVES OF THE STUDENTS 173
Table 35
Sources for Finding an Internship
# Answer % Count
1 Academic department announcement
16.98 9
2 Academic department advisor
26.42 14
3 Campus career/job fairs
15.09 8
4 Campus career center
5.66 3
5 Peer student referral
11.32 6
6 Friends and family recommendations
13.21 7
7
Posting on an internship job board website (entertainmentcareers.net,
productionhub.com, Handshake, mandy.com 37.74 20
8 Social Media (Facebook, LinkedIn, Twitter)
7.55 4
9 Employers’ websites
15.09 8
10 Newspapers
11 Los Angeles Internship Administrator
28.30 15
12 Other (please specify)*
18.87 10
Total 100 53
*Other (please specify) - Text
Recommendation from University’s career advisor
Professor referral
LA professor referral
Recommended by a former boss
Already had connection
Networking
EntertainmentCareers.net
Recommendation from my previous internship
Previous employer’s recommendation
Email
Drilling further down the question to the interns it focused on the importance of the
career center on the main campus. The question was: “Which campus career center services did
FROM THE PERSPECTIVES OF THE STUDENTS 174
you utilize to find your internship?” The highest response was “I did not use the campus Career
Services.” Twenty five, or 48.08%, of the 52 respondents stated that they did not use the campus
Career Services. If one takes into account that the 16 Motion Picture Interns did not utilize the
campus Career Center, the percentage increases to 69.44%. Those that used the campus Career
Services noted that appointments with staff for cover letters and resume writing was the highest
rated. Eleven, or 38.89%, of the 36 respondents used the campus Career Center. Nine
respondents stated that they used Career Services and nine used Job Listings as one of their
services. This represented 25% of the Music Business Interns (see Figure EE). It must be noted
that this question did not differentiate between the Music Business and the Motion Picture
Interns. Refer to Table 7 for the number of Music Business majors and the number of Motion
Picture majors.
Internship Experiences Related to the University
The pathway to an internship started long before the students started their internships.
The following questions looked at the different parts of the journey beginning at the university,
then moving to Los Angeles where the university interfaced with the internship companies as the
interns gained experience in their field of endeavor.
The respondents were given a series of 10 statements about their internship experience
related to the university. These statements also discussed the university’s Los Angeles
Administrator and the Administrator’s impact on the internship experience. Using a Likert Scale
where 1 = Strongly Disagree, 2 = Disagree, 3 = Agree, and 4 = Strongly Agree, the respondents
rated the value of these statements (see Figure FF and Tables 37 and 38).
FROM THE PERSPECTIVES OF THE STUDENTS 175
Figure EE: Campus Career Services Used to Find an Internship
Table 36
Campus Career Services Used to Find an Internship
# Answer % Count
1 Career Services 17.31 9
2 Appointments with staff for cover letter, resume writing, and reviewing 21.15 11
3 Practice on interviewing (Mock Interview) 5.77 3
4 On-campus recruiter interviews
5 Job Orientation 1.92 1
6 Information on academic related work experience and employers 5.77 3
FROM THE PERSPECTIVES OF THE STUDENTS 176
Table 36 (Cont’d.)
# Answer % Count
7 Job Listings 17.31 9
8 Web resources/links 9.62 5
9 Internship placement guidance 11.54 6
10 I did not use the campus Career Services 48.08 25
11 Other (please specify)* 1.92 1
Total Responding 100 52
*Other (please specify) - Text
Internship recommendation from a faculty member
FROM THE PERSPECTIVES OF THE STUDENTS 177
Figure FF: Internship Program Experience at the University
FROM THE PERSPECTIVES OF THE STUDENTS 178
Table 37
Rating of Internship Program Experience – at the University (Statistical Graph)
# Field Minimum Maximum Mean
Std
Deviation Variance Count
1
I had a dedicated internship
administrator at the
university. 2.00 4.00 3.51 0.63 0.40 53
2
I was made aware of the
expected learning outcomes
for my internship
experience. 2.00 4.00 3.58 0.56 0.32 53
3
My internship administrator
(in Los Angeles) established
and communicated clear
expectations with my work
responsibilities with my
employer. 2.00 4.00 3.68 0.58 0.33 53
4
My internship administrator
(in Los Angeles) worked
with my employer and
provided close oversight
throughout my internship
experience. 1.00 4.00 3.25 0.92 0.84 52
5
I had a clear understanding
of all the requirements that I
must need to earn internship
course credits. 1.00 4.00 3.75 0.59 0.35 51
6
My internship administrator
(in Los Angeles) provided
me the opportunity to
evaluate my experience. 3.00 4.00 3.81 0.39 0.15 53
7
My internship was a
mandatory requirement for
my major/degree. 1.00 4.00 3.00 1.26 1.58 52
8
Even if my internship was
not mandatory, I would have
preferred to do one. 3.00 4.00 3.96 0.19 0.04 53
9
All my learning
expectations were met
during my latest internship
experience. 1.00 4.00 3.36 0.85 0.72 53
FROM THE PERSPECTIVES OF THE STUDENTS 179
Table 37 (Cont’d.)
# Field Minimum Maximum Mean
Std
Deviation Variance Count
10
All my internship
placement needs were fully
met at this university. 1.00 4.00 3.45 0.81 0.66 53
Table 38
Rating of Internship Program Experience – at the University (Percentage Graph)
# Question
Strongly
Disagree Disagree Agree
Strongly
Agree Total
1
I had a dedicated
internship administrator
at the university. 7.55% 4 33.96% 18 58.49% 31 53
2
I was made aware of the
expected learning
outcomes for my
internship experience. 3.77% 2 33.96% 18 62.26% 33 53
3
My internship
administrator (in Los
Angeles) established and
communicated clear
expectations with my
work responsibilities
with my employer. 5.66% 3 20.75% 11 73.58% 39 53
4
My internship
administrator (in Los
Angeles) worked with
my employer and
provided close oversight
throughout my internship
experience. 7.69% 4 9.62% 5 32.69% 17 50.00% 26 52
5
I had a clear
understanding of all the
requirements that I must
need to earn internship
course credits. 1.96% 1 1.96% 1 15.69% 8 80.39% 41 51
FROM THE PERSPECTIVES OF THE STUDENTS 180
Table 38 (Cont’d.)
# Question
Strongly
Disagree Disagree Agree
Strongly
Agree Total
6
My internship
administrator (in Los
Angeles) provided me
the opportunity to
evaluate my experience. 18.87% 10 81.13% 43 53
7
My internship was a
mandatory requirement
for my major/degree. 25.00% 13 3.85% 2 17.31% 9 53.85% 28 52
8
Even if my internship
was not mandatory, I
would have preferred to
do one. 3.77% 2 96.23% 51 53
9
All my learning
expectations were met
during my latest
internship experience. 5.66% 3 7.55% 4 32.08% 17 54.72% 29 53
10
All my internship
placement needs were
fully met at this
university. 5.66% 3 3.77% 2 30.19% 16 60.38% 32 53
One of the main goals of both the Music Business Department and the Motion Picture
Department at HHU was that their students take internships as part of the college experiences.
One question in this part of the survey was. “Even if my internship was not mandatory, I would
have preferred to do one.” Of the 52 respondents, 51, or 96.23%, “strongly agreed” with the
statement and the mean score was 3.96 out of maximum of 4.00. The remaining two respondents
“agreed” with the statement.
Another statement that there was a strong agreement with was. “I had a clear
understanding of all the requirements that I must need to earn internship course credit.” Of the
51 respondents, 41, or 80.39%, “strongly agreed” with the statement and the mean score was
FROM THE PERSPECTIVES OF THE STUDENTS 181
3.75 out of maximum of 4.00. Eight of the other respondents responded “agreed” while of the
remaining two, one answered “disagreed” and the other answered “strongly disagreed.”
Overall, the range of mean scores of the 10 statements were from 3.00 to 3.96 with the
overall range from 1.00 to 4.00, the students responded positively in regard to the university’s
presence as they prepared for their internship.
As part of the internship experience, the university provided an on-site internship
administrator to work with the students as they transitioned to their Los Angeles internship. The
survey looked at the impact the Los Angeles internship administrator had on the Los Angeles
internship experience. Three statements of this question focused on the importance of the on-site
(Los Angeles) university internship administrator.
The first statement #3: “My internship administrator in Los Angeles established and
communicated clear expectations with my work responsibilities with my employer.” Of the 53
respondents, 39, or 73.58%, “strongly agreed” with this statement and the mean score was 3.68
out of maximum of 4.00. Another 11, or 20.75%, of the respondents “agreed” with this
statement demonstrated the impact the administrator had on the program.
The second statement #4: “My internship administrator in Los Angeles worked with my
employer and provided close oversight throughout my internship experience.” Of the 52
respondents, 26 or 50% “strongly agreed” with this statement and the mean score was 3.25 out of
maximum of 4.00. Another 17 or 32.69% of the respondents “agreed” with this statement.
The third statement relating to the Los Angeles Administrator was #6: “My internship
administrator in Los Angeles provided me the opportunity to evaluate my experience.” Of the 53
respondents, 43 or 81.13% “strongly agreed” with this statement and the mean score of 3.81 out
of maximum of 4.00. The remaining 10 respondents or 18.87%, “agreed” with this statement.
FROM THE PERSPECTIVES OF THE STUDENTS 182
As this program matured, the university hired an on-site administrator to oversee parts of
the Los Angeles internship experience. The question asked of the respondents was, “Did the
university provide an on-site internship administrator in Los Angeles?” The reason for this
question was that the Internship Administrator became the bridge between the university and the
employers (see Figure GG).
Figure GG: Did the University Provide an Onsite Administrator in Los Angeles?
Table 39
Onsite Administrator in Los Angeles
# Answer % Count
1 Yes 98.15 53
2 No 1.85 1
Total 100 54
FROM THE PERSPECTIVES OF THE STUDENTS 183
Of 54 respondents, 53, or 98.15%, responded that the university provided an on-site
administrator. The other respondent who stated “no” commented during an interview that she
came to Los Angeles independently and did not use the “official” internship protocol. This
interviewee stated,
None, except for the fact that we met through [HHU]. That was the only reason, but
nobody from [HHU] works there. They didn’t know what [HHU] was, they still don’t
really know what it is. None, pretty much. (BA)
Other interviewees reinforced the importance of having an internship administrator in Los
Angeles during their internships. They stated,
I actually found it through the resources that [my internship administrator] gave us when
I was a student. She sent us out a list of people looking for interns and so I found the
contact info through that list. (KR)
I found my internship through my internship administrator, who through a mutual friend
of hers, had openings for an internship and gave me the contact information. We both
inquired, and I sent in my resume and cover letter, and through that we set up a Skype
interview. I got the Skype interview with the supervisor of that company. (MC)
I found my internship [at production company] through my internship administrator; it
was through a personal connection that she had . . . That is 100% the most important
thing is the fact that [the Internship Administrator can] help obtain these internships for
the students. They wouldn’t even get them in the first place. That’s the biggest part for
sure, but then also being a part of the whole process. I think [that] makes it really
FROM THE PERSPECTIVES OF THE STUDENTS 184
important because then the students don’t feel abandoned. They don’t feel inclined to
slack off or get lazy just because there is always that administrator. (PG)
I found mine through the chair of the program at the time. I sat down with her and told
her what I wanted to do, and she said, ‘Well, I think [name of production company]
would be a good place.’ I was like, ‘Yeah, that’s a dream.’ Then, she had a former
student there. I sent that student my resume. They passed it along. I got an interview
and then got hired. I got the internship . . . I mean, having the internship administrator in
LA was vital. I needed her there. (SK3)
I would say that [the Internship Administrator has] been integral and important to this
semester here. It’s comforting to have a familiar face that knows the area, that knows the
industry, that knows really a little bit of everything, and it’s been really good to have
someone to . . . I don’t know, when I came in I didn’t have an internship and [the
Internship Administrator] sat with me and helped me continue my search and reached out
to people that [the Internship Administrator] knew on my behalf. While that didn’t yield
the internship that I went with, it certainly made a difference and made me feel a little bit
less stressed about the situation because I had been . . . I had pressures on myself, you
know, from my parents and more so from myself since February or whenever the
applications were due for coming out here to find an internship and, you know, figure out
how to make this time worthwhile and I was nervous at the beginning that I wouldn’t be
able to find the right fit and it wouldn’t be worth coming out here. (MJ)
It’s so nice to have you here. Even with small things, like when I asked for
recommendations for a podiatrist, even that helps and stuff like that… I wouldn’t have
FROM THE PERSPECTIVES OF THE STUDENTS 185
my internship without you… It’s definitely a comfort to know that there’s someone here
that can help you if you need. (WE, WK, SK2)
I mean, the internship administrator, was there from day one when you sign up . . .
always emailing you, making sure you know what’s going on, contacting you. All of the
professors are checking in with you . . . I mainly used my internship administrator to help
me find jobs. [The internship administrator] asked me what categories I was interested in
and looked for listings in Los Angeles to help me find stuff and use connections that she
had. I also went on my own and went to people in the industry that I aspire to be or
projects that I was interested in and looked at who worked on them and found those
people and sought to see if those companies were hiring at all . . . When you get to LA, I
always felt like I had points of contact. If I ever felt uncomfortable in my job or if I ever
felt like I needed a skill to brush up on, somebody was there to help me go through any
issues that I had so I didn’t have to go directly to my boss and look pretty much like an
idiot going, ‘I don’t know how to do this.’ Somebody was always there to help me
before I failed at my task. (GM)
Internship Program Experience – At the Internship Site
The next part of the study focused on the interns’ experience during their actual
internship. The respondents were given a series of 14 statements about their internship
experience. Using a Likert Scale where 1 = Strongly Disagreed, 2 = Disagreed, 3 = Agreed, and
4 = Strongly Agreed, the respondents rated the value of these statements (see Figure HH, and
Tables 40 and 41).
FROM THE PERSPECTIVES OF THE STUDENTS 186
Figure HH: Internship Program Experience – At the Internship Site
FROM THE PERSPECTIVES OF THE STUDENTS 187
Table 40
Rating of Internship Program Experience – at the Internship Site (Statistical Graph)
# Field Minimum Maximum Mean
Std
Deviation Variance Count
1
Had a clearly defined internship
program. 1.00 4.00 3.22 0.87 0.77 54
2
Provided orientation to the
organization’s culture, internship
program purpose, rules and
policies, and work-related
performance expectations. 1.00 4.00 3.39 0.78 0.61 54
3
Gave me a clearly written job
description of my work duties,
responsibilities and measurable
performance objectives. 1.00 4.00 3.17 0.94 0.88 54
4
Clearly communicated expected
learning outcomes to enrich my
internship. 1.00 4.00 3.33 0.86 0.74 54
5
Worked with me in developing a
work plan with assignments
specific to my area of study. 1.00 4.00 3.24 0.90 0.81 54
6
Designated work area and
resources needed to do my job. 2.00 4.00 3.68 0.58 0.33 53
7
My supervisor showed a
willingness to train, mentor and
coach me all the time. 2.00 4.00 3.43 0.78 0.61 54
8
Provided sufficient
direction/supervision and training. 1.00 4.00 3.45 0.79 0.63 53
9
Regularly monitored my progress
and evaluated my performance. 2.00 4.00 3.46 0.74 0.54 54
10
Discussed my performance
appraisal with me, provided
constructive feedback and made
recommendations. 2.00 4.00 3.46 0.66 0.43 54
11
Provided a professional work
environment and encouraged my
ideas and input on several
occasions. 1.00 4.00 3.56 0.63 0.40 54
12
Had co-workers who were friendly
and helpful. 1.00 4.00 3.63 0.65 0.42 54
13
Hosted site visits for my faculty
administrator during the work
term. 1.00 4.00 2.37 1.22 1.49 54
14
Mentor appreciated and
recognized my good performance. 2.00 4.00 3.69 0.54 0.29 54
FROM THE PERSPECTIVES OF THE STUDENTS 188
Table 41
Rating of Internship Program Experience – at the Internship Site (Percentage Graph)
# Question
Strongly
Disagree Disagree Agree
Strongly
Agree Total
1
Had a clearly defined
internship program. 5.56% 3 12.96% 7 35.19% 19 46.30% 25 54
2
Provided orientation to the
organization’s culture,
internship program purpose,
rules and policies, and work-
related performance
expectations. 3.70% 2 7.41% 4 35.19% 19 53.70% 29 54
3
Gave me a clearly written job
description of my work
duties, responsibilities and
measurable performance
objectives. 3.70% 2 25.93% 14 20.37% 11 50.00% 27 54
4
Clearly communicated
expected learning outcomes
to enrich my internship. 3.70% 2 14.81% 8 25.93% 14 55.56% 30 54
5
Worked with me in
developing a work plan with
assignments specific to my
area of study. 3.70% 2 20.37% 11 24.07% 13 51.85% 28 54
6
Designated work area and
resources needed to do my
job. 5.66% 3 20.75% 11 73.58% 39 53
7
My supervisor showed a
willingness to train, mentor
and coach me all the time. 18.52% 10 20.37% 11 61.11% 33 54
8
Provided sufficient
direction/supervision and
training. 3.77% 2 7.55% 4 28.30% 15 60.38% 32 53
9
Regularly monitored my
progress and evaluated my
performance. 14.81% 8 24.07% 13 61.11% 33 54
10
Discussed my performance
appraisal with me, provided
constructive feedback and
made recommendations. 9.26% 5 35.19% 19 55.56% 30 54
11
Provided a professional work
environment and encouraged
my ideas and input on several
occasions. 1.85% 1 1.85% 1 35.19% 19 61.11% 33 54
12
Had co-workers who were
friendly and helpful. 1.85% 1 3.70% 2 24.07% 13 70.37% 38 54
FROM THE PERSPECTIVES OF THE STUDENTS 189
Table 41 (Cont’d.)
# Question
Strongly
Disagree Disagree Agree
Strongly
Agree Total
13
Hosted site visits for my
faculty administrator
during the work term. 35.19% 19 20.37% 11 16.67% 9 27.78% 15 54
14
Mentor appreciated and
recognized my good
performance. 3.70% 2 24.07% 13 72.22% 39 54
The responses by the interns about their experiences were clustered into two major areas.
One cluster (10 statements) discussed the relationship between the interns and their
supervisor/mentor. These statements focused on specific expectations and characteristics of an
internship. These statements are: #1 – 5, 7 – 10, and 14.
The differences of the internship experience varied from company to company and from
supervisor to supervisor. Of the 10 statements, one statement scored the highest by a large
margin (11.11%). Thirty nine, or 72.22%, “strongly agreed” with the statement, “Mentor
appreciated and recognized my good performance.” The mean score was 3.69 with a range from
2.00 to 4.00. Six statements scored higher than the remaining nine statements. The following
statements with their percentages are the highest of this group:
 #7 – My supervisor showed a willingness to train, mentor, and coach me all the time; 33,
or 61.11%, of the 54 respondents “strongly agreed;” mean = 3.43 with a range from 2.00
to 4.00.
 #9 – Regularly monitored my progress and evaluated my performance; 33, or 61.11%, of
the 54 respondents “strongly agreed;” mean = 3.46 with a range from 2.00 to 4.00.
 #8 – Provided sufficient direction/supervision and training; 32, or 60.38%, of 53
respondents “strongly agreed;” mean = 3.45 with a range from 1.00 to 4.00.
FROM THE PERSPECTIVES OF THE STUDENTS 190
The responses to the remaining seven statements ranged from 25 or 46.30% (#1) to 30 or
55.56% (#4 and #10) “strongly agreed” with these statements. On the other side of the responses
to these statements, depending on the statement, the range was 0 to 3.
Three of these statements related to the general environment at the internship site. The
responses ranged from a mean of 3.17 to 3.46 and a range from 1.00 to 4.00.
The other cluster discussed the general work environment at the internship. These are,
 #6 – Designated work area and resources needed to do my job; 39, or 73.58%, of 53
respondents “strongly agreed;” mean = 3.68 with a range from 2.00 to 4.00.
 #12 – Had co-workers who were friendly and helpful; 38, or 70.37%, of 54 respondents
“strongly agreed;” mean = 3.63 with a range from 1.00 to 4.00.
 #11 – Provided a professional work environment and encouraged my ideas and input on
several occasions; 33, or 61.11%, of 53 respondents “strongly agreed;” mean = 3.56 with
a range from 1.00 to 4.00.
The interviewees discussed their preparation for their internships, how to utilize this
preparation, and finally how to learn to become part of the company where they interned. The
interviewees continued to reinforce the importance of having a positive experience during their
internships. Some comments from the interviewees were:
I would have done a little bit more research on the shows that [the company] was doing at
the time. I knew a little bit about them. They were doing [network, cable, and streaming
shows] and some of them had just ended, but they also had some new shows and some
things starting up. And so, I ended up listening to a lot of music, and then kind of
deciding whether it could fit in one of their shows or not. Going in, I probably would’ve
done more research to get myself ready to know what to listen for. (BB)
FROM THE PERSPECTIVES OF THE STUDENTS 191
You kind of worked with everything. That was just a big thing that I got to see how
everybody works, I was doing things for finance and I did things for legal and I did things
for development and post production and I wasn’t excluded to one department, I got to
see a little bit of everything. (SD)
You just have to be able to learn to think on your feet and ask questions, but also learn
how to figure out things for yourself because you want to prove that you are an asset to
these people and not just some dummy that doesn’t know how to do anything I guess.
(SD)
the most important characteristic is just a willingness to do anything. Obviously don’t
compromise your values, but if . . . Do anything and always look at it as a positive aspect
of your job. I would get called in to clean the conference room after a big meeting . . .
people who would kill just to have a meeting in that conference room and I get to be there
every day, so look at it in a positive light and understand that it might not be the most fun
thing right now, but that could really help your career in some way. People could see
that, and they see that you want to be there, and they see that you care about being there
because there are people who are kind of stand-offish when they intern. They’re like
‘Oh, I’m above that.’ You’re not above it. You’re an intern and I think people kind of
have to realize that sometimes that you’re going to have to do some things sometimes
that aren’t the most exciting, but if you do them and you do them well, people notice that.
It affects your career in the long run? (SD)
FROM THE PERSPECTIVES OF THE STUDENTS 192
It just gives me a better understanding, I guess, of what I want to go into. What I want to
do. Being in that theater, film, TV world, and getting to experience different shoots or
shows that have been put on, and just having a better grasp of what I need to do to get to
where I want to be. (EE)
I encourage shadowing, interns to shadow assistants. Back to the kind of office
environment, the assistants are very open to shadowing as well. But as far as a resume
builder, that looks amazing, seeing that they’ve covered desks, they’ve handled phones,
they’ve work with managers or executives while they’re on that desk. That’s something
that really jumps out on a resume, it’s great experience. That’s probably the other
awesome perk. (WA)
was getting the actual hands-on experience because there’s a lot of internships that will
say, ‘Go take out the trash’, or, ‘Go pick up our lunch,’ and I mean, it’s good to be there
and help them out, but the most important for me is actually getting experience that I can
take with me and be involved in their day-to-day activities. It was most important to me
and special to me that they let me be a production assistant on those shoots, even when I
wasn’t interning, they would invite me to go do that. I got an amazing amount of
experience from this internship alone. (KR)
You have a task that you’ve got to be pretty good at, curve ball comes your way and just
being able to roll with it and then from there learning. It’s always, that’s where you get
in trouble, is if you’re given a task and you stop improving so to speak. So, for example,
with my desk coverage, I covered a desk as an intern and I never had any experience
doing that in the past. Comparing my first time covering to my most recent which was
FROM THE PERSPECTIVES OF THE STUDENTS 193
last week, for an entire half the day the assistant was totally off the grid, she was on a
flight, so it was just me holding down that desk and helping the operation. I was asked to
handle emails at that point. (WA)
It basically gave me an idea of how that system worked and how that company worked,
because it’s a very specific subset of the industry. I was mainly in the back room, that
was when we’re dealing with printed pages, physical parts, sorting things, organizing
things, setting up their library. And so, when you get to see how that stuff works, you are
kind of at the final stage of the seven-to-ten-step process. This is when you see what
everything is supposed to look like, then you get to figure out the steps to get that end
product. (BB)
Say if you want to be a writer. Yeah, I’m going to do a management internship because
these managers rep writers. Or these managers know writers, and it’s all interconnected
. . . Even one of the assistants at the time who’s now being promoted as a junior manager,
one night I was helping him with a project and he asked me, ‘What are you trying to get
into, what do you want to do, why are you here?’ I didn’t want to say outright, ‘Oh, I
want to be a writer.’ I said, ‘I enjoy it.’ He’s like, ‘Have you written anything?’ I’m
like, ‘Yeah.’ He’s like, ‘Show it to me.’ So, from being an intern, I have someone who is
now a manager who asked for me to take a look at my stuff. I didn’t have to have an
agent, go through the pathway to getting someone who’s in the industry and who is
looking to rep people. Just by virtue of being there and being an intern and being present,
which is awesome. (WA)
FROM THE PERSPECTIVES OF THE STUDENTS 194
I’m working on a television show in production and a huge part of my job is, one is
breaking down scripts and I’m breaking them down for a line producer, so what I’m
looking for is everything logistic. I know when issues arise in a script when I see, I can
see when things jump out on paper and I can detect that’s something that my boss is
going to need to know about in advance because it’s something that is going to require
extra prep. That’s something that I only, those things jump out on paper because I have
the physical experience of them being issues when they have come up in productions in
the past. That knowledge translates to when I’m reading a script, I know what’s going to
be harder to prep, and I know things that are easy to prep and don’t require. You know,
just different levels of issues that could arise. Another thing is just knowing the roles on
set too. Another part of my job is scheduling all the departmental meetings and because I
know what people’s jobs are and I know what their responsibilities are, it helps me know
how to talk to them professionally. I’m not asking the costume designer for something
that the costume supervisor can give me because I’m not going to bother the costume
designer for something that someone else in that department is responsible for. (PG)
I made it clear that I did know what those things were, and then I was taught the
differences of how that’s different in reality TV because at the time, I was really
interested in being a showrunner. That’s something that’s extremely different with day-
to-day life on a scripted show. Then on a reality show, a showrunner has completely
different set of skills and stuff that they utilize to carry out that job. I learned the
difference, and it kind of revealed a new world to me as possibilities of jobs that I could
have that I didn’t even really know were different in reality TV. (MC)
FROM THE PERSPECTIVES OF THE STUDENTS 195
I had the opportunity to work with them on certain productions, being around for that as a
production assistant and being able to see lighting, sound, the different ways they go
about all that. Also, just general upkeep of the theater itself. It didn’t seem like an
important part at the beginning, but it definitely, it so much is about appearances and how
people enjoy your show. (EE)
I worked like four internships because each production I worked on was a very distinct
thing in my memory. I think each production had a whole different feel to it. I definitely
feel like I was thrown in. There wasn’t anyone guiding me along throughout the whole
process. (PG)
Internship Program Experience – After the Internship
This part of the study evaluated the Internship Experience and its relationship to the
interns’ preparation and the actual internship. Each respondent was given 11 statements
concerning their last internship experience and their preparation. Using a Likert Scale where 1 =
Strongly Disagreed, 2 = Disagreed, 3 = Agreed, and 4 = Strongly Agreed, the respondents rated
the value of these statements (see Figure II and Tables 42 and 43).
The results of these questions emphasized one of the goals of the internship program.
This goal was to build a bridge between the classroom and the real world. With the trend in
academia that internships are an important part of the school’s curriculum, the interns also
agreed that their feeling was mutual. Question #11 – “I would recommend the internship
experience to other students” was the highest scored statement; 46, or 85.19%, of the 54
FROM THE PERSPECTIVES OF THE STUDENTS 196
Figure II: Internship Program Experience - Student Preparation
FROM THE PERSPECTIVES OF THE STUDENTS 197
Table 42
Rating of Internship Program Experience – Student Preparation (Statistical Graph)
# Field Minimum Maximum Mean
Standard
Deviation Variance Count
1
I felt confident in my
ability to connect
academic subject matter to
a “real world” experience. 2.00 4.00 3.56 0.60 0.36 54
2
I felt confident in my
ability to excel to my
professional work
environment. 2.00 4.00 3.65 0.58 0.34 54
3
The courses I took prior to
my interning properly
prepared me for the
internship experience. 1.00 4.00 3.30 0.76 0.58 54
4
I have acquired knowledge
beneficial to my current
options in my field of
study. 2.00 4.00 3.67 0.51 0.26 54
5
I have a better
understanding how to
apply the knowledge and
skills gained through my
academic courses and
classroom preparations. 2.00 4.00 3.61 0.56 0.31 54
6
I have a better
understanding of the
professional work
environment. 2.00 4.00 3.76 0.47 0.22 54
7
I learned more about
career options in my field
of study. 2.00 4.00 3.70 0.50 0.25 54
8
This experience has
prepared me for my career
goals and an eventual job. 2.00 4.00 3.67 0.58 0.33 54
9
After my internship, I feel
confident I can attain a
full-time position in this or
similar organization. 1.00 4.00 3.50 0.74 0.55 54
10
Overall my preparation for
this internship positively
impacted my performance. 2.00 4.00 3.65 0.55 0.30 54
FROM THE PERSPECTIVES OF THE STUDENTS 198
Table 42 (Cont’d.)
# Field Minimum Maximum Mean
Standard
Deviation Variance Count
11
I would recommend
internship experience
to other students. 3.00 4.00 3.85 0.36 0.13 54
Table 43
Rating of Internship Program Experience – Student Preparation (Percentage Graph)
# Question
Strongly
Disagree Disagree Agree
Strongly
Agree Total
1
I felt confident in my
ability to connect
academic subject matter
to a “real world”
experience. 5.56% 3 33.33% 18 61.11% 33 54
2
I felt confident in my
ability to excel to my
professional work
environment. 5.56% 3 24.07% 13 70.37% 38 54
3
The courses I took prior
to my interning properly
prepared me for the
internship experience. 1.85% 1 12.96% 7 38.89% 21 46.30% 25 54
4
I have acquired
knowledge beneficial to
my current options in my
field of study. 1.85% 1 29.63% 16 68.52% 37 54
5
I have a better
understanding how to
apply the knowledge and
skills gained through my
academic courses and
classroom preparations. 3.70% 2 31.48% 17 64.81% 35 54
FROM THE PERSPECTIVES OF THE STUDENTS 199
Table 43 (Cont’d.)
# Question
Strongly
Disagree Disagree Agree
Strongly
Agree Total
6
I have a better
understanding of the
professional work
environment. 1.85% 1 20.37% 11 77.78% 42 54
7
I learned more about
career options in my
field of study. 1.85% 1 25.93% 14 72.22% 39 54
8
This experience has
prepared me for my
career goals and an
eventual job. 5.56% 3 22.22% 12 72.22% 39 54
9
After my internship, I
feel confident I can
attain a full-time
position in this or
similar organization. 1.85% 1 9.26% 5 25.93% 14 62.96% 34 54
10
Overall my preparation
for this internship
positively impacted my
performance. 3.70% 2 27.78% 15 68.52% 37 54
11
I would recommend
internship experience
to other students. 14.81% 8 85.19% 46 54
respondents “strongly agreed” with this statement. The mean score was 3.85 with a range of
3.00 to 4.00. Other statements that scored higher than others were:
 #6 – I have a better understanding of the professional work environment; 42, or 77.78%,
of the 54 respondents “strongly agreed;” mean = 3.76 with a range from 2.00 to 4.00.
 #7 – I learned more about career options in my field of study; 39, or 72.22%, of the 54
respondents “strongly agreed;” mean = 3.70 with a range from 2.00 to 4.00.
 #8 – The experience has prepared me for my career goals and an eventual job; 39, or
72.22%, of the respondents “strongly agreed;” mean = 3.67 with a range from 2.00 to
4.00.
FROM THE PERSPECTIVES OF THE STUDENTS 200
The other responses ranged from 33, or 61.11%, (Mean = 3.56 to 3.67) with exception of
statement #3. The statement, “The courses I took prior to my interning properly prepared me for
the intern experience” had the lowest score; 25, or 46.30%, of the 54 respondents “strongly
agreed.” The mean was 3.30 with a range of scores from 1.00 to 4.00. Seven respondents
“disagreed” with the statement and one respondent “totally disagreed.”
The different people interviewed reinforced the importance of their internship
experiences because it helped bring clarity to the career they wanted to pursue. They felt that
their internships “opened their eyes” about the entertainment industry. The internship experience
helped them improve their skills and gave them direction, and in some cases, a pathway to
employment. Some of the comments from them were:
If I wanted to become a production assistant after this internship, I would have the right
qualifications . . . well I did also begin to work for them after, freelance, so it did prepare
me for a career and it helped me too because that company is within another company
that I’d like to work for eventually, so I think that prepared me to get to know the right
people and learn how that company works. (KR)
it’s resume builders, not only if you land a quality internship so to speak, like [name of
company] is a very recognizable name. From there, if you can detail on your resume
specific things that you did with the company, so like script coverage, more importantly
desk coverage. (WA)
It basically gave me an idea of how that system worked and how that company worked,
because it’s a very specific subset of the industry. (BB)
FROM THE PERSPECTIVES OF THE STUDENTS 201
Office PAs and that is a job that a lot of interns, [my internship coordinator] said a lot of
interns, that’s their next job. They get an office PA job and then depending on where
they want to go, they either go and work on set from there or they work in the office from
there. So that’s kind of the starting position in that company and you kind of branch out
from there. Learning that we kind of knew what the paths were, what the career paths
were at the company. (MC)
You look to the people around, that are maybe one or two steps ahead of you and you
either ask them straight out, ‘How did you get here?’ Or you ask yourself, ‘How did they
get here?’ Then you model that path or you take and learn from what they have. (SK3)
Infinite. I mean, my classwork has improved. My communication with my friends and
with my set crews has improved. Everything that I learned in my internship has been
transferred to some part of my life . . . I really didn’t honestly see the improvement until
people were, ‘You’ve been doing this really well.’ Things that I normally wasn’t good at.
I honestly didn’t see that until there was written evidence. Wow! I really did do well on
this because of something I learned in my internship. (GM)
I think it shows that we have the drive to go and find opportunities for ourselves even
when we’re still in school. We have the determination. You know what? I’m not getting
paid, but this is something that’s really going to pay off for me later . . . ‘Look, I did this.’
For me personally, I did it for two years. I went out and I sought it out. I got all this
experience that maybe someone else graduating doesn’t have. I think that gives us a leg
up for being employed. (GM)
FROM THE PERSPECTIVES OF THE STUDENTS 202
Because it is management company, they do casting grids. And that’s something that I
familiarized myself as an intern, which was good because then at that point when all the
summer interns left, and I had a fresh batch of interns who had never maybe even heard
of casting grids, much more than knowing how to work the system and understand what
they’re looking at. Like the software that we use, it was good to already have that
experience with that company specifically so then I could teach [them] how to do that.
It’s a digital log, like a catalog of upcoming projects, by extension upcoming roles, so if
any new info on a character comes out, you have the character name, the role, a little bio,
what we call character breakdown that just details the character, age, things that are
applicable like that, race. And it’s very easy to go into that and a manager can look at all
the available roles and if they feel that one of their clients might be a good fit then it’s
just nice to have it all there in that one spot. (WA)
Looking through the internship experience, specific questions were asked about various
aspects of Internships. These questions raised six aspects as to the importance of an internship
(see Figure JJ and Tables 44 and 45). Using a Likert Scale where 1 = Least Important, 2 =
Somewhat Important, 3 = Important, and 4 = Very Important, the respondents rated the value of
these statements.
FROM THE PERSPECTIVES OF THE STUDENTS 203
Figure JJ: Rating the Importance of the Internship Program
FROM THE PERSPECTIVES OF THE STUDENTS 204
Table 44
Importance of the Internship Program (Statistical Graph)
# Field Minimum Maximum Mean
Std
Deviation Variance Count
1 Value of the Internship 2.00 4.00 3.82 0.43 0.19 55
2 Structure of the Internship 1.00 4.00 3.42 0.68 0.46 55
3 Mentoring during the Internship 1.00 4.00 3.65 0.67 0.44 55
4 Value of Networking 1.00 4.00 3.80 0.58 0.34 55
5
Commitment by the Internship
Company 2.00 4.00 3.62 0.56 0.31 55
6
Commitment by the University to
the Internship Program 1.00 4.00 3.38 0.80 0.64 55
Table 45
Importance of the Internship Program (Percentage Graph)
# Question
Least
Important
Somewhat
Important Important
Very
Important Total
1
Value of the
Internship 1.82% 1 14.55% 8 83.64% 46 55
2
Structure of the
Internship 1.82% 1 5.45% 3 41.82% 23 50.91% 28 55
3
Mentoring during the
Internship 1.82% 1 5.45% 3 18.18% 10 74.55% 41 55
4 Value of Networking 1.82% 1 3.64% 2 7.27% 4 87.27% 48 55
5
Commitment by the
Internship Company 3.64% 2 30.91% 17 65.45% 36 55
6
Commitment by the
University to the
Internship Program 3.64% 2 9.09% 5 32.73% 18 54.55% 30 55
Overall, the vast majority of the students responded to each part of this question as
“Important” or “Very Important.” The total responses in these two areas, “Important” or “Very
Important” ranged from 48 to 53. However, the results of the responses of the students were
FROM THE PERSPECTIVES OF THE STUDENTS 205
clustered into two areas when the focus was on the response “Very Important.” The first cluster
was the following:
 #4 – Value of Networking; 48, or 87.27%, of 55 respondents stated it was “Very
Important;” mean = 3.80 with a range from 1.00 to 4.00.
 #1 – Value of the Internship; 46, or 83.64%, of 55 respondents stated it was “Very
Important;” mean = 3.82 with a range of 2.00 to 4.00.
 #3 – Mentoring during the Internship; 41, or 74.55%, of 55 respondents stated it was
“Very Important;” mean = 3.65 with a range of 1.00 to 4.00.
The remaining three areas, #2, #5, and #6 were less important to the interns and in two of
the areas were related to the commitment of either the internship company to the intern or the
commitment of university to the internship program.
Networking
As this questionnaire was developing, the question of “networking” became an important
factor in finding future employment in the workplace in general and specifically in the
entertainment industry. The focus of this question was: “Who encouraged you to build a strong
networking system?” (see Figure KK).
It became apparent that networking was an integral part of the internship experience. All
of the respondents stated that all the people around them encouraged the interns to network
because it opened doors for the intern now and in the future. Forty four, or 81.48%, of the 54
respondents stated that their fellow students needed to build networks. Forty two, or 77.78%,
responded that their Internship Administrator encouraged network building; 38, or 70.77%,
responded that the alumni of the university also encouraged them. In fact, this factor was
universally endorsed by all the different people who worked in the entertainment industry. WE
FROM THE PERSPECTIVES OF THE STUDENTS 206
Figure KK: Networking - Who Encouraged You to Build a Strong Networking System?
Table 46
Networking – Who Encouraged You to Build a Strong Networking System?
# Answer % Count
1 Department Chair 46.30 25
2 Internship Administrator 77.78 42
3 Internship Company 61.11 33
4 Fellow Students 81.48 44
5 Alumni 70.37 38
6 Other (please specify) 11.11 6
Total Responding 100 54
FROM THE PERSPECTIVES OF THE STUDENTS 207
stated “I think it leads to a job definitely so it’s very important;” and BB said, “Networking. I
mean, it got me a job. I mean, that was very important. Again, pretty much just being there with
everyone and making friends.” “It’s unbelievably the most important thing. That’s how I’ve
been able to get more gigs out here, besides what I was doing with my internship. It’s probably
the most important thing coming out here,” was stated by EE.
I think [HHU] puts a lot of emphasis on standing out, just as an individual in the
workplace, so whether that means, I mean, on top of working hard, I think [HHU] makes
it known that you need to stand out personally, because people want to enjoy being
around you. That’s just how jobs work generally. Especially in the entertainment
industry, people get jobs through their friends and their colleagues and people they’re
close with. I think [HHU] made it known that it’s important to, I guess I’ll use the word
network, although it truly means get to know people and maintain those relationships
with people. I think that’s another thing [HHU] focused a lot on. (PG)
In my personal experience, it helped that I had worked at so many other companies
before and interned at other companies and I just kind of learned how to adapt to
environments and how to . . . because everyone works differently and so you have to
learn how to work with people and difficult people and how to deal with them and they’re
really easy people, so how to just keep your relationship with them strong. (SD)
I think that’s the biggest difference in networking. You can tell who the people are who
actually care and who people actually enjoy being with and the ones who are like ‘Well,
they email me every couple of months, and just check in to keep a relationship there.’ I
FROM THE PERSPECTIVES OF THE STUDENTS 208
would say just be meaningful about your relationships. I think that’s the most important
thing. (SD)
It’s very important. Because they are a production company, they’re always working ...
they also work with a lot of advertising agencies, so they have amazing connections over
there. They know a lot of people who just work freelance production, and there’s just a
huge scope of people that they deal with on a daily basis that, if I have a good
relationship with them, they’re more likely to recommend me. (KR)
My intern coordinator has been great about setting up the meetings like at least once a
month, so we have a lunch every day from one to two, but he’ll set up a meeting with one
of the execs or an assistant and they’ll come in and talk to us and it’s just free rein to ask
about whatever we want to and that’s been really influential in learning about how to get
your foot in the door in the industry and how to make connections properly. So, it’s
really been nice. (WE)
It’s really important to me, and right now, it’s starting to work. It took a while to get my
foot in the door at places, because you already kind of have to know people before you
get into things, and right now, I’m just starting to . . . I’m also a songwriter. So right
now, I’m just starting to write with people. Like within this last week, I had a bunch of
stuff booked out till the end of the semester. So, it took a minute to get my foot in the
door, but now it’s starting to happen. (SM2)
That’s how I got my internship. Because I took the class from that professor and then I
had met with her and we just talked about different stuff and attended a couple different
FROM THE PERSPECTIVES OF THE STUDENTS 209
events as well. So, she knew me through that and was able to recommend me for this
internship . . . and through this internship I’ve obviously gotten to meet so many people.
(SM2)
Discussion
This dissertation discussed the journey of university students from the classroom to a
paid position in the entertainment industry. Through the lens of the students, this dissertation
looked at how the university helped prepare the students for their internships, and discussed
some of the issues, expectations, and experiences in their journey toward a paid position in the
entertainment industry specifically in Los Angeles.
Research question one asked: What are the agreed upon skills that students need to
obtain in the entertainment industry a) before they take an internship, b) during their internship,
and c) after their internship so that they are best prepared for the workplace?
The journey began in the classrooms, workshops, entertainment industry experiences on
and off campus, and in many cases at local internships in the university’s home town. Here the
students were expected to hone their skills as they prepared for their entry into the workplace.
This part of the question looked at the interns’ preparation and how effectively did the university
give them the necessary skills to be successful. In the survey and during the interviews, the
concept of “soft skills” and “hard skills” were focal points of the question. The “soft skills” or
universal skills as defined were based on the competency skills identified by the National
Association of Colleges and Employers (NACE) and updated in 2018. Many of these skills also
reflected the values that HHU had emphasized as part of their school culture. The school has an
excellent reputation in the entertainment industry relating to the character and work ethic of their
graduates.
FROM THE PERSPECTIVES OF THE STUDENTS 210
Prior to Internship
What are the agreed upon skills that students need to obtain in the entertainment industry before
they take an internship so that they are best prepared for the workplace?
Prior to their internships, the interns surveyed were questioned about their “soft skill”
competencies or characteristics that were emphasized and taught in the academic environment.
The competencies (skills) that were highly valued by the interns were,
 Professional Work Ethic
 Oral/Written Communication
 Teamwork/Collaboration
 Critical Thinking
 Leadership
These “soft skills” are entwined in the individual department’s programs either as part of
a particular class or as part of a group production, effort, or project in both the music program
and the motion pictures program.
The “hard skills” of each program had some common skills, but also had skills specific to
each program. In the music business department, skills were further divided depending on the
area of study the intern majored in at the university. The “hard skills” that the interns felt were
the most important were:
 Writing Cover Letters (letters of introduction)
 Resume Writing
 Set Operations
In the film department, the interns stated that the skills they were more prepared for were:
 Script Writing
 Production
FROM THE PERSPECTIVES OF THE STUDENTS 211
 Set Operation
In the music department, the interns stated that the skills they were more prepared for were:
 Public Relations/Social Media/Marketing
 Contracts
 Music Publishing
For the great majority of those interviewed for this survey, the interns felt that they were
prepared for their internships and steered in a good direction for their career goals. However, an
interesting dilemma was put forth by former interns who are presently working in both
industries. These skills were not focused on by the university or not given a specific identity
because it was part of a general competency or skill.
During the Internship
What are the agreed upon skills that students need to obtain in the entertainment industry during
their internship so that they are best prepared for the workplace?
The focus of this part of the question identified the “hard skills” that the interned learned
and used during their internship experiences. When the interns started working in their
internships, they discovered that certain skills that were not important during their academic
program became very important during their internships. Since the university prepared their
students, as it should, for the high-end positions in their respective fields, the university did not
take into account the necessity of learning what became to be known as “entry-level skills.” The
interns surveyed stated that some of the skills taught in the classroom and in classes were on
target.
Interns from the Motion Pictures department discussed the importance of the training in
production as it was transferrable to their internships. Production and Pitching (script, film, etc.)
remained consistent with the interns’ skills. Since the program’s focus was on high-level
FROM THE PERSPECTIVES OF THE STUDENTS 212
positions rather than the industry’s focus on entry-level positions, the interns learned that they
needed to learn these “expected” skills and the importance of these skills. These specific skills
were:
 Writing Script Coverage
 Rolling Calls
 Excel
 Pitching
Because of the feedback from these interns, the university’s program has introduced
classes and bootcamps to address, teach, and reinforce these entry-level skills. The university
realized that it needed to understand some of the nuances of the entertainment industry when it
comes to finding the students’ first paid position.
In the Music Business department, the results varied because of the different majors
within the program. Contracts, Public Relations, and Music Publishing were competencies or
skills that the interns used. According to the interns the following skills were learned or needed
to be reinforced to meet the needs of their employers. They were:
 Rolling Calls
 Artist Management
 Sync and Licensing
 Music Supervision
One skill that was not part of this question was the art of networking. Since networking can be
considered as part of different “soft skills,” it was not part of this question, but will be visited in
later questions.
FROM THE PERSPECTIVES OF THE STUDENTS 213
Another issue that became a concern was the concept of time management. Many
students carried as many as 16 credits either in person or by internet (online) during their
internship and now were faced with working many hours a week. The majority of the interns
worked more than 20 hours per week (see Figure Q).
I would definitely say that time management was the one thing they’ve always stressed.
Like leaving, even if it’s an hour-long commute, you leave two hours early and you sit in
your car or find a coffee shop to walk to so that you’re always on time or actually 10 to
15 minutes early because that’s the biggest thing you can do. I mean, they’ve stressed
that since day one of my schooling. (GM)
After Internship
What are the agreed upon skills that students need to obtain in the entertainment industry after
their internship so that they are best prepared for the workplace?
Many of the skills students used as interns during their internship experience carried over
into the intern’s first paid position. Getting experience as an intern and using these skills gave
the interns an advantage when it came to employment.
The Motion Pictures interns ranked the following skills needed for future employment in
descending order:
 Script Coverage
 Rolling Calls
 Excel
 Production
 Pitching
 Writing Cover Letters
FROM THE PERSPECTIVES OF THE STUDENTS 214
 Resume Writing
 Script Writing
Since 77.78% of the film industry interviewees are alumni and working professionals,
their input was important since it only reinforced the use of these skills as they started their
careers. The Music Business interns stated that skills learned during their internship experience
carried over when they started their first paid position. The Music Business interns ranked the
following skills needed for future employment in descending order:
 Contracts
 Sync and Licensing
 Public Relations, Social Media, Marketing
 Artist Management
 Rolling Calls
 Music Publishing
 Resume Writing
 Writing Cover Letters
Since 33.33% of the Music Business interviewees are alumni and working professionals, their
input was important since it only reinforced the use of these skills as they started their careers.
In conclusion, the alumni and students who participated in the research study had a
positive experience and learned about the types of skills they needed to have as they continued
their journey to a successful career in the entertainment industry.
Research question two asked: How can internship programs prove to be the catalyst for
students seeking entry-level jobs?
FROM THE PERSPECTIVES OF THE STUDENTS 215
The next step in this journey is finding paid employment in the entertainment industry.
Therefore, the next question focused on the impact that internships had as a catalyst for students
seeking employment in the entertainment industry. The trend over the years stated that
internship programs help students find paid positions as well as companies finding out if the
intern is the “right fit” for their company. HHU’s programs work hard and encourage their
students to take internships first locally at their university site and then either in Los Angeles for
motion pictures and in Los Angeles and New York City for the Music Business. Since this
survey focused on Los Angeles, it asked if the Los Angeles internship led to a paid position or
will it possibly lead to one upon graduation.
First, studies have shown that the more internships that students take then the clearer the
picture becomes when it is time to take a paid position. This factor was apparent during
interviews with the participants. Many of the interns interviewed commented that they came to
Los Angeles with one idea of what a position or a career would be after their internship, but that
they changed their minds afterwards as it helped them to determine their next position. These
changes were not only within the industry, but also in changing industries. Many music business
majors discovered that the bridge to the motion pictures industry provided more opportunities
and that many of the skills that they learned in the music business program were transferrable to
the film industry. As DL stated, “If I would not have interned in Los Angeles at this company, I
would not be working in the music world.”
A second factor was that internships provided the interns with the opportunity to
determine if the company that they interned at was a good match for them. Over 60% stated that
they would work at the company where they had interned. At the same time, it gave the
internship companies the opportunity to see if the intern was the “right fit” for the company. A
FROM THE PERSPECTIVES OF THE STUDENTS 216
vast majority, 77.36%, were offered positions by the company. “Being in the right place at the
right time” is one of the underlying themes of the internship experience.
A third factor that began the general theme of the interviews was directly related to being
in Los Angeles and having an internship. Being here provided opportunities to meet new people
and start relationships with fellow interns and with employees at different companies. Both at
the business and social level, connections helped people find work down the road. “Networking”
became the skill that cannot be taught in the classroom. It must be experienced in the real world.
One of the common themes about networking and internships was that one should “build trust,
and not burn bridges.”
Finally, for many interns, these internship experiences sped up the movement in their
respective industries. The interns were able to advance quickly up the ladder to higher levels and
paying positions because they were able to discern what they wanted and were able to put their
energies in that direction. As SD stated, “When I arrived in Los Angeles, I thought I would be
thrown to this environment where I could really learn the day-to-day of a company, and take that
knowledge, apply it to my career path, my perspective career path. I think that’s what I
expected.” SD continued, “I ended up being in the right place at the right time and ended up
with a job.”
Research question three asked: What are the equity, diversity, gender, and socioeconomic
issues that internships need to address in the entertainment industry?
Of the four questions, this question was in some ways the most difficult to discuss
because of the conditions and climate of the day. Equity is the quality of being treated fairly and
impartially no matter who you are, where you came from, or what is in your wallet.
FROM THE PERSPECTIVES OF THE STUDENTS 217
This survey realized that 80% of HHU’s student body was White. Therefore, the
question of race was a major factor, and was difficult to examine. Most the respondents to the
survey were White (90%). Over the last five years, the number of students from HHU of color
participating in the Los Angeles Internship program was less than 10%. Racial diversity
presently is a goal of HHU’s strategic plan. However, during the interviews the interns openly
discussed the topic of racial diversity in their workplace. The composition of the companies
along racial terms was not important to the interns, but rather about how they were treated by the
companies. Some worked in all White companies while many worked in racially diverse
companies. The composition of the companies reflected the focus of the company. Companies
whose focus was in reality television had a much more diverse work force while companies with
their focus on scripted work were less diverse. Also, companies with international connections
had a diverse workforce as compared to domestic companies.
The question of gender equality continues to be an issue in the entertainment industry.
Again, this was an issue that these interns faced. Even though the number of female participants
in the programs mirrored the ratio of females to males at the university, an interesting subplot
was how the number of females versus males participating in the internship broke down by
departments. Whereas, the Music Business interns were predominately female, three to one
ratio, the Motion Pictures department interns were 22 females and 29 males. Depending on the
area of study, the interns reported their companies reflected similar percentages at the company
sites. The interns also noted that the number of entry-level positions at these companies reflect
the ratios of women and men. The women that were interviewed stated that their goals are to not
only to be happy working in the industry, but to be a force in the industry. Among those
interviewed, one woman stated that in her company she’ll have an opportunity to produce a film.
FROM THE PERSPECTIVES OF THE STUDENTS 218
Three years ago, she interned at this company, where she worked the desk answering telephone
calls and wrote script coverage. In conclusion, eight of the nine alumni interviewed, six are
working in the film industry (three women, three men) and two in music (both women).
The biggest issue when it came to diversity was the socioeconomic divide that impacted
opportunities for the current interns and the prospective interns as they plan for their future in the
entertainment industry. The first issue was who can afford the cost of an education in general
and the cost of participating in an internship program. The second issue, after the intern found
employment in the industry and decided to remain in Los Angeles, was can the new employee
afford to live here.
A large number of interns (74.55%) surveyed stated that their parents paid for their
tuition, internship in Los Angeles (additional fees), and living expenses. Tuition alone is at
$40,000 a year before books, housing, meals, car, and expenses for attending school. Fortunately
for many, their yearly household income was greater than $90,000. It must be noted that during
interviews many stated that the school subsidized some of them while others worked two or three
different part-time jobs to offset the cost of living. Another added bonus was that a couple of
interns received minimum wages for their internships. In the entertainment industry paid
internships by small companies are rare; however, if one can land an internship with a large
production company the intern may find a paid internship.
With many of the interns wanting to remain in Los Angeles, the second question was:
“How can I afford to work in the industry?” Realizing that entry-level positions pay at minimum
or barely above that in wages, it was understandable that this issue would arise. During the
interviews, there were three themes. One was that their families continued to subsidize and
support them while they pursued their dreams. In some cases, extended families and friends sent
FROM THE PERSPECTIVES OF THE STUDENTS 219
money to support their children so they could get started. Second, through networking, those
remaining in Los Angeles found “couches” to sleep on while looking for employment. Others
shared rent and food to assist their colleagues. While others found employment in other fields
and continued to seek employment in the industry.
In conclusion, interns stated that, “Even though the cost of living in Los Angeles is
higher here than home, this is where I want to be working.” They felt that socioeconomic
barriers were their biggest hurdle because once they settle in they will be successful. “The first
year was the most difficult!” stated Sk.
Research question four asked: How can students be evaluated to ensure that they have
acquired the necessary skills and in turn how can college and university programs be evaluated
for providing these skills for their students?
This question first traced the pathway to getting an internship and then discussed whether
the internship program met the needs of the students through the lenses of the students. The
survey and interviews focused on,
 Did the university prepare you for your internships?
 How was their internship program experience evaluated during the internship?
 How was their internship program experience evaluated after the internship?
The first part of question four asked: “Why did you choose to participate in the internship
program?” Those surveyed and interviewed stated that the university encouraged them to get as
many hands-on experiences as possible, so that they could make decisions about their future.
The students emphasized that internships offered them the opportunity to expand and use their
skills learned in class in a professional setting. The university also said that internships would
provide opportunities to acquire new skills and most importantly to make connections and
FROM THE PERSPECTIVES OF THE STUDENTS 220
“network” with working professionals in their field of endeavor. As WA stated, his chair
remarked: “Find out what it is about and decide if you want to be working in the industry.” The
students surveyed said there were various resources available on campus, on the internet job
sites, on social media sites, and with an onsite administrator in Los Angeles. The availability of
resources in most cases eased the angst of coming to Los Angeles without an internship. The
students learned quickly because of fierce competition for internships that they needed to be
proactive. The best internships go first in the process and that the time spent in the actual
internship goes by even faster. The success of this part of the program relied on cooperation
between the student and the university. Simply getting a good internship equates to a good
internship experience.
A key factor in the transition from the university to Los Angeles was the establishment of
an onsite administrator in Los Angeles. This individual was there to support the interns during
their internship in Los Angeles. The interns had a “go-to” person who interfaced with the
internship companies especially in areas of concern. The interns stated that the administrator
worked with the employer and provided close oversight during the internship. The interns also
felt that the internship administrator established and communicated clear expectations with their
work responsibilities with their employers. Finally, the administrator provided the interns with
the opportunity to evaluate their employers.
The second part of question four was: “How was their internship program experience
evaluated during the internship?” This part of the question focused on the internship supervisor
through the eyes of the interns. The success of any internship depended on the relationship
between the intern and the supervisor or in some cases the mentor. The interns felt that this
relationship was a driving force in making their internships a productive experience. The interns
FROM THE PERSPECTIVES OF THE STUDENTS 221
cited that giving validation and appreciation by their supervisors/mentors was very important to
them. It provided them a comfort zone in which the supervisor or mentor was able to train and
coach them. By providing this environment, it created an atmosphere where the intern’s progress
and performance can be evaluated in a respectful manner. The interns felt and respected these
constructive evaluations and found that they were useful in their professional growth. At the
completion of the program, an evaluation of the internship experience by the university was
required. The evaluation process included a written evaluation from the supervisor/mentor, a
written evaluation to the Los Angeles Administrator, separate exit meetings with the intern’s
supervisor/mentor, and the Los Angeles Administrator. These evaluations were submitted,
reviewed, and evaluated by the Los Angeles Administrator and the Department chairs who
oversaw the programs. It must be noted that there was communication during the internship with
the supervisor.
Finally, “How was their internship program experience evaluated after the internship?”
The best way to evaluate an internship program after the internship was to ask a simple question.
This question was: “Did the intern get a position at the company?” However, there are other
statements about the program that were made. They were, (a) I learned more about my career
options in my field of study; (b) I had a better understanding of the professional work
environment, (c) The experience had prepared me for my career goals and an eventual job; (d) I
was able to make connections or ‘network ’ with people in the entertainment industry; and (e) Is
this what I really want to do or do I really want to live in Los Angeles?
A major benefit of internship programs was that it provided an avenue for students to
start building “networks” with fellow interns and with people working in the industry. One
alumni stated during an interview that it echoed the need to build networks and how to treat
FROM THE PERSPECTIVES OF THE STUDENTS 222
people. BA said, “Building trust, not burn bridges” is the manner in which you conduct your
life. This is an important theme that is valued by all the participants in the internship process and
in life in general.
Another factor in the “after intern experience” was that certain members of the university
continued to keep in touch with the alumni and continually communicated with them for their
input. Also, these alumni are now getting involved with different parts of the program either by
teaching the Bootcamps, speaking on campus, creating social opportunities in Los Angeles,
teaching courses in Los Angeles, or by becoming mentors and advisers to the new interns. Also,
they have involved the Los Angeles Administrator, the Associate Provost, and the Department
Chairs in establishing a more formal alumni network in Los Angeles.
In conclusion, the best post-evaluation of this program was when the interns were asked:
“Would you recommend this internship program to other students?” The interns emphatically
endorsed this program.
Chapter Five will summarize the findings, discuss limitations, and suggest where future
research can look for suggestions to accelerate a student’s transition from higher education to a
career in the entertainment industry.
FROM THE PERSPECTIVES OF THE STUDENTS 223
CHAPTER FIVE: SUMMARY, CONCLUSIONS, IMPLICATIONS
Introduction
Over the last 20 years, internship programs have become a dominant factor in opening a
pathway to employment in the entertainment industry (Frenette, 2013). Schools of higher
education are providing students with the opportunity for hands-on experiential learning in Los
Angeles while opening doors for future employment in an industry where connections and
networking play a major role on an individual’s road to success (Frenette, 2013). The structure
of the entertainment internship program as part of an academic curriculum is a critical part of any
undergraduate program as well as the internship experience itself. Selecting a program with an
internship component that meets the needs of its participants is paramount to its success. In the
eyes of many practitioners, this is the gateway into the entertainment industry.
Students stated that interning was the most effective method of securing an entry-level
position (Rolston & Herrera, 2000). Compared to the 1980s, internship programs offered by
universities and colleges reached record highs in participation by college students. According to
the National Association of Colleges and Employers (NACE), two-thirds of the class of 2013
participated in internship programs (Lamberti, 2013). Intern Bridge, a college recruiting and
coaching organization, reported that unpaid internships make up greater than 50% of internships
annually (Lamberti, 2013). In the entertainment and media industry, unpaid internships are at
68%. This is the highest percentage of all subgroups in the NACE study (Lamberti, 2013). The
big question that is repeatedly asked: “Will my internship lead to employment in the
entertainment industry?”
FROM THE PERSPECTIVES OF THE STUDENTS 224
Focus of the Study
Internships for many aspiring students have become a major pathway to finding
employment in the entertainment industry. For many prospective students, having an internship
or internships in Los Angeles provided them the opportunity to achieve their entrée into the
industry. As one chairperson of a prominent film school stated at a conference in 2012: “A
student who successfully participates in an internship program speeds his entrance into the
entertainment industry by three years” (Akers, 2012, n.p.),
One of the primary goals of an internship program was to provide students with a bridge
between the classroom experience and a real-life experience; a paying position after graduation.
The internship is the vehicle that provided the students with “hand-on” experiences that in the
eyes of the professions brings the classroom to life.
A successful internship program or internship experience is built on the collaboration and
cooperation of the stakeholders in the program. These stakeholders are students, schools, and the
employers who hire the students as interns.
The purpose of this study was to ascertain the value of the internship by looking at the
following factors:
 The preparation and skills acquired by the interns prior and during their internship
experience at HHU.
 The opportunities or catalysts for future employment after the internship or upon
graduation from HHU.
 Equity in the program and the industry based on sex, gender, and socioeconomic status.
 Evaluation of the internship program or “Did the internship program prepare the interns
for the workplace or to find a job?”
FROM THE PERSPECTIVES OF THE STUDENTS 225
Research Questions
The research questions that will be examined in this study are:
1. What are the agreed upon skills that students need to obtain in the entertainment industry
a) before they take an internship, b) during their internship, and c) after their internship so
that they are best prepared for the workplace?
2. How can internship programs prove to be the catalyst for students seeking entry-level
jobs and does it speed up the process of obtaining a job?
3. What are the equity, diversity, gender, and socioeconomic issues that internships need to
address in the entertainment industry?
4. How can students be evaluated to ensure that they have acquired the necessary skills and
in turn how can college and university programs be evaluated for providing these skills
for their students?
Summary of Findings
Research Question One
What are the agreed upon skills that students need to obtain in the entertainment industry
a) before they take an internship, b) during their internship, and c) after their internship so that
they are best prepared for the workplace?
The journey for students from the classroom to paid positions is in the convergence of
different skills, opportunities, and in some cases of “being in the right place at the right time.”
The focus of this study revolved around students participating in an internship program at
Howard Hawks University (pseudonym, HHU) in Los Angeles and how it increased their
opportunities for achieving their goal of finding employment after the internship program. The
first research question addressed the journey in three parts: before, during, and after the
internship experiences of the students from HHU.
FROM THE PERSPECTIVES OF THE STUDENTS 226
The students and alumni who were either interviewed or had completed an online survey
agreed that specific “soft skills” were highly valued by their internship companies and gave the
interns an advantage over those who did not possess these skills. The “hard skills” differed
between the Motion Picture interns and the Music Business interns, but the results were similar
in relationship to the interns having an advantage over those who did not possess these skills.
The interns also discovered that some of the hard skills that they knew did not necessarily align
with all the hard skills used for entry-level employees. An example of this was the ability to
handle “rolling calls” which is an important skill for a person working the desk.
During the internships, interns were able to bring their classroom skills into real-world
experiences. Also, the interns discovered that many of their skills learned at HHU were not
applicable to their work experiences. Another important skill that became important for the
interns was time management. Besides having one or two internships, many of the interns took
as many as 16 credits while working at their internships. Some of the respondents interviewed
during the research study stated that being able to handle the workload during their internships
helped them when they started to work in the entertainment industry.
Finally, many of the skills learned during their internships were the same skills that were
transferrable to their first paid position after the internship or graduation. The responses during
the interviews were supportive when discussing the value of their internships. Also, they were
hopeful that the university will continue to make improvements in its program to help future
students.
FROM THE PERSPECTIVES OF THE STUDENTS 227
Research Question Two
How can internship programs prove to be the catalyst for students seeking entry-level jobs?
This question focused on how the internship programs are a catalyst for finding employment
in the entertainment industry. Internships provided both the intern and the company with the
opportunity to see if the intern was the “right fit” for each other. Also, on a larger scale, the
internship experience provided students with the opportunity to see if this area of the industry
was what the student wanted to work in or whether there was another facet of the industry that
the student wanted to pursue.
Another factor was the proverbial statement: “Being in the right place at the right time.”
During the interviews, more than one of the respondents stated that during their internship a
position opened up and since they were working as an intern, they were offered a paid position at
that company. In one instance, an intern at a company became the internship supervisor at the
end of his internship. A year later, this intern coordinator hired an intern to replace him when he
moved to a new position.
A third factor, was the unwritten skill of being able to “network.” Networking became
one of the common themes of the internship program. The interns discovered that networking
was and is an important skill that will assist them as they move forward with their careers.
Finally, for many of the respondents, internship experiences sped up their advancement in
the entertainment industry. Speaking with people presently working in the industry, they
reinforced the importance of their internships, explained that it helped them decide on their area
of interest, and allowed them to pursue their career goals faster.
FROM THE PERSPECTIVES OF THE STUDENTS 228
Research Question Three
What are the equity, diversity, gender, and socioeconomic issues that internships need to address
in the entertainment industry?
This question is more important now because the entertainment industry is being forced to
face the reality of these issues as they are being raised today? Equity is the quality of being
treated fairly and impartially no matter who you are, where you come from, or what is in your
wallet.
Since the student population of HHU is predominately White, the question of race being
a major factor in this study was moot. This survey focused on gender and socioeconomic issues
that affected the entertainment industry in general and specifically the internship program at
HHU.
The majority of the students who participated in the Los Angeles internship program
reflected the female to male ratio of HHU’s student population. However, when you drilled
further down by departments, the Motion Picture department’s ratio of female to male was 22 to
29 while in the Music Business department the female to male ratio was three to one. During the
interviews, it was stated that these numbers coincided with the same ratio of entry-level
employees at the companies where they worked or interned. One woman interviewed stated that
her company had been proactive, and she is looking forward to producing a film for her company
in the future.
The socioeconomic aspect was a major issue with the students. Through the survey and
during interviews, it became apparent how important financial support was from their families in
order for a student to obtain an education or if they needed to find another means to finance their
education. Families, in many cases, were creative and even pooled their resources to help their
children. Others who were interviewed stated that they worked different jobs from waiting
FROM THE PERSPECTIVES OF THE STUDENTS 229
tables, washing floors, and other work unrelated to the entertainment industry. Some interns
worked during their internships to help with expenses while a few managed to find paid
internships. Fortunately, paid internships are on the rise in the entertainment industry at large
production companies. However, the vast majority of the interns worked at companies that were
small or boutique and did not offer this perk.
Another factor about the socioeconomic issue of interning especially in Los Angeles is
the cost of living and the necessity of having to have an automobile to intern there. Some
students come from small communities rather than metropolitan areas where the cost of living is
considerably less, and they may not need a car for transportation.
Research Question Four
How can students be evaluated to ensure that they have acquired the necessary skills and in turn
how can college and university programs be evaluated for providing these skills for their
students?
This question traced the pathway from applying for an internship to the completion of the
internship. The survey and interviews focused on three areas of the internship program through
the lenses of the students.
The first part discussed the university’s internship program. Here, the students stated
how the university encouraged them to get as many internships as possible to get “hands-on”
experiences to help them decide what they wanted to do in the future. The students surveyed
stated that they were provided with on-campus classes and services to prepare them for their
internships. The department chairs either guided or set a system on campus to start the process
for making the students’ internship experience a successful one. Those surveyed and
interviewed felt that the university encouraged them to apply early because the best internships
go first.
FROM THE PERSPECTIVES OF THE STUDENTS 230
A key factor for the Los Angeles Internship experiences was that HHU had an onsite
internship administrator in Los Angeles. The interns felt that the internship administrator was
the conduit between the university, the intern, and the employer (internship company). One of
the main responsibilities of the internship administrator was to establish and communicate clear
expectations of the interns’ work with their employer.
Second, the evaluation during the internship program focused on the relationship between
the internship supervisor (company) and the intern. The interns felt strongly that a good working
relationship between their supervisor and themselves was a critical factor. The interns believed
that the stronger the bond between them and their supervisors was a key to a successful
internship and possibly employment at the end of the internship. Some companies used mentors
for the interns and the evaluations were ongoing during their internship.
The last part of the question focused on the evaluation after the internship. The
respondents stated that they were prepared for their careers. One of the ways that the students
evaluated the success of the internship program was whether their internship led to employment.
Another factor was in the importance of networking which again was related to finding future
employment.
Limitations
The limitations and delimitations of the research study are that most universities do not
operate their programs in a similar manner. There are few similarities to each program except
that academic course credit is provided, a student accepts an internship in Los Angeles, and a
system of evaluation is completed by the internship employer at the conclusion of the semester.
Differences include how each university program operates in connection with a
department, division, school of the college or university, career placement center, or without any
FROM THE PERSPECTIVES OF THE STUDENTS 231
administrative or faculty oversight. Employers operate their internship programs differently
depending on how their company or studio is organized. The more corporate the company is the
more structured the internship program is for the students.
This study focused on a group of students from a specific university using the
pseudonym, Howard Hawkes University (HHU) as a case study. It looked at HHU’s internship
program in Los Angeles through the lens of the interns and graduates of the program. The key
components that were discussed were the relationship between the students (interns) and their
fellow stakeholders, the faculty and administration at HHU, and the entertainment industry
employers. Given these variables, the researcher was able to determine that there was internal
validity. The issue of external validity was assessed by the researcher so that it provided
information and understanding that was applicable to all students, universities, and employers.
This made it useful to all stakeholders in the internship experience and its outcome.
Another limitation of this study was that it focused on a private university whose student
body was predominately White and female. Future studies should include a more diverse
population as so that it can be determined whether internships help students from different
backgrounds so that they are provided with equal opportunities in finding careers in the
entertainment industry.
Future Research
Future studies similar to this study are necessary and should be more diverse and include
student populations from various universities. These universities should include large and small,
private and public, and especially schools that have diverse student populations or enroll
predominately non-white students. Schools such as the Historically Black Colleges and
FROM THE PERSPECTIVES OF THE STUDENTS 232
Universities (HBCU) would be an excellent group to investigate because it is necessary to
increase representation by their students and graduates in the entertainment industry.
At the University of Southern California’s Annenberg School of Communication and
Journalism Institute for Diversity and Empowerment at Annenberg (IDEA), a recent study was
published in 2016 entitled “Inclusion or Invisibility” authored by Dr. Stacy L. Smith, Marc
Choueiti, and Dr. Katherine Pieper. This report focused on diversity in the entertainment
industry. This study looked at the practices above and below-the-line through the lenses of race,
gender, ethnicity, and sexual preferences of the people working in the entertainment industry.
Using reports like the Annenberg study can be useful to determine if university internship
programs can be a conduit for employment in the entertainment industry. As the internship
programs become more inclusive, then the graduates of these programs can change the culture of
the industry.
Another study should compare the different internship programs that are offered by
various colleges and universities to find out what characteristics are similar and different among
these programs. The goal should be to provide students with the right skill sets, including both
soft skills and hard skills, as the students start their careers in the entertainment industry.
Conclusion
This year’s annual “Women in Focus” Conference at Chapman University on April 20,
2018 discussed gender and racial issues from the perspectives of prominent women in streaming
in the film industry (Chapman University, 2018). It featured executives and writers from
streaming platforms like Netflix, Hulu, Amazon, and YouTube and how these companies have
altered the film and media landscape. The panel discussed the dawning of a new golden age of
media where the drive for new content offers creators more opportunities to tell truly unique and
FROM THE PERSPECTIVES OF THE STUDENTS 233
innovative stories. During the conference, one major topic of discussion focused on the climate
of the entertainment industry with regards to gender, race, and equity. The panelists reflected on
their individual experiences as they climbed the ladder of success. As each spoke of their
experiences, they all focused on four basic issues that must be addressed and implemented in the
industry. These issues are, (a) accessibility, (b) opportunity, (c) equal compensation, and (d) a
safe workplace environment. They talked about hiring procedures and how companies tried to
maintain the “status quo.” As one panelist
9
at the “Women in Focus” conference (2018) stated:
“Don’t just send me the White boys’ resumes, send me everyone’s resume, and I’ll have an
opportunity to choose from a larger pool of qualified candidates.” She continued that this will
widen access to all rather than keep the shop closed to a few. This issue went hand-in-hand with
the concept of building a network where people can help each other.
During this research study, it became apparent that access for all above-the-line and
below-the-line positions during the internships were enhanced by those who participated in the
internship program. Socioeconomic issues must be overcome by providing students with the
financial means to work as interns. In some industries, paid internships are common whereas in
the entertainment industry it is uncommon for interns to be paid. In many cases, socioeconomic
issues were related to race and gender of the interns. The Academy of Motion Picture Arts and
Sciences (AMPAS) in 2017 created a paid summer internship program focusing on
underrepresented students including women (Tapley, 2017). In June 2018, the “Academy Gold”
program is beginning its second year with almost 100 interns with major industry support and
oversight (Tapley, 2017). Maybe it is the dawning of a new age in the entertainment industry.
One can always hope so.
9
Further information withheld for confidentiality
FROM THE PERSPECTIVES OF THE STUDENTS 234
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FROM THE PERSPECTIVES OF THE STUDENTS 243
Appendix A: Conceptual Framework Concept Map
FROM THE PERSPECTIVES OF THE STUDENTS 244
Appendix B: Consent Form
(Audience – Former Interns who are presently working in the entertainment
Industry in Los Angeles)
UNIVERSITY OF SOUTHERN CALIFORNIA
I give to the University of Southern California my consent and permission to tape and record me,
my name, likeness, image, and voice for the presentation(s) listed below and:
Title and Description of Presentation: Internships in the Entertainment Industry: Perspectives
from Student Interns
___________________________________________________________________________
I am over the age of eighteen and understand and accept the terms hereof.
Signature: _______________________________________________________________
Print Name: _______________________________________________________________
Address:
_______________________________________________________________
_______________________________________________________________
Contact Telephone Number: (____)_______________________
Email: ____________________________________________
Date: _____________________________________
Researcher: _____________________________________
Title of Research: Internships in the Entertainment Industry: Perspectives from Student Interns
My name is Edward Eiseman and I am currently a doctoral student working on my dissertation. I
am pursuing an Ed.D degree in K-16 Leadership at the University of Southern California, under
the tutelage of Drs. Pedro Garcia, Rudy Castruita, and Isaac Huang. The purpose of my study is
to the impact of Internships in the Entertainment Industry from the perspective of the Intern.
This research study has been reviewed and approved by the University of Southern California
Institutional Review Board for Human Subjects Research. The IRB believes that the research
procedures safeguard your privacy, welfare, civil liberties, anonymity, and rights. Please be
assured that your participation and answers will be kept confidential and anonymous. In no way
FROM THE PERSPECTIVES OF THE STUDENTS 245
will any data be presented in any manner where any individual can be identified. If you have any
questions, please feel free to contact me at xxxxxxxxxxxxxx@gmail.com.
I am very aware of your time constraints as a student, and would it be possible for you to assist
me with my research and demographic data sheet. The survey asks about your experience as you
prepared and participated in the Internship experience. The questionnaire and support questions
are designed to take no more than 20 minutes.
Interview Protocol, including an introduction and the interview questions.
Good afternoon, my name is Ed Eiseman and I am a doctoral candidate at the University of
Southern California. The purpose of this research study is to determine how the internship
experience prepares interns for a career in the entertainment industry. Another part of the study is
to determine whether the experience was helpful in obtaining a paid position with the company
where one had their internship.
The interview will take approximately a half-hour and is part of my dissertation. Is this okay?
The information will be used as part of the research on the subject. All the information is
confidential and a pseudonym will be used so that you as an individual will not be identified. I
would like to record the interview so that I may be able to capture what is said. I will be happy
to share my findings with you if you are interested.
Please sign this release to protect your confidentiality and mine. The data that I will collect will
only be used for my dissertation. Thank you for taking the time to answer my questions and to
help me with my research. Can we get started?
The research questions that will be examined in this study are:
1. What are the agreed upon skills that students need to obtain in the entertainment industry
a) before they take an internship, b) during their internship, and c) after their internship so that
they are best prepared for the workplace?
2. How can internship programs prove to be the catalyst for students seeking entry-level jobs
and does it speed up the process of obtaining a job?
3. What are the equity, diversity, gender, and socioeconomic issues that internships need to
address in the entertainment industry?
4. How can students be evaluated to ensure that they have acquired the necessary skills and in
turn how can college and university programs be evaluated for providing these skills for their
students?
FROM THE PERSPECTIVES OF THE STUDENTS 246
Interview Questions
1. Tell me how you found your internship.
2. In what ways were you prepared for your internship program?
3. What was your expectations about the internship program?
4. How did your perception of your level of preparedness for the internship impact your
performance/experience?
5. How did the employer’s level of readiness meet your expectations?
6. If you were to do this internship over, what would you have done differently?
6. How did your experience as an intern prepare you for your current job?
7. What are the strengths and weaknesses of the internship program?
8. What are the features of the internship that made it particularly helpful for gaining
employment?
9. How did the internship program structure impact your success in the internship experience?
10. Did you have a mentor at the internship and what was their impact on your experience?
11. What skills are you expected to know prior to your internship?
12. As an intern, what are the most critical skills you needed to have?
13. Is there anything that you would have done differently?
14. When did you realize that your internship could turn into a paid position?
 Describe the events that led to your employment at the company.
15. In what way did the structure of the employer’s internship program increase your opportunity
for employment with them?
16. Explain the benefit of working as an intern at the company that subsequently employed you.
17. How would you feel if after you completed the internship the company did not offer you a
position? Please elaborate on your feelings.
18. What are the equity, diversity, gender, and socioeconomic issues that internships need to
address in the entertainment industry?
19. In what ways did the internship experience meet your goals?
20. What features of the internship are most important to you?
21. How important was networking to you? Please elaborate.
FROM THE PERSPECTIVES OF THE STUDENTS 247
22. What curricular support processes are designed to prepare interns for a successful internship
experience?
23. How did the relationship between your school and the employer impact your chance of
employment there?
Thank you for your responses. Your time and effort are greatly appreciated.
FROM THE PERSPECTIVES OF THE STUDENTS 248
Appendix C: Internships in the Entertainment Industry
INTRODUCTION
My name is Edward Eiseman and I am currently a doctoral student working on my dissertation. I
am pursuing an Ed.D degree in K-16 Leadership at the University of Southern California, under
the tutelage of Drs. Pedro Garcia, Rudy Castruita, and Isaac Huang. The purpose of my study is
The Impact of Internships in the Entertainment Industry from the Perspective of the Intern. This
research study has been reviewed and approved by the University of Southern California
Institutional Review Board for Human Subjects Research. The IRB believes that the research
procedures safeguard your privacy, welfare, civil liberties, anonymity, and rights. Please be
assured that your participation and answers will be kept confidential and anonymous. In no way
will any data be presented in any manner where any individual can be identified. If you have any
questions, please feel free to contact me at xxxxxxxxxxxxxxx@usc.edu or at (xxx) xxx – xxxx. I
am very aware of your time constraints as a student, and would it be possible for you to assist me
with my research and demographic data sheet. The survey asks about your experience as you
prepared and participated in the Internship experience. The questionnaire and support questions
are designed to take no more than 15 minutes.
Thank you for your participating in this study.
Q1 What is or was your major area of study as undergraduate? (Check One)
o Film, Television, Digital (1)
o Music Business (2)
o Other (please specify) (4) ________________________
Q2 What is your gender? (Check One)
o Male (1)
o Female (2)
FROM THE PERSPECTIVES OF THE STUDENTS 249
Q3 Did you participate in a university sanctioned internship in Los Angeles? (Check One)
o Yes (1)
o No (2)
Q4 How old were you during the Los Angeles internship? (Check One)
o 18 - 19 years old (1)
o 20 - 21 years old (2)
o 22 - 23 years old (3)
o 24 years old - above (4)
Q5 What year in college were you when you participated in the Los Angeles Internship? (Check
One)
o Freshman (1)
o Sophomore (2)
o Junior (3)
o Senior (4)
Q6 Who pays or paid for your tuition? (Check One)
o Self (1)
o Parents (2)
o Other (please specify) (3) __________________
FROM THE PERSPECTIVES OF THE STUDENTS 250
Q7 What is your household income? (Check One)
o 0 - $29,999 (1)
o $30,000 - $59,999 (2)
o $60,000 - $89,999 (3)
o $90,000 - Over (4)
Q7 Did you receive financial aid? (Check one)
o Yes (1)
o No (2)
Q8 (Check all that apply) yes
▢ Scholarships/Grants (1)
▢ Student Loans (2)
▢ Work Study (3)
▢ Other (please specify) (4) ___________________
Q9 Did I have my last internship in Los Angeles? (Check One)
o Yes (1)
o No (2)
FROM THE PERSPECTIVES OF THE STUDENTS 251
Q10 How many credits did you receive for your Los Angeles internship? (Check One)
o 0 - 2 credits (1)
o 3 - 5 credits (2)
o 6 credits (3)
Q11 What was the length of your Los Angeles internship experience? (Check One)
o One Semester (1)
o Two Semester (2)
o Summer (3)
Q12 What was your weekly internship workload? (Check One)
o 0 - 19 hours (1)
o 20 - 34 hours (2)
o 35 hours or more (3)
Q13 How many internships have you participated in PRIOR to your Los Angeles internship?
(Check One)
o 0 (1)
o 1 - 2 internships (2)
o 3 - 4 internships (3)
o 5 internships or more (4)
FROM THE PERSPECTIVES OF THE STUDENTS 252
Q14 How many internships have you participated in during your college or university
experience? (Check One)
o 0 (1)
o 1 - 2 internships (2)
o 3 - 4 internships (3)
o 5 or more internships (4)
Q15 Did you attend classes or are you presently attending classes (including online classes)
while working at the internship? (Check One)
o Yes (1)
o No (2)
Q16 How many additional credit hours (including online courses) are you taking, or did you take
while completing your last internship? (Do NOT include your internship credits) (Check One)
o 0 credits (1)
o 1 - 4 credits (2)
o 5 - 8 credits (3)
o 9 - 12 credits (4)
o 12 or more credits (5)
FROM THE PERSPECTIVES OF THE STUDENTS 253
Q17 The National Association of Colleges and Employers (NACE) established a list of skills
necessary for entry into the workplace. Please rate your skills as you were prepared by your
University for your internship in the entertainment industry.
Skills Unprepared (1)
Somewhat
Unprepared (2)
Somewhat
Prepared (3) Prepared (4)
Critical Thinking/
Problem Solving
(1)
o o o o
Professional/Work
Ethic (2)
o o o o
Teamwork (3)
o o o o
Oral/Written
Communication
(4)
o o o o
Information and
Digital
Technology
Application (5)
o o o o
Leadership (6)
o o o o
Career
Management (7)
o o o o
FROM THE PERSPECTIVES OF THE STUDENTS 254
Q18a Film, Television, Digital, Streaming Students Please rate the following skills you learned
in your classes PRIOR to your participation in your internship.
Skills Unprepared (1)
Somewhat
Unprepared (2)
Somewhat
Prepared (3) Prepared (4)
Script Coverage
(1)
o o o o
Rolling Calls (2)
o o o o
Excel (3)
o o o o
Scriptwriting (4)
o o o o
Pitching (Script,
Film, Etc.), Pitch
Deck (5)
o o o o
Directing (6)
o o o o
Production (7)
o o o o
Editing (8)
o o o o
Special Effects
(9)
o o o o
Resume Writing
(10)
o o o o
Writing Cover
Letters (11)
o o o o
Set Operations
(12)
o o o o
Other (please
specify) (13)
o o o o
FROM THE PERSPECTIVES OF THE STUDENTS 255
Q18b Film, Television, Digital, Streaming Students Additional Skills - Please check the
following skills that you LEARNED DURING your internship. (Check all that apply)
▢ Script Coverage (1)
▢ Rolling Calls (2)
▢ Excel (3)
▢ Scriptwriting (4)
▢ Pitching (Script, Film, Etc.) Pitch Decks (5)
▢ Directing (6)
▢ Production (7)
▢ Editing (8)
▢ Special Effects (9)
▢ Resume Writing (10)
▢ Writing Cover Letters (11)
▢ Set Operations (12)
▢ Other (please specify) (13) _________________________
FROM THE PERSPECTIVES OF THE STUDENTS 256
Q18c Film, Television, Digital, Streaming Students Additional Skills - Please check the
following skills that you USED DURING your internship. (Check all that apply)
▢ Script Coverage (1)
▢ Rolling Calls (2)
▢ Excel (3)
▢ Scriptwriting (4)
▢ Pitching (Script, Film, Etc.), Pitch Decks (5)
▢ Directing (6)
▢ Production (7)
▢ Editing (8)
▢ Special Effects (9)
▢ Resume Writing (10)
▢ Writing Cover Letters (11)
▢ Set Operations (12)
▢ Other (please specify) (13) ________________________
FROM THE PERSPECTIVES OF THE STUDENTS 257
Q19a Music Business Students Please rate the following skills that you learned in your classes
PRIOR to your participation in your internship.
Skills Unprepared (1)
Somewhat
Unprepared (2)
Somewhat
Prepared (3) Prepared (4)
Music
Supervision (1)
o o o o
Sync and
Licensing (2)
o o o o
Contracts (3)
o o o o
Audio
Engineering (4)
o o o o
Songwriting (5)
o o o o
PR, Social
Media, and
Marketing (6)
o o o o
Rolling Calls (7)
o o o o
Artist
Management (8)
o o o o
Event
Management (9)
o o o o
Concert Touring
(10)
o o o o
Music
Publishing (11)
o o o o
Resume Writing
(12)
o o o o
Writing Cover
Letters (13)
o o o o
Other (please
specify) (14)
o o o o
FROM THE PERSPECTIVES OF THE STUDENTS 258
Q19b Music Business Students Additional Skills - Please check the following skills you
LEARNED DURING your internship. (Check all that apply)
▢ Music Supervision (1)
▢ Sync and Licensing (2)
▢ Contracts (3)
▢ Audio Engineering (4)
▢ Songwriting (5)
▢ PR, Social Media, and Marketing (6)
▢ Rolling Calls (7)
▢ Artist Management (8)
▢ Event Management (9)
▢ Concert Touring (10)
▢ Music Publishing (11)
▢ Resume Writing (12)
▢ Writing Cover Letters (13)
▢ Other (please specify) (14) ________________________
FROM THE PERSPECTIVES OF THE STUDENTS 259
Q19c Music Business Students Additional Skills - Please check the following skills you USED
DURING your internship. (Check all that apply)
▢ Music Supervision (1)
▢ Sync and Licensing (2)
▢ Contracts (3)
▢ Audio Engineering (4)
▢ Songwriting (5)
▢ PR, Social Media, and Marketing (6)
▢ Rolling Calls (7)
▢ Artist Management (8)
▢ Event Management (9)
▢ Concert Touring (10)
▢ Music Publishing (11)
▢ Resume Writing (12)
▢ Writing Cover Letters (13)
▢ Other (please specify) (14) _______________________
FROM THE PERSPECTIVES OF THE STUDENTS 260
Q20 Internship Placement and Support Services Why did you choose to participate in the
internship? (check all that apply)
▢ Get hands-on experience in my major area of study (1)
▢ Become better prepared for employment in my field of study (2)
▢ Gain professional development and personal growth (3)
▢ Learn new skills (4)
▢ Gain a realistic preview of the workplace (5)
▢ Network and make professional contacts (6)
▢ Explore a new organization (7)
▢ Earn money (8)
▢ Get a full-time/permanent job offer from this company (9)
▢ Fulfill degree requirements/Receive course credit (10)
▢ Fulfill my faculty advisor’s strong recommendation (11)
▢ Other (please specify) (12) _________________________
FROM THE PERSPECTIVES OF THE STUDENTS 261
Q21 What sources did you use to find your internship? (Check all that apply)
▢ Academic department announcement (1)
▢ Academic department advisor (2)
▢ Campus career/job fairs (3)
▢ Campus career center (4)
▢ Peer student referral (5)
▢ Friends and family recommendations (6)
▢ Posting on an internship job board website (entertainmentcareers.net, productionhub.com,
Handshake, mandy.com (7)
▢ Social Media (Facebook, LinkedIn, Twitter) (8)
▢ Employers’ websites (9)
▢ Newspapers (10)
▢ Los Angeles Internship Administrator (11)
▢ Other (please specify) (12) __________________________
FROM THE PERSPECTIVES OF THE STUDENTS 262
Q22 Which campus career center services did you utilize for your internship? (Check all that
apply)
▢ Career Services (1)
▢ Appointments with staff for cover letter, resume writing, and reviewing (2)
▢ Practice on interviewing (Mock Interview) (3)
▢ On-campus recruiter interviews (4)
▢ Job Orientation (5)
▢ Information on academic related work experience and employers (6)
▢ Job Listings (7)
▢ Web resources/links (8)
▢ Internship placement guidance (9)
▢ I did not use the campus Career Services (10)
▢ Other (please specify) (11) _____________________________
FROM THE PERSPECTIVES OF THE STUDENTS 263
Q23 Internship Program Experience - At the University Please rate the following statements
based on your experience at the university related to your latest internship.
Statements
Strongly
Disagree (1) Disagree (2) Agree (3)
Strongly Agree
(4)
I had a dedicated
internship
administrator at
the university.
(1)
o o o o
I was made
aware of the
expected
learning
outcomes for my
internship
experience. (2)
o o o o
My internship
administrator (in
Los Angeles)
established and
communicated
clear
expectations
with my work
responsibilities
with my
employer. (3)
o o o o
My internship
administrator (in
Los Angeles)
worked with my
employer and
provided close
oversight
throughout my
internship
experience. (4)
o o o o
I had a clear
understanding of
all the
requirements that
I must need to
o o o o
FROM THE PERSPECTIVES OF THE STUDENTS 264
earn internship
course credits.
(5)
My internship
administrator (in
Los Angeles)
provided me the
opportunity to
evaluate my
experience. (6)
o o o o
My internship
was a mandatory
requirement for
my
major/degree. (7)
o o o o
Even if my
internship was
not mandatory, I
would have
preferred to do
one. (8)
o o o o
All my learning
expectations
were met during
my latest
internship
experience. (9)
o o o o
All my
internship
placement needs
were fully met at
this university.
(10)
o o o o
FROM THE PERSPECTIVES OF THE STUDENTS 265
Q24 Did the university provide an onsite internship administrator in Los Angeles?
o Yes (1)
o No (2)
Q25 Were you matched or placed with an onsite internship supervisor (mentor) in Los Angeles?
o Yes (1)
o No (2)
Q26 Internship Program Experience - At the Internship Site Please rate the following
statements based on your experience related to your latest internship. The internship
Statements
Strongly
Disagree (1) Disagree (2) Agree (3)
Strongly Agree
(4)
Had a clearly
defined internship
program. (1)
o o o o
Provided orientation
to the organization’s
culture, internship
program purpose,
rules and policies,
and work-related
performance
expectations. (2)
o o o o
Gave me a clearly
written job
description of my
work duties,
responsibilities and
measurable
performance
objectives. (3)
o o o o
FROM THE PERSPECTIVES OF THE STUDENTS 266
Clearly
communicated
expected learning
outcomes to enrich
my internship. (4)
o o o o
Worked with me in
developing a work
plan with
assignments specific
to my area of study.
(5) o o o o
Designated work
area and resources
needed to do my job.
(6)
o o o o
My supervisor
showed a
willingness to train,
mentor and coach
me all the time. (7)
o o o o
Provided sufficient
direction/supervision
and training. (8)
o o o o
Regularly monitored
my progress and
evaluated my
performance. (9)
o o o o
Discussed my
performance
appraisal with me,
provided
constructive
feedback and made
recommendations.
(10)
o o o o
Provided a
professional work
environment and
encouraged my ideas
and input on several
occasions. (11)
o o o o
FROM THE PERSPECTIVES OF THE STUDENTS 267
Had co-workers who
were friendly and
helpful. (12)
o o o o
Hosted site visits for
my faculty
administrator during
the work term. (13)
o o o o
Mentor appreciated
and recognized my
good performance.
(14)
o o o o
FROM THE PERSPECTIVES OF THE STUDENTS 268
Q27 Internship Program Experience - Student Preparation – Please rate the following statements
based on your latest internship experience.
Statements
Strongly
Disagree (1) Disagree (2) Agree (3)
Strongly Agree
(4)
I felt confident in
my ability to
connect
academic subject
matter to a “real
world”
experience. (1)
o o o o
I felt confident in
my ability to
excel to my
professional
work
environment. (2)
o o o o
The courses I
took prior to my
interning
properly
prepared me for
the internship
experience. (3)
o o o o
I have acquired
knowledge
beneficial to my
current options
in my field of
study. (4)
o o o o
I have a better
understanding
how to apply the
knowledge and
skills gained
through my
academic
courses and
classroom
preparations. (5)
o o o o
FROM THE PERSPECTIVES OF THE STUDENTS 269
I have a better
understanding of
the professional
work
environment. (6)
o o o o
I learned more
about career
options in my
field of study. (7)
o o o o
This experience
has prepared me
for my career
goals and an
eventual job. (8)
o o o o
After my
internship, I feel
confident I can
attain a full-time
position in this
or similar
organization. (9)
o o o o
Overall my
preparation for
this internship
positively
impacted my
performance.
(10)
o o o o
I would
recommend
internship
experience to
other students.
(11)
o o o o
FROM THE PERSPECTIVES OF THE STUDENTS 270
Q28 Please rate the importance of the following:
Statements
Least Important
(1)
Somewhat
Important (2) Important (3)
Very Important
(4)
Value of the
Internship (1)
o o o o
Structure of the
Internship (2)
o o o o
Mentoring
during the
Internship (3)
o o o o
Value of
Networking (4)
o o o o
Commitment by
the Internship
Company (5)
o o o o
Commitment by
the University to
the Internship
Program (6)
o o o o
Q29 Networking Who encouraged you to build a strong networking system? (Check all that
apply)
▢ Department Chair (1)
▢ Internship Administrator (2)
▢ Internship Company (3)
▢ Fellow Students (4)
▢ Alumni (5)
▢ Other (please specify) (6) _______________________
FROM THE PERSPECTIVES OF THE STUDENTS 271
Q30 Was your Los Angeles internship a paid internship?
o Yes (1)
o No (2)
Q31 If you are graduating, were you offered a paid position at that company upon completion of
your last internship?
o Yes (1)
o No (2)
Q32 Would you accept an offer for a paid position at that company upon completion of your
internship?
o Definitely Not (1)
o Probably Not (2)
o Probably Yes (3)
o Definitely Yes (4)
Q33 Would like to be interviewed for this study?
o Yes (1)
o No (2)
Q34 Additional Comments and Recommendations (Optional)
o Other (1) _______________________________________

Abstract (if available)

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Asset Metadata

Creator Eiseman, Edward H. (author)

Core Title Internships in the entertainment industry: From the perspectives of the students

School Rossier School of Education

Degree Doctor of Education

Degree Program Education (Leadership)

Publication Date 07/26/2018

Defense Date 07/26/2018

Publisher University of Southern California (original), University of Southern California. Libraries (digital)

Tag 21st century skills,colleges and university internships,cutting-edge technology in the entertainment industry,education,entertainment industry programs,entry-level positions in entertainment industry,equity, diversity, gender, and socioeconomic factors facing student interns,evaluation and assessment of interns,experiential learning, internships, internships in the film, television, digital, streaming, and music industry,hard skills,Higher education,high-impact practices,industry changes,internships in the entertainment industry,Los Angeles internships,NACE,OAI-PMH Harvest,preparation of interns,soft skills,student interns,student internships,students in internship programs in the entertainment industry,transition into careers in the entertainment industry

Format application/pdf (imt)

Language English

Contributor Electronically uploaded by the author (provenance)

Advisor Garcia, Pedro E. (committee chair), Castruita, Rudy Max (committee member), Huang, Isaac K. (committee member)

Creator Email eeiseman@usc.edu

Permanent Link (DOI) https://doi.org/10.25549/usctheses-c89-32113

Unique identifier UC11671393

Identifier etd-EisemanEdw-6508.pdf (filename),usctheses-c89-32113 (legacy record id)

Legacy Identifier etd-EisemanEdw-6508.pdf

Dmrecord 32113

Document Type Dissertation

Format application/pdf (imt)

Rights Eiseman, Edward H.

Type texts

Source University of Southern California (contributing entity), University of Southern California Dissertations and Theses (collection)

Access Conditions The author retains rights to his/her dissertation, thesis or other graduate work according to U.S. copyright law. Electronic access is being provided by the USC Libraries in agreement with the a...

Repository Name University of Southern California Digital Library

Repository Location USC Digital Library, University of Southern California, University Park Campus MC 2810, 3434 South Grand Avenue, 2nd Floor, Los Angeles, California 90089-2810, USA