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Internships in the entertainment industry: From the perspectives of colleges and universities, and internship employers

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Internships in the entertainment industry: From the perspectives of colleges and universities, and internship employers

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Content Running Head: INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 1

INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY:
FROM THE PERSPECTIVES OF COLLEGES AND UNIVERSITIES,
AND INTERNSHIP EMPLOYERS
by
Selise E. Eiseman and Edward H. Eiseman

A Dissertation 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 Selise E. Eiseman

INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 2
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,
Edward H. Eiseman, my husband (Eiseman, 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.

INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 3
Dedication
First and foremost, I would like to dedicate this dissertation to my husband, Ed, who has
shared his love and life with me over the course of three degrees, three children, and the
relocation from the east coast to the west coast so that I could pursue a career in the film and
television industry. Whenever everyone said that we were crazy, Ed never did, but responded
that he was there to support me in my journey. I, in turn, was always there for him as he rose
from an assistant store manager, to a store manager, to a teacher, to a principal, to head of
school, and over the past three years to pursuing and completing his doctorate with me at USC.
Along the way we learned together in our courses, worked together with the various college and
university programs that I administered, and although we wrote our dissertations on different
stakeholders in the internship experience in the entertainment industry, we combined our joint
efforts to examine this hot-button educational topic. My love for you is infinite in all that you do
and give to me, our children, our students and their parents, the faculty at the various schools,
colleges, and universities, the administrative and support staffs, and to all of our future students
who come into our lives.
Second, are our three children. To Brett, my stepson, and now Margaret, Jessica, and
Benjamin who came into my life when I was 19 and made me an instant mom at 20 and exposed
me to all the things that interested him through childhood, adolescence, and adulthood. To Carly
and now Sean, my daughter who makes me proud everyday being her mom as I watch her grow
and evolve in her career and life as a writer and influencer of trends, pop culture, and music. To
Jonas and now Jacqueline, my son who was a bonus in our lives, who teaches me about all things
basketball and sports-related and to closely analyze every situation to maximize it to the fullest
INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 4
and explain it in its simplest terms. I love all of you and your patience with dad and I during this
three-year journey.
Third, is to my mom, Sylvia, who is a survivor of life. She raised my sister and I when
my dad died at an early age and later remarried to give us a better life full of opportunities to
have an education and all that it provides along the way. My father (Hy), stepfather (Harold),
grandmother (Lena), mother-in-law (Hannah), father-in-law (Jerry), and uncle (Marty) of blessed
memory, who encouraged and supported me to find my passion in life. Their legacies will
continue to produce future gifts to the next generation. Also to my sister (Holly), my stepsister
(Michelle), my sisters-in-law (Louise and Sandi), my brothers-in-law (Stan, Raymond, and
Warren), and the many others who are part of my family and extended family.
Fourth, is to all of the teachers and professors who inspired, motivated, and mentored me.
It is to these individuals, the unsung heroes, who impart the gift of learning, that I carry on in
their names and deeds. I want to especially thank Dr. Stuart Samuels and Dean Robert Rosen for
starting my career in film history as an undergraduate at the University of Pennsylvania and to
my professors at New York University, William K. Everson, Jay Leyda, Lewis Jacobs, and
Dr. Donald Staples, for continuing my graduate education in cinema studies.
Fifth, to Tom Joslin, a very talented filmmaker and professor who for 10 years was my
writing and producing partner at The Primary Colors Company, and unfortunately lost his battle
with AIDS and did not live to see the culmination of all of our projects, dreams, and aspirations.
Sixth, and last was the inspiration and dedication of film director Robert (Bob) Wise who
mentored me for 20 years in my work in Special Projects at the Directors Guild of America. He
taught me very wise lessons about the film industry that can be defined as the three “Ps”,
INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 5
patience, persistence, and perseverance. Here's looking at you, Bob, you were a wise sage to the
young student and protege who asked for your guidance and encouragement.

INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 6
Acknowledgments
I would like to especially thank and acknowledge my chair, Dr. Pedro Garcia, who
agreed to accept my husband and I to research and write a 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 training (high impact
practices) for students as part of fulfilling their academic studies in the motion pictures and
music business degree programs. Dr. Garcia, in having a prior connection with the city and
university where our research study was completed, bonded with us immediately. Although we
were among the first group to start our research under his auspices, we were the last students in
his class to defend after he retired from USC. I want to also 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 thank you to Dr. Isaac Huang, who was
a speaker at our orientation, then matched with Ed as his mentor, then became a graduate of the
Ed.D program himself, and finally became the third committee member who worked with both
of us through the rigors of the USC program and our dissertations. We learned so much from
him along the way. I, too, had a mentor, Dr. Andrea Kittelson, who convinced me to stay in the
program when I was discouraged at the beginning and proved to be an advocate and sounding
board along the path to completion.
In choosing to enroll in the Ed.D program, Ursula Worsham, in admissions, helped me
through the process as did my advisors, Bami Andrada, Amber Bradley, and Evan Williams. Carl
Martellino, Executive Director of the USC Career Center, provided access to NACE resources
for our research. Jessica Gibson, former Director of the Ed.D program, championed our cause
when we were going to be split up and helped the entire cohort stay together. Our K-16 cohort
INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 7
of 25 students who started together in 2015 and the 17 students who remained to the very end
with a few additions along the way, were a wonderful group of teachers, professors, and
administrators who shared nine hours of classes every other weekend for two-and-a-half years. In
addition to all the classes, group presentations, lunches, dinners, snacks, and camaraderie, we
went through this journey together. I have to acknowledge the dedication and inspiration of all
the professors who taught us how to become educational leaders and change agents for our
students. I am extremely thankful to the family of Dr. Judith Manning Grayson for providing me
with a scholarship my first year at USC. Thanks to Marie Painter, my dissertation editor, who
helped me to polish and perfect this dissertation. I was able to survive and thrive in the Ed.D
program through the leadership of Dean Karen Symms Gallagher, Thank you, USC!
I would be remiss if I didn't thank my three recommenders: Patrick Cronin (my first
college theater professor at Temple University), David Shepard (a man of many different talents
as Special Projects Officer at the Directors Guild of America, USC film professor, and a
renowned film scholar and preservationist who unfortunately passed away before I completed
this program), and Dr. Allan Barber (professor of Film and Media Arts at Temple University) in
addition to changing the direction of my career. David provided me with the opportunity to
come to Hollywood (with three hours to make up my mind) to work for the Directors Guild of
America. Allan asked me to be a guest speaker for the Temple University internship program
and then hired me the following summer to work with him as the internship administrator to
place and supervise students so that they could find their way into the entertainment industry in
Los Angeles. These were both career moves that opened doors and allowed me to pursue a
different career path -- that of an educator.
INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 8
A special thank you specifically to all the faculty and administrators of Howard Hawks
University (HHU) my pseudonym case study, the employers and companies in the entertainment
industry, and the faculty and administrators of the additional colleges and universities who
participated in completing the interviews and surveys. I owe you enormously for being an
integral part of my research and in providing the details of how internship programs work and
should work in providing students with the best possible experiences as they intern for a
semester in Los Angeles. Although the names and identities are disguised because of privacy
and confidentiality agreements, I recognize all of you and I am fortunate to share your insights
with everyone who reads this dissertation to learn about internships in the entertainment industry.

INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 9
Table of Contents
List of Tables 12
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 Study 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: Results 70
Focus of Study 70
Research Questions 70
General Aspects of Research 70
Process to Gather Data 72
INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 10
Colleges and Universities 75
Industry Employers 83
Control Variable 84
Reporting of Findings 85
Research Question 1 85
R1A) Before Their Internship: From the Industry
Employers’ Perspective – Qualitative (Interviews) 85
From the Colleges and Universities Perspectives -
Qualitative (Interviews) 92
General Skills (Soft Skills) and Specific Skills (Hard Skills) 97
General Skills (Soft Skills) 97
Intern Employers 99
Hard Skills 103
Comparison of Hard Skills Needed by Interns in
Motion Pictures Industry Prior to Internship
by the Internship Employers and the Colleges/
Universities 104
Hard Skills – Music Industry Interns 108
R1B) During Their Internship 109
R1B: Industry Employers Perspectives – Qualitative
(Interviews) 109
Employers – Music Industry 111
Intern Employers – Motion Pictures 119
Music Industry 122
R1C) After Their Internship 123
R1C: Industry Employers Perspectives – Qualitative
(Interviews) 123
Music Business Companies 124
R1C: Colleges and Universities Perspectives – Qualitative
(Interviews) 127
Research Question 2 128
Industry Employers Perspectives – Qualitative (Interviews) 128
Industry Employers Perspectives – Quantitative (Survey) 130
Colleges and Universities Perspectives – Qualitative
(Interviews) 136
Colleges and Universities Perspectives – Quantitative
(Survey) 139
Research Question 3 141
Industry Employers Perspectives – Qualitative (Interviews) 141
Industry Employers Perspectives – Quantitative (Survey) 143
Colleges and Universities Perspectives – Qualitative
(Interviews) 150
Colleges and Universities Perspectives – Quantitative
(Survey) 151
Research Question 4 156
Industry Employers Perspectives – Qualitative (Interviews) 156
INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 11
Industry Employers Perspectives – Quantitative (Survey) 159
Internship Program Experience – Preparation by the
University 163
Employers View of Their Internship Program 168
Colleges and Universities Perspectives – Qualitative
(Interviews) 179
Colleges and Universities Perspectives – Quantitative (Survey) 185
Sources for Internships 185
Internship Program Experience at the University 187
University’s Expectations of Employers at the Internship
Site 193
Student Preparation through the Lenses of the University 198
Commitment of the Internship Company 205
Value of the Internship 205
Mentoring during the Internship 205
Structuring of the Internship 206
Summary 206
Chapter Five: Summary, Future Implications, and Conclusion 208
Focus of Study 208
Research Questions 208
Summary of Findings 209
Conclusions 213
Implications for Practice 213
Limitations and Delimitations 214
Recommendations for Future Study 215
Conclusion and Final Thoughts 218
References 220
Appendix A Conceptual Framework Concept Map 228
Appendix B Interview Protocol – # 1 Interns 229
Appendix C Consent Form 234
Appendix D Questionnaire for Dissertation – Colleges and Universities 235

INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 12
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: List of employers interviewed for this study 73
Table 5: List of college and university professionals interviewed
for this study 74
Table 6: Statistical representation of Figure D 76
Table 7: States where the colleges and universities are located 77
Table 8: Undergraduate student population 78
Table 9: Undergraduate student population majoring in motion
pictures or music business 79
Table 10: Major area(s) of study in the school’s departments 80
Table 11: Types of internships offered by the department 81
Table 12: Total number of students participating in the school’s
internship program during a semester or summer in
Los Angeles 83
Table 13: Number of employees at the internship companies 84
Table 14: NACE skills through the lenses of the intern employers –
motion pictures and music business industry 100
Table 15: Hard skills for interns in the motion pictures industry –
Employers – motion pictures industry 105
Table 16: Hard skills for interns in the music business industry 111
Table 17: Comparison of skills – motion pictures employers &
colleges and universities learned during their internships 119
Table 18: Intern employers – motion pictures industry 120
Table 19: Comparison of skills – music business industry &
colleges and universities learned during their internships 121

INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 13
Table 20: Comparison of skills – music business industry &
colleges and universities learned during their internships 125
Table 21: Company resources for networking 131
Table 22: Catalyst for obtaining a paid position at your company 133
Table 23: Frequency of hiring interns at the completion of the
internships 134
Table 24: Colleges/Universities representatives who encourage
networking 140
Table 25: Number of interns per semester 144
Table 26: Number of interns by gender 144
Table 27: Paid versus unpaid internships 147
Table 28: Weekly Workload for Interns 148
Table 29: College credit requirements for internships 149
Table 30: Internship course options 153
Table 31: Length of Internship 154
Table 32: Internship workload required by colleges/universities 155
Table 33: Employers expectations of preparation from the
colleges/universities 161
Table 34: Internship program experience - student preparation 165
Table 35: Employers' responsibilities to the interns 170
Table 36: Employers' evaluation of the internship experience 176
Table 37: Sources of information about internships 186
Table 38: University's commitment to internships through the
lenses of the internship administrator 189
Table 39: University's expectation of the employer` 195
Table 40: University's point of view of student preparation for
internship 200
Table 41: University's evaluation of the internship experience 204
INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 14
List of Figures
Figure A: Kolb's experiential learning style 44
Figure B: Alignment structure of the institution, interns and
employers 50

Figure C: What are employers looking for? 51
Figure D: Position at college or university 76
Figure E: Main campus locations of colleges and universities 77
Figure F: Number of undergraduate students attending colleges
and universities 78
Figure G: Number of undergraduate students majoring in motion
pictures and/or music business 79
Figure H: Major area(s) of study in your department 80
Figure I: Types of internships offered by your department 81
Figure J: Number of students participating in internship programs
in Los Angeles 82
Figure K: Number of people employed by your company 84
Figure L: National Association of Colleges and Employers (NACE)
list of skills necessary for entry into the workplace 99
Figure M: Comparison of hard skills needed by interns in the
motion pictures industry prior to internship by the
internship employers and the colleges/universities 104
Figure N: Comparison of hard skills needed by interns in music
business industry prior to your internship program by
the internship employers and the colleges and universities 110
Figure O: Comparison of hard skills – motion picture employers
and colleges & universities’ perspectives 118
Figure P: Comparison of skills – music business and colleges &
universities’ perspectives 124

INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 15
Figure Q: Networking – who at your company encourages the
interns to build a strong networking system? 131
Figure R: Are internships a catalyst for obtaining a paid position
at your company? 132
Figure S: How frequently do you hire interns at the conclusion
of their internships? 134
Figure T: Networking – who at your university encourages the
students to build a strong networking system? 139
Figure U: Percentage of interns by race 145
Figure V: Are your internships paid or unpaid? 146
Figure W: How many hours per week is an intern expected to
work? 147
Figure X Are the interns required to earn college credit?
(select one) 149
Figure Y: What are the internship course options for your
internships? 152
Figure Z: What is the length of the internship experience? 154
Figure AA: What is the internship workload that colleges and
universities offer? 155
Figure BB: What do you expect from the university in preparing
their students for their internship program? 160
Figure CC: Internship program experience – student preparation 164
Figure DD: What do you (the employer) provide your intern with
during their internship program? 169
Figure EE: Employers evaluation of the importance of the internship
Program 176
Figure FF: Which of the following sources do you use to
place information about your internship program? 186
Figure GG: Internship program experience at the university 188
INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 16
Figure HH: What does the university expect at the internship
site from the employer? 194
Figure II: Internship program experience – student preparation 199
Figure JJ: University’s evaluation of the importance of the
internship program 203

INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 17
Abstract
This mixed-method research study analyzed how colleges and universities play a role in a
student's acquisition of skills so that they can be prepared to obtain internships, and the
employers' role in providing the structure and oversight of an intern under their supervision
during the time that 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 College Employers (NACE). Hard skills
are taught in their courses at the university and also acquired at their internships in film,
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
and/or university. The issues of equity, diversity, gender, and socioeconomic factors are also
addressed through the lens of colleges and universities and that of the industry employers who
have the responsibility to provide and encourage access to all students. Finally, there is an
extensive evaluation and assessment process that colleges and universities request from the
employers who supervise the students during their internships and that of the employers who
inform the colleges and universities about the preparation and performance of their students in
the workplace. This leads to curriculum changes and to keeping the faculty informed about
industry changes and cutting-edge technology in the entertainment industry. The research was
conducted using surveys and interviews with one university as a case study that offers year-
round internships in film, television, digital, streaming, and in the music business in order to
understand the perspectives of the various stakeholders in the internship experience and
measures it against other colleges and universities and internship employers throughout the
industry. A companion dissertation explored the perspectives of the students as stakeholders at
INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 18
the same university to understand their internship experiences and to assess and determine if this
process provided the students with a pathway to transition into their careers in the entertainment
industry.

INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 19
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.
INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 20
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 (DOL) 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
INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 21
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,
INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 22
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).
INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 23
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.

INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 24
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,
INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 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
INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 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.
INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 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
INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 28
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.

INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 29
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.

INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 30
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?
INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 31
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).
INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 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
INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 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.
INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 34
• 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
INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 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
INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 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.

INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 37
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
advance the operations of the employer or to be the work that a regular employee would
routinely perform.
INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 38
• 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 v. Fox Searchlight Pictures, Inc., SDNY, No. 11-06784 (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
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
INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 39
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
employees under both federal and state statutes. The judge never mentioned that Glatt did not
INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 40
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:
• 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.

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).
INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 41
• 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
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
INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 42
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 my 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.
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
INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 43
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
INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 44

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
INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 45
and the literature does not address the types of tasks or responsibilities that students
assume through experiential learning. (p. 30)
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
INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 46
(a) organizational benefits from the completion of the internship project, (b) enhanced
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.

INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 47
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
INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 48
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
INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 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
INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 50
(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
INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 51
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?

INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 52
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
INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 53
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
INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 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
INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 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.

INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 56
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.
INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 57
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
INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 58
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).

INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 59
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
INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 60
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
INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 61
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
INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 62
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 respondent BA 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.

INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 63
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
INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 64
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
INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 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).
INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 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
INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 67
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.
INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 68
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
INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 69
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.
INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 70
CHAPTER FOUR: RESULTS
Focus of Study
The research study analyzed the factors that contributed to students having a successful
internship experience by examining how the colleges and universities play a role in their
students’ acquisition of skills so that they can obtain their internships. Also, analyzed were the
industry employers’ role in providing the structure and oversight of their internship program and
in helping to transition interns into paid positions in the entertainment industry upon graduation
from college.
Research Questions
The research questions examined in this study are,
• R1. 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?
• R2. 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?
• R3. What are the equity, diversity, gender, and socioeconomic issues that internships
need to address in the entertainment industry?
• R4. 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?
General Aspects of Research
The interview respondents were selected who were willing to speak about their
experiences supervising interns at their companies and the faculty and administrators who ran
their college or university internship programs. In doing so, it was necessary to use purposeful
INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 71
selection. The selection is representativeness of the sample, including heterogeneity in the
population, to test the theories, compare the differences, and to establish productive
relationships.
On the employers’ side, interviews were representative of individuals who supervise
interns at a major studio and a small digital production company and included several interviews
with those who previously were interns themselves at the same company that ultimately hired
them to work full-time. They also reflected many different positions in the film, television,
digital, streaming, and music industry.
On the college and university side, interviews were scheduled with a variety of faculty
and administrators at Howard Hawks University (a pseudonym which will be referred to as
HHU) that was used as the case study who taught the students, chaired the departments (motion
pictures and music business), a career services advisor, and the associate provost who oversaw
the study away and study abroad high impact programs that the university provides on a year-
round basis.
The rationale for selecting various settings (sites/events/processes) for observations was
dependent on gaining access to studios or production companies. It is important to see a very
large studio operation and how the studio deals with interns as part of their workforce. In
contrast, was an observation that included a small digital production company that had numerous
interns working side-by-side with a young staff. Some companies do not permit observers
because of security reasons and it was difficult to observe interns and employers in their work
environment. As one respondent, BA, stated, “it is harder to get into their production company
than to get into Fort Knox.” College and university administrators were met at the classroom site
for their Los Angeles program and by visiting them on the main campus of their university. The
INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 72
other respondents were interviewed at either their offices on a studio lot or at various restaurants
and coffee shops around Los Angeles.
The settings were the appropriate locations to observe because seeing where the interns
and their internship supervisors worked and the accommodations that they made for their interns
in the workplace was beneficial.
Process to Gather Data
All the interviews were recorded on the following digital voice recorders: Olympus
Digital Voice Recorders, WS-853, VN-722PC, and iPhone 5S, and each interview varied in
length from the shortest at 16 minutes to the longest at 43 minutes. The ideal length was around
30 minutes. The interviews were conducted either at their place of employment or at a restaurant
or coffee shop near their home or office. The interviews with the college and university faculty
and administrators were conducted in Los Angeles at the classroom site or on the main campus
of Howard Hawks University (HHU). Interviews were scheduled late in the afternoon, early in
the evening, or on the weekends; whatever worked with the individual respondents’ schedule.
While it was important to take notes, it was equally as important to try and maintain eye contact
with the respondents as the questions were asked.
Observations were also captured at the respondents’ place of employment by taking some
photos on an iPhone5S when it was appropriate and approved. This is an overt method since
permission was required and each respondent was informed that it was being completed as part
of the study. Sometimes the 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 who were interviewed were visited
either in Los Angeles or on their main campus. The time of the observation varied from a half-
INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 73
hour to an hour-and-a-half for the studio site visit. It was difficult to take notes at the time, so
afterwards field notes were written of what was observed during the interview or observation.
This allowed the researcher to paint a mental picture of what was observed and learned through
the interviews. Table 4 is the list of employers and Table 5 is the list of College and University
Professionals interviewed for this study.

Table 4
List of Employers Interviewed for This Study
Respondent
5
Position of Employment
1 - SD SD was interviewed away from the office because of confidentiality
reasons. He supervises interns for a management and production
company after being an intern himself and was hired on the last day of
his internship.’

2 - WG WG was interviewed in his office. He is a top executive at a major
television network working in content creation for on-air promotion.
He supervises interns in his job at the network.

3 - RR RR was the Chief Creative, Global Franchise for a major animation
studio. In addition, he taught motion pictures marketing and
production processes for a university program.

4 - BA BA is the executive assistant at a prominent film production company
which has among other things won Oscars and Emmy awards. She
previously was an intern herself and transitioned into a full-time entry
level position.

5 - SM SM is the internship supervisor (interviews and hires) among other
duties at a comedy video website and film/television commercial
company.

6 - DL DL is the Sync and Licensing Coordinator for a music publisher,
music supervisor, and music management company. She is a former
intern and graduate of the internship program.

5
Each Respondent participated in one interview
INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 74
Table 4 (Cont’d.)
Respondent Position of Employment
7 - PS PS is the manager at a reality television company that produces shows
for the cable networks. He was the intern supervisor for one of the
students in the summer program.

8 - MR MR was the V.P. of Digital Asset Management for a major
television company and oversaw all the post production for their
network shows. Among his responsibilities was the supervision of
the company’s interns.

9 - DJ DJ is a Producer at a major network creating additional marketing
content for the television shows that she oversees.

10 - WA WA is the Intern Coordinator at a talent management company.
Previously he was an intern at this same company and was offered
a full-time position several weeks before he completed the summer
program.

Table 5
List of College and University Professionals Interviewed for This Study
Respondent
6
Interview Site and Position at HHU
1 - DB DB was interviewed at the satellite campus of a Southern university.
Previously, DB was the Chair of the Motion Picture department at
HHU and oversaw the Summer Program.

2 - MD MD was interviewed in her office and is the Associate Provost of
International Studies and Global Interdisciplinary at HHU. MD
oversees the program in Los Angeles which is part of the USA
component of the program.

3 - AW AW was interviewed in his office and is the current Chair of the
Motion Pictures department at HHU. AW created the summer
internship program in Los Angeles.

4 - HR HR was interviewed at the meeting space for the temporary housing
for the students in Los Angeles. He is the Chair of the Music
Business program at HHU.

6
Each Respondent participated in one interview
INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 75
Table 5 (Cont’d.)
Respondent
7
Interview Site and Position at HHU
5 - JJ JJ was interviewed in a classroom at the university at HHU. JJ
oversees the internship program for the entire university and works
directly with the students who participate in both the Los Angeles
and New York programs.

6 - CE CE is the new College to Career Administrator for graduate
students at a major university program transitioning students into
the entertainment industry. CE previously was a Chair of the
Motion Pictures Department and a filmmaking professor at HHU.
The interview took place in Los Angeles.

For the quantitative portion of the research, participants (Target Population) were
provided an anonymous, online survey (with a Qualtrics Experience Management Platform) link,
which was provided to USC students for their research and sent to participants’ emails to
complete.
Colleges and Universities
On the college and university side, 63 surveys were sent out to a variety of colleges and
universities that had existing internship programs or sent students to Los Angeles for internships.
Of these, 18 responded and completed the survey providing a detailed analysis and data of how
other colleges and universities functioned and assisted their students while they were attending a
semester program in Los Angeles in the entertainment industry. The response rate was 28.57%.
The positions of these respondents varied from university to university, but all are directly
related to the internship programs within the Motion Pictures and/or Music Business Department
(see Figure D and Table 6 is a statistical representation of Figure D).

7
Each Respondent participated in one interview
INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 76

Figure D: Position at College or University

Table 6

Statistical Representation of Figure D
# Answer % Count
1 Dean 11.11 2
2 Associate Dean
5.56 1
3 Department Chair 22.22 4
4 Faculty
50.00 9
5 Advisor 11.11 2
6 Other (Please specify)
Total 100.00 18

INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 77
The main campuses of the responding universities are located in different states.
California and Pennsylvania had the largest number of schools that responded to this survey (see
Figure E and Table 7).

Figure E: Main Campus Locations of Colleges and Universities

Table 7
States Where the Colleges and Universities are Located
# Answer % Count
1 California 44.44 8
2 Connecticut 5.56 1
3 Illinois 11.11 2
4 Massachusetts 11.11 2
5 New York 5.56 1
6 Pennsylvania 22.22 4
Total 100.00 18

INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 78
The number of undergraduate students in these schools varied in size from less than
5,000 students to greater than 20,000 students. Ten of the 18 schools that responded had an
undergraduate student body of less than 10,000 students, while six schools had an undergraduate
population of greater than 20,000 students (see Figure F and Table 8).

Figure F: Number of Undergraduate Students Attending Colleges and Universities

Table 8
Undergraduate Student Population
# Answer % Count
1 0 - 4,999 students 27.78 5
2 5,000 - 9,999 students 27.78 5
3 10,000 - 14,999 students
4 15,000 - 19,999 students 11.11 2
5 20,000 - Over 33.33 6
Total 100.00 18
INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 79
Each of these universities have either or both a Motion Pictures and/or Music Business
Department. The number of students majoring in Motion Pictures and/or Music Business varied
from the smallest group of less than 99 students to greater than 399 students majoring in Motion
Pictures and/or Music Business (see Figure G and Table 9).

Figure G: Number of Undergraduate Students Majoring in Motion Pictures and/or Music
Business

Table 9

Undergraduate Student Population Majoring in Motion Pictures or Music Business
# Answer % Count
1 0 - 99 33.33 6
2 99 - 199
3 200 - 299 11.11 2
4 300 - 399 5.56 1
5 399 - Over 50.00 9
Total 100.00 18
INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 80
Of the respondents, the major area of study from these schools was in Motion Pictures,
Television, and Digital. The majority of the respondents worked in the Motion Pictures
Department, but others were also involved in other areas of study within the university (see
Figure H and Table 10).

Figure H: Major Area(s) of Study in Your Department

Table 10

Major Area(s) of Study in the School’s Departments
# Answer % Count
1 Motion Picture, Television, Digital 90.00 18
2 Music Business/Music Industry 5.00 1
3 Other (please specify)* 5.00 1
Total 100.00 20
*Other (please specify) - Text
Digital media and animation
PR and Advertising
Film and Media
Digital, gaming, architecture, design
INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 81
The major focus within the respondents’ area of specialty was Motion Pictures,
Television, and Digital, and it was expected that most of the internships offered were in that area.
Of the 18 respondents, 17 or 94.44% of the 18 respondents helped students find internships in the
Motion Pictures, Television, and Digital areas. One other specialty was Music Business and
another respondent also placed students in various fields of communications. (see Figure I and
Table 11).

Figure I: Types of Internships Offered by Your Department

Table 11

Types of Internships Offered by the Department
# Answer % Count
1 Motion Pictures, Television, Digital 94.44 17
2 Music Business/Music Industry 5.56 1

INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 82
Table 11 (Cont’d)
# Answer % Count
3 Other (please specify)*
Total 100.00 18

*Other (please specify) - Text
Digital media and animation
PR and Advertising
We channel other internships, except for one
internship course in the Cinematic industries
Advertising, PR, journalism, film, TV, music
Digital, design fields, etc.

Finally, the question was asked to the number of students who participated in the school’s
internship program either during a semester or during the summer. One-third of the 18
respondents stated that they sent more than 60 students per semester to Los Angeles (see Figure J
and Table 12.

Figure J: Number of Students Participating in Internship Programs in Los Angeles

INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 83
Table 12

Total Number of Students Participating in the School’s Internship Program
during a Semester or Summer in Los Angeles

# Answer % Count
1 0 - 14 students 22.22 4
2 15 - 29 students 16.67 3
3 30 - 44 students 16.67 3
4 44 - 59 students 11.11 2
5 60 - 0ver 33.33 6

Total 100.00 18

Industry Employers
On the industry employer side, 134 surveys were sent out to industry employers and 10
responded to the survey. This was a response rate of 7.46%. From the 10 who responded, it
represented a wide spectrum of companies and positions within the industry. It had been hoped
that more would have responded, and a second set of requests were sent out to more individuals
and a reminder to those in the first group. All of the employers had student interns from the
HHU program that was used as a case study. The surveys were sent out in December with a
follow-up in January. The responses could have been improved if it was not for the holidays and
the end of the semester and the start of the next semester coinciding to affect the anticipated
results.
Of the ten companies, eight companies were in the motion pictures industry and two were
in the music business area. The sizes of these companies varied from very small (0 – 9
employees) to very large (greater than 50 employees) (see Figure K and Table 13).
INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 84

Figure K: Number of People Employed by Your Company

Table 13

Number of Employees at the Internship Companies
# Answer % Count
1 1 - 9 50.00 5
2 10 - 19 20.00 2
3 20 - 29 10.00 1
4 30 - 39
5 40 - 49

6 50 or more 20.00 2
Total 100 10

Control Variable

Students who participated in internships in Los Angeles were part of the joint
dissertation, my husband, Edward Eiseman completed while the focus on this companion
INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 85
research study dealt with data collected simultaneously with the industry employers and the
colleges and universities. The student internship participants were provided a Qualtrics link to
complete. A follow-up reminder was sent to encourage higher participation which led to 53
students participating out of 153 students who were part of the control variable.

Reporting of Findings
Research Question 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?
R1A) Before Their Internship: From the Industry Employers’ Perspective - Qualitative
(Interviews)
In listening to the various responses from the qualitative interviews for this three-part
question which described what internship coordinators and supervisors look for before they
select a student to become their intern for a semester was an examination of the differences
between a major studio in the production area and a small digital production company. Different
areas and placement of students in the industry from pre-production (development) to production
of feature films and television to the post production process were part of the research to see
what the similarities and differences were in preparation for a students’ internship in the
entertainment industry.
In selecting a major studio environment with a robust human resources department,
students submitted applications through the studio’s website. These internships were paid
internships. Their online submission was then filtered to various departments at the studio who
had requested an intern for a semester. Once the deadline date was reached, which was several
INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 86
months before the semester was scheduled to begin, the applicants who met the basic
requirements (junior or senior standing, 3.0 or higher GPA, currently attending a college or a
university, and completing an online application with references) was processed. The human
resources coordinators then connected with the students and suggested possible internship
openings in a specific area of the studio to them and determined their level of interest in pursuing
the internship.
Their resumes were then sent to various departments for review. Each department
usually received about 30 resumes and had to ensure if the internship would be valuable to the
student and to the department. A vast majority of students were in their last semester of college
so that they could transition to an entry-level job afterwards. In looking at their resumes (their
cover letter and application was not sent), the various executives who reviewed the resumes were
usually interested in where the student went to school, what their course of study was, and in the
particular case of the executives that were interviewed as part of this research study they were
looking for writers who had some editing knowledge and expertise to be able to work in creative
marketing to produce short form content. The executive who was the internship supervisor
arranged a quick phone call to determine if the student had the passion and excitement for
creating brand content. Once the intern was selected, the human resources department arranged
for the student to start at the studio with a general orientation and with a specific orientation in
the department that the student would work in at the studio.
In a very small digital production company the internship supervisor was asked what she
looked for in potential interns. SM replied that she looked for general administrative office
experience; however, she often would take students without it. Most important to her was
INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 87
attitude and because of their (just) tenaciousness to want to do anything and everything
and learn. Interns who know just want to be there and absorb and stuff like that are the
best. The worst are the ones that have those attitudes that belittle the tasks that you may
give them and think that they’re above it. When what they don’t understand is it’s not the
actual task that you’re doing, it’s how you execute it. It’s what your attitude is.
When the students look for internships in the development offices at film and or
television production companies (pre-production), the ability to write script coverage is the skill
that is most important. This is a skill that interns need to have since many employers use script
coverage as a way to measure the interns’ competency. The internship coordinator also
commented that being able to adapt to various environments, learn how to work with people, and
to check their egos at the door were important characteristics. Equally as important is to know
who everyone is in the industry in terms of executives, knowing who they are, what their jobs
and roles are, and what the different companies do. The topic of professionalism came up
several times as well as being on time, phone manners, speaking respectfully to people, and not
using slang. However, she commented that the most important thing is writing and writing script
coverage. BA stated,
I will show them how to write coverage for our company. That’s the biggest skill for us.
So, in development writing is #1. If you can read fast, that’s also a bonus. I definitely
think that you need to have seen all of the big classics only because they come up and
you need stuff to compare projects to. When you get a project and you say, ‘It’s sort of
like Casablanca, but it has some parts of it that are like Titanic.’ You need to have seen
those to understand what that comparison means. I think that if you don’t know film
INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 88
history people will probably assume that you don’t love film if you’re not reading about
film all the time.
From the music industry perspective, it is knowing that it is both a business and a creative
endeavor at the same time and being able to adjust to both. In describing the skill set that is
needed, DL explained that you need to be able to pitch music as well as track and license it.
Students who work in this area need to have a resume that shows their interest in learning sync
and licensing, but also must know Microsoft Office Suite, Google, Google Docs, and Google
spreadsheets so that they can create pitch logs. DL stated
I think along with the business side of it, is being able to have a business side of the mind
and also a creative side of the mind and being able to straddle both of those. That’s
something that doesn’t just happen overnight. It’s always a work-in-progress. A lot of
what we do, we do the creative side of pitching music, and also the business side of
tracking it and doing the license. At any given time, you have to be able to pull from
both sides of the brain. By any means, trying to implement that to our interns, and try to
get them to understand that, it’s easier said than done though. It’s not something that you
can just throw at someone and be like, ‘Here, like figure this out, both sides of it;’ . . . we
go off resumes, but a lot of times we are assuming that they know Microsoft Word,
Microsoft Suite for the most part, Microsoft Excel, PowerPoint, Google, Google Docs,
Google spreadsheets. We work a lot on those. Most of it is internal, so sometimes the
intern does not factor into that and won’t really have to work on that, but that’s where the
pitch logs previously lived. We’ve now changed the internship so it’s not as heavy on the
pitch logs.

INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 89
On the post production side, MR stated that students need to know the following,
They need to be humble and understand that it’s not in the best interests of a company,
whether it’s a private company, or a publicly-owned company to give $15 million to
someone that hasn’t finished film school in order for them to make their films for the
company. They need to pay their dues, and it doesn’t have to be brutal paying their dues.
It could be something as simple as, I need to build trust with you. So, they need to leave
the internship, having a good feeling with everybody around them that they’ve had trust.
If I ask somebody to make some photocopies for me, it’s not demeaning. I make
photocopies all the time. But if you want to help me out, I want you to make these
photocopies. In fact, I don’t want you to make them. I want you to read what you’re
photocopying, so when you come back you see something important you can say, ‘Well,
why are we even keeping this team in this filing?’ I do my own filing, but if I need some
help with filing I want you to be able to understand why this is so important that I’m
asking you to file it. I’ve had situations where I’ve asked people to file for me, but
people are filing from both sides because they didn’t have the attention to detail. So,
attention to detail would be another skill. But the thing is, let’s get you up to the $15
million film. If I can’t trust you to walk 30 yards and back and make a photocopy, why
would I trust you with the film? So, a lot of these things are trust-building exercises that
they may not see what they are, but that’s actually what it is. Can you make a
photocopy? Can you file what you just copied? Okay. I might ask somebody to go get
coffee, but it could be that the coffee machine is right next to the CEOs office. So, they
can crash into each other and they can introduce themselves. I mean, I can’t tell you how
many times I’ve actually got good information from somebody . . . The point of that is
INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 90
you need to communicate with the people that are around you whether you used to see
them as somebody that is above you that you aspire to, or maybe they’re just a
coordinator at that point, but you have director aspirations, so you feel like I don’t need to
talk to coordinators, I only need to talk to directors. Well, no, actually, you need to talk
to everybody, because everybody interconnects. This whole thing really is about
communication and communicating with everybody that you can and make opportunities
where you can.
In a reality television company, unscripted television, the internship coordinator who
oversees interns is looking for interns who are team players, creative, confident, passionate, and
willing to speak out without fear. PS stated,
It would be someone that I think, I feel like is passionate about it, that is eager to learn.
And that’s come off as someone who could work as part of a team because that’s very
important. And just seeming interested in it. That they don’t just take it as, oh they need
an internship. Like this is something they want to do . . . open to learning and sometimes
specifically with our program, like sometimes the things we do are really . . . might seem
a little bit weird. That’s just kind of the nature of the creations of shows. Like you have
to do weird things to do it. Like you wouldn’t think that like a trip to the library would
be like working towards TV because that doesn’t make sense, but it really does [because]
you can get show titles from that or ideas or . . . So, what we were hoping to gain . . .
Just broader knowledge like all the different moving parts in the entertainment industry
because there are so many very specific jobs. Like I was speaking to someone about how
the entertainment industry works in China today, and she was saying that as a producer
you basically do everything on a show. Like you’re not just . . . like developing the
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show, finding the characters, and you’re like shooting with them and talent wrangling.
So that one person has to do everything for like their group of characters on a show
whereas here, we’re very split up. So, like our team will develop shows and then there’s
casting that comes into play and then production and there’s post production and just
giving them an idea that there are all those different jobs out there that if they wanted to
pursue them, they can.
One of the employers also commented that you need to have a prior knowledge of film
history. You cannot work in an industry that you have no historical context about and survive in
the workplace. BA commented,
Film history. Be interested in film. Learn about the company. Watch the company’s
movies so we know what we’re looking for. Learn how to write in college. During the
internship, definitely getting more of a taste of what the company wants and what kind of
films they’re looking for. So that when you’re writing coverage you’re writing it tailored
to what we’re looking for so that you’re not doing useless work.
RR, another respondent, offered his take on knowing film’s past.

By the time you graduate film school you need to have watched and studied all of AFI’s
top 100 films, and be able to talk, chat, converse, about why those films are good or bad,
what Leonard Maltin [film critic] says about these films, what Roger Ebert [another film
critic] says about those films, what the producers or effects people said about what they
did in those films. You’ll be in a room with a marketing guy who will say, ‘We need to
talk about how this film was lit, like Roger Deakins [cinematographer] lit Minority
Report,’ and you’re like, ‘Uh, I don’t know what that is.’ You know what I mean. ()

INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 92
Similarly, another respondent, DB, commented on knowing the current industry as,

know what people are talking about, so we urge them to read the trades . . . a little bit
about the politics about the industry . . . They don’t understand the hierarchy and it’s
important for them to understand the hierarchy.
There is a need to have a good general education and a world-view of many different
cultures and disciplines that will help the student to survive in the trenches. The newest NACE
soft skill that is identified is Global and Intercultural Fluency. Since the entertainment industry
is a global industry, a student needs to have awareness and knowledge of how American culture
fits within a world context.
From the Colleges and Universities Perspectives - Qualitative (Interviews)

From the perspective of the motion pictures faculty and administrators at HHU they
prepare their students to enter the workplace through their comprehensive and specialized
curriculum and courses taught by their faculty. Many of these teachers and administrators were
former professionals who worked in the entertainment industry in Los Angeles. HHU hired a
dedicated Internship Administrator and had two weekend boot camps to prepare students
selected for the summer program. The first weekend was an Intern Bootcamp about what an
internship means and what it takes for a student to be a superb intern. The second weekend, a
script analyst came to campus to teach an intensive script coverage workshop. Here, the students
learned how to write script coverage using a real script and received feedback on their script
coverage the next day. As an intern, script coverage is a major component of many internships
and is a major step in getting a project to the next level in the development process. After the
completion of these boot camps, it provided the interns with a clearer picture of what it takes to
obtain an internship in the entertainment industry.
INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 93
As CE, one of the respondents who was the former Chair of the Motion Pictures
department, stated,
What students should immediately do the minute they get an internship, is pretend it’s a
job. Act like it’s a job. They need to know to come in early and leave late, and not be
looking at their watch. They need to know that what is happening in the company and
they need to know also not to ask everybody. They need to know how to research where
they are, because the thing I find is very valuable, is if students understand where they
are, their place in the industry, and something is going on, the employers . . . this has
been mentioned to me . . . notice they know. They like it. They feel like okay, now
you’re a member of the team. There are always interns that sit there and wait for
something to be given to them, and they’re fine, but they’re not a member of the team.
In addition, CE stated the specific skills and specialized knowledge that a student needs
in preparation for becoming an intern in motion pictures in Los Angeles are,
communication skills, [the] ability to act professionally in a professional situation. They
need to know how to write coverage, they might need to use a certain software that is
specific to the industry, Movie Magic Scheduling, Budgeting, Final Draft. Depending on
the internship, some kind of technical [skills], if it’s more of a post production place, they
usually want Adobe Premiere, Final Cut Pro, After Effects, and it really depends on the
internship what skills they are looking for. Some of them just want someone who is
going to be a professional office presence and do what needs to be done.
The current Chair of the Motion Pictures department who helped to create the internship
program but stepped down for two years and has now returned to the Chair’s position believes
INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 94
that interns need to be prepared for the internships and that these boot camps are essential in
preparing the students for their internships. The Chair stated,
That the students needed to get trained as an intern so that when they get there they’re not
going to get fired the first day, that they’re going to come out with a reasonable
understanding with what they’re supposed to be able to do and how to behave in the
entertainment industry workplace, which is going to be different than working whatever
jobs you’ve had before. And so, we have an internship training program, boot camp,
whatever you want to call it, where we spend an entire day going over in great detail the
things they need to do. (AW)
The other things that are necessary in preparation for an internship are,
Having the right resume and that it is done correctly. Then they need to have the right
attitude. That’s the most important thing, is what is their attitude. They’ve got to be
humble, they have to be interested in working, they have to be kind of fun to be around if
they can work that out at all, that helps. 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. (AW)
AW believed that your attitude and behavior were extremely important as well as being
happy to have the internship and stated his insight into being the best intern as,
really pay attention to what they want you to do and then you have to execute. But
mostly you’ve got to be nice and humble and pleasant and not a snob and not feel entitled
and be happy to be there. Whatever the job is, be happy that you get to do it. And the
INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 95
simplest description of what you need to do to be a great intern is make sure that their life
is better with you around than it is when you’re not around.
On the music business side of the curriculum through courses at HHU, they try to prepare
their students for the demands of a career in the music industry. They also hire former working
professionals from the industry to teach their students. The Chair of the Music Business program
stated,
The curriculum is designed to prepare students for careers in the music entertainment
industries. So, we carefully choose the courses that they take to give them the education
they need and the ability to work in the entertainment industry. We also supplement that
with encouraging their internships in New York and LA. To give them the experience
they need and the ability to work well in employment situation, to understand what’s
needed for their job. The entertainment industry is a very unique industry and so it’s
been our experience that we prepare students not only through their curriculum for the
courses they take, but also the internships that they’re a part of. And we encourage
multiple internships to give them the kind of experience in the workplace that’s needed.
(MD)
In addition, on the music business side, they have a dedicated career services department
with a career advisor who is assigned to work exclusively with their students in music industry
internship placement and to spend time with the student to determine what their specific goals
are for pursuing their intended career. HR stated,
and that’s part of the foundations class because we have them look for specific
internships that they are interested in and we have them evaluate themselves. Based on
what [the] description is, what skills do you already have that makes you a good
INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 96
candidate, what skills do you need to make yourself a better candidate, and what skills do
you [need to] help [you] to take away from it. All of that is pre and during and then
afterwards is just building on that skillset and watching the types of internship change
from semester to semester with the student. The kinds of projects that they get placed on
to, the amount of trust that the employer [has] with the student as they progress along.
That tells me a whole lot. If they’re putting a student with sensitive confidential
information, then they must be doing something right. It’s just a ladder, I guess you
could say, on skillsets, with them first evaluating themselves and letting them figure out
what it is they need, and then helping them along throughout the rest of that semester and
throughout their time till they graduate.
The Associate Provost who oversees both the music business program and the motion
pictures program as part of the Study Away and Study Abroad experience explained that before
their internships that students need to be coached into what sort of expectations are appropriate
for themselves and for their employer, even for their city. MD mentioned,
If you’re a kid who’s never lived or worked in Los Angeles for example, the traffic
means you can bet, in my mind, you can get two things done in one day . . . Having the
right sort of expectations about what that opportunity’s going to mean for them, and
being as prepared as possible . . . It goes back to those soft skills, being willing to do
whatever it takes to be seen as someone who brings value to that experience, to that
employer.
A comparison of data collected from Industry Employers and the Colleges and
Universities provided a side-by-side view of skills that are considered important to both the
INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 97
employers and the schools. These skills were divided into two groups, General Skills (Soft
Skills) and specific skills (Hard Skills) to the interns’ profession.
General Skills (Soft Skills) and Specific Skills (Hard Skills)
General (Soft) Skills are skills (competencies) that are universal to 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 Skills (Soft Skills)
The National Association of Colleges and Employers 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. National Association of Colleges and
Employers in 2011 and updated in 2018 enumerated these skills.. The addition of Global/
Intercultural Fluency competency was introduced in January 2018 (NACE, 2018), after this
survey was conducted. These competencies are the following,
• Critical Thinking/Problem Solving
• Professional Work Ethic
• Teamwork
• Oral/Written Communication
• Digital Technology
• Leadership
• Career Management
• Global/Intercultural Fluency
Using a Likert scale where “1” indicated Strongly Disagree, “2” indicated Disagree, “3”
indicated Agree, and “4” indicated Strongly Agree, these competency skills were viewed through
INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 98
the lenses of both the employers and the universities. The responses were viewed in two
different ways. First, the graphic description in Figure L and the percentage responses in Table
14 responding to the request to rate the skills that you identify that an intern needs to be prepared
by their University for your internship program in the entertainment industry. Figure L presents
a side-by-side picture of these specific competencies based on the responses of the two groups,
Industry Employers and University Personnel.
When comparing the responses of the two groups, it became apparent that there was
agreement to the importance of some of these competencies and less importance to other
competencies.
The first competency, based on the response of Strongly Agree that was equally important
to both was 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.
Of the combined 28 respondents (10 employers and 18 universities), a total of 25 strongly
agreed. Drilling down, nine of the 10 employers (90%) and 16 of the 18 educators (88.89%)
strongly agreed with this competency.
The second competency was Teamwork/Collaboration. This was defined as
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.

INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 99
Intern Employers

Figure L: National Association of Colleges and Employers (NACE) List of Skills Necessary for
Entry into the Workplace

Employers –Motion Picture & Music

Colleges and Universities

INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 100
Table 14

NACE Skills through the Lenses of the Intern Employers - Motion Pictures and Music Business
Industry

Employers – Motion Pictures and Music Business
# Question
Strongly
Disagree Disagree Agree
Strongly
Agree Total
1 Critical Thinking 50.00% 5 50.00%
5
10
2 Problem Solving 40.00% 4 60.00% 6 10
3
Oral/Written
Communication 10.00% 1 90.00% 9 10
4 Teamwork/Collaboration 0 100.00% 10 10
5 Digital Technology 30.00% 3 70.00%
7
10
6 Leadership 90.00% 9 10.00%
1
10
7
Professionalism/Work
Ethic 0 100.00% 10 10
8 Career Management 90.00% 9 10.00%
1
10
9
Global/Intercultural
Fluency 10.00% 1 80.00% 8 10.00% 1 10

Colleges and Universities

# Question
Strongly
Disagree Disagree Agree
Strongly
Agree Total
1 Critical Thinking 5.56% 1 11.11% 2 83.33% 15 18
2 Problem Solving 16.67% 3 83.33% 15 18
3
Oral/Written
Communication 11.11% 2 88.89% 16 18
4
Teamwork/
Collaboration 22.22% 4 77.78% 14 18
5 Digital Technology 72.22% 13 27.78% 5 18
6 Leadership 16.67% 3 61.11% 11 22.22% 4 18
7
Professionalism/Work
Ethic 22.22% 4 77.78% 14 18
8 Career Management 22.22% 4 50.00% 9 27.78% 5 18
9
Global/Intercultural
Fluency 27.78% 5 50.00% 9 22.22% 4 18

INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 101
All 10 of the employers unanimously endorsed this competency, while 14 of the 18
educators (77.78%) strongly agreed with this competency, Teamwork/Collaboration.
The third competency was Professionalism/Work Ethic. This was defined as
Professionalism/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.
Again, all 10 of the employers unanimously endorsed this competency. Also, 14 of the
18 educators (77.78%) strongly agreed with this competency, Professionalism/Work Ethic.
The next set of competencies that were asked separately in this survey but were grouped
as a single competency by NACE was Critical Thinking/Problem Solving. These competencies
were defined as 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.
Six or 60% of the employers strongly agreed that Problem Solving was an important
competency while five or 50% of the employers strongly agreed that Critical Thinking was an
important competency. In both cases, 15 or 83.33% of the educators strongly agreed with this
competency.
The next competency that was compared by both groups was Digital Technology. This
competency was defined as 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.
INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 102
Digital Technology has become an important part of the entertainment industry and it
was reflected in the responses of the employers in this survey. Of the 10 employers, 7 or 70% of
them strongly agreed while five or 27.78% of the educators strongly agreed with this
competency.
The next set of competencies through the lenses of both groups were viewed as less
important than the other competencies when focusing on the choice of strongly agreed. These
competencies were 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.
Only one response (10%) of the employers strongly agreed with this competency while
four educators (22.22%) strongly agreed with the importance of this competency.
Career Management: Identify and articulate one’s skills, strengths, knowledge, and
experiences relevant to the position desired and 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.
Again, this competency was not valued as much as other competencies. Only one
employer strongly agreed with the importance of this competency while five (27.18%) educators
strongly agreed with the importance of this competency.
Finally, the last competency in this group was previously Global/Intercultural Fluency. It
is now named Global/Intercultural Fluency and is the newest competency (NACE, 2018)
described as Global/Intercultural Fluency: Value, respect, and learn from diverse cultures, races,
INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 103
ages, genders, sexual orientations, and religions. The individual demonstrates openness,
inclusiveness, sensitivity, and the ability to interact respectfully with all people and understand
individuals’ differences.
Again, only one (10%) of the employers strongly agreed with the importance of this
competency while four (22.22%) educators strongly agreed with the importance of this
competency.
In conclusion, it must be noted that if one factored the agreed response into the
importance of some of these competencies, then most of these competencies were important to
both the employers and the colleges and universities.
Hard Skills

Hard skills or competencies are specific, teachable skills that can be defined and
measured. An interesting dilemma was raised when the question of hard skills was queried to
both the employers and the universities. Using a Likert scale where “1” indicated Strongly
Disagree, “2” indicated Disagree, “3” indicated Agree, and “4” indicated Strongly Agree, these
Hard Skills were viewed through the lenses of both the employers and universities. Figure M
and Table 15 compared the hard skills that both sets of respondents were queried, first in the
Motion Pictures Industry (see Figure M). Employers were asked to rate the following skills their
company expected from an intern prior to the interns’ participation in their internship program.
Colleges and Universities were asked to rate the following skills that they taught in their classes
prior to the students’ participation in their internship program. Although the researcher queried
many industry employers, the responses were sparse. The following tables reflect these
responses.

INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 104
Comparison of Hard Skills Needed by Interns in Motion Pictures Industry Prior to
Internship by the Internship Employers and the Colleges/Universities

Figure M: Comparison of Hard Skills Needed by Interns in the Motion Pictures Industry Prior to
Internship by the Internship Employers and the Colleges/Universities

Employers – Motion Pictures

Colleges and Universities

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Table 15

Hard Skills for Interns in the Motion Pictures Industry - Employers - Motion Pictures Industry
# Question
Strongly
Disagree Disagree Agree
Strongly
Agree Total
1 Script Coverage 14.29% 1 42.86% 3 14.29% 1 28.57% 2 7
2 Rolling Calls 14.29% 1 71.43% 5 14.29% 1 7
3 Excel 14.29% 1 71.43% 5 14.29% 1 7
4 Scriptwriting 14.29% 1 57.14% 4 28.57% 2 7
5
Pitching (Script, Film,
Etc.), Pitch Deck 14.29% 1 14.29% 1 71.43% 5 7
6 Directing 28.57% 2 28.57% 2 42.86% 3 7
7
Production 37.50% 3 37.50% 3 25.00% 2 8
8 Editing 28.57% 2 28.57% 2 42.86% 3 7
9 Special Effects 25.00% 2 50.00% 4 12.50% 1 12.50% 1 8
10 Resume Writing 28.57% 2 71.43% 5 7
11 Writing Cover Letters 28.57% 2 71.43% 5 7
12 Set Operations 50.00% 4 25.00% 2 25.00% 2 8
13 Networking 14.29% 1 71.43% 5 14.29% 1 7
14 Other (Please specify) 100.00% 1 1

Colleges and Universities

# Question
Strongly
Disagree Disagree Agree
Strongly
Agree Total
1 Script Coverage 5.88% 1 23.53% 4 52.94% 9 17.65% 3 17
2 Rolling Calls 6.67% 1 66.67% 10 20.00% 3 6.67% 1 15
3 Excel 56.25% 9 37.50% 6 6.25% 1 16
4 Scriptwriting 6.25% 1 18.75% 3 43.75% 7 31.25% 5 16
5
Pitching (Script,
Film, Etc.), Pitch
Deck 11.76% 2 35.29% 6 52.94% 9 17
6 Directing 6.25% 1 25.00% 4 56.25% 9 12.50% 2 16
7 Production 6.25% 1 50.00% 8 43.75% 7 16
8 Editing 6.25% 1 25.00% 4 56.25% 9 12.50% 2 16
9 Special Effects 12.50% 2 37.50% 6 43.75% 7 6.25% 1 16
10 Resume Writing 11.76% 2 47.06% 8 41.18% 7 17
11 Writing Cover Letters 11.76% 2 52.94% 9 35.29% 6 17
12 Set Operations 6.25% 1 75.00% 12 18.75% 3 16
13 Networking 6.25% 1 6.25% 1 43.75% 7 43.75% 7 16
14 Other (Please specify) 100.00% 2 2

INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 106
If one looked at the short-range goals of the employers, it was discovered that the skills
that the employers wanted were entry-level skills. The skills are aligned with the reality that
most internship positions are at the entry-level of employment for the entertainment industry.
Whereas, for the colleges and universities many of their courses focused on long-range skills for
their students. Table 16 compared 14 hard skills through the lenses of both employers and
colleges and universities. There was agreement between the employers and universities in the
necessity of knowing certain skills while there was disagreement in knowing how to do other
skills.
Skills that both groups of respondents stated were important fell into two categories. The
first category was based on finding an internship and then using these skills during the internship
to start on the pathway to employment. These skills were.
• Resume Writing
• Writing Cover Letters
• Networking
The second category were skills that the interns were expected to know and use during
their internships. These skills were,
• Writing Script Coverage
• Pitching (Script, Film, Etc.), Pitch Deck
• Production
• Set Operations
The areas where each set of respondents disagreed were on the importance of knowing
these skills prior to starting an internship,

INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 107
• Directing
• Excel
• Scriptwriting
• Editing
Even though some of these skills may be necessary as a person’s career moves forward,
at the entry-level, the Motion Picture Companies stated they are not needed at this time. In fact,
in some cases, the employers preferred to teach the intern their way of doing things. BA stated,
I will show them how to write coverage for our company. That’s the biggest skill for us.
So, in development writing is #1 . . . I run into that myself where I’ll be talking about
what I considered common movies and they have no idea what they are. They, I maybe
subconsciously, begin to write them off a little bit. I had a student who didn’t know what
Bridge on the River Kwai was. Underneath I was like, ‘Really? You’ve never read about
it? You’ve never cared about it? It won Best Picture.’
The most interesting skills that reflected the difference of importance between the
different respondents were the application of using the spreadsheets from “Excel.” The
employers (85.72%) stated that the ability to use “Excel” spreadsheets were one of the most
important skills interns needed to have before starting their internships.
Excel is one of the cornerstones of the business market, not just the entertainment
industry, that’s something that absolutely should be in the student’s [toolbox]. And I
wouldn’t even say for some of the ambitious stuff that I want to do with interns. If I
would know that they’re coming, and they didn’t have Excel training, I would almost
want to pay from my own pocket for them to get it so that when they’ve actually got here,
we could just pick up and go. Because when they can’t do it, and it becomes something
INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 108
that they’re trying to do while on the job, it just slows everything down, and then you
have to craft your program to the aptitude of the students that you have. And if they have
certain basic level skills when they get there, then everybody can have a higher-level
internship. (MR)
Of those colleges and universities who responded, only 43.75% agreed or strongly
agreed the gap that between the employers and the universities was 44.97%. This skill was the
best example of how each group looked at the needed skills for interns prior to starting their
internships.
Finally, there were skills that neither respondents stated were necessary, but during
interviews with some of the employers, it became apparent that “rolling calls” was an important
skill for interns because one of their first responsibilities as interns at the employers’ site was
answering telephone calls.
I do ask in my interview process like if they have general administrative skills, meaning
like covering phones. (SM)

Phones, not so much even working a phone, it’s knowing the script and phone etiquette…
but if you have phone experience, that’s something that’s huge, jumps out on a resume
for sure. (WA)
Hard Skills – Music Industry Interns

Using a Using a Likert scale where “1” indicated Strongly Disagree, “2” indicated
Disagree, “3” indicated Agree, and “4” indicated Strongly Agree, these “Hard Skills” were
viewed through the lenses of both the employers and universities. Music Industry employers
were asked to rate the following skills that their company expected from an intern PRIOR to the
interns’ participation in their internship program. Colleges and Universities were asked to rate
INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 109
the following skills that your intern was prepared for PRIOR to their participation in your
internship program. Hard Skills were viewed through the lenses of both the employers and
universities. Figure N and Table 16 compared the hard skills that both sets of respondents were
queried in the Music Business Industry.
The skills represented by Table 16 were provided through discussions with former
participants in internships as well as with the faculty and administrators at colleges and
universities.
R1B) During Their Internship

What are the agreed upon skills that students need to obtain during their internship?

R1B: Industry Employers Perspectives - Qualitative (Interviews)

On the major studio production side, interns learned to gather assets through research,
writing, organizing, and then assisting other producers who were working in the department. It
was revealed from the interns that the interns had to,
put their ideas down on paper and present [their] ideas to the head of the department and
actually get feedback to see if what was in [their] head was actually on paper and if [they]
were on the same page . . . this was very useful because the student said that [they] were
not getting this at school at all. (MC)

INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 110

Employers – Music Industry

Colleges and Universities

Figure N: Comparison of Hard Skills Needed by Interns in Music Business Industry Prior to
Your Internship Program by the Internship Employers and the Colleges and Universities

INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 111
Employers – Music Industry

Table 16

Hard Skills for Interns in the Music Business Industry
Employers - Music Business Industry
# Question
Strongly
Disagree
Disagree Agree
Strongly
Agree
Total
1 Music Supervision 50.00% 1 50.00% 1 2
2 Sync and Licensing 50.00% 1 50.00% 1 2
3 Contracts 50.00% 1 50.00% 1 2
4 Audio Engineering 100.00% 2 2
5 Songwriting 50.00% 1 50.00% 1 2
6
PR, Social Media, and
Marketing 50.00% 1 50.00% 1 2
7 Rolling Calls 50.00% 1 50.00% 1 2
8 Artist Management 50.00% 1 50.00% 1 2
9 Event Management 50.00% 1 50.00% 1 2
10 Concert Touring 50.00% 1 50.00% 1 2
11 Music Publishing 50.00% 1 50.00% 1 2
12 Resume Writing 50.00% 1 50.00% 1 2
13 Writing Cover Letters 50.00% 1 50.00% 1 2
14 Networking 50.00% 1 50.00% 1 2
15 Other (Please specify)* 100.00% 1 1

*Other (Please specify) - Text
Professional writing, website CMS

Colleges and Universities

# Question
Strongly
Disagree Disagree Agree
Strongly
Agree Total
1 Music Supervision 100.00% 1 1
2 Sync and Licensing 100.00% 1 1
3 Contracts 100.00% 1 1
4 Audio Engineering 100.00% 1 1
5 Songwriting 100.00% 1 1
6
PR, Social Media,
and Marketing 100.00% 1 1
7 Rolling Calls 100.00% 1 1
8 Artist Management 100.00% 1 1
INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 112
Table 16 (Cont’d.)
# Question
Strongly
Disagree Disagree Agree
Strongly
Agree Total
9 Event Management 100.00% 1 1
10 Concert Touring 100.00% 1 1
11 Music Publishing 100.00% 1 1
12 Resume Writing 100.00% 1 1
13 Writing Cover Letters 100.00% 1 1
14 Networking 100.00% 1 1
15
Other (Please
specify)

During their internship they learned how to do a presentation to present their ideas and to
create a pitch deck. This enabled the interns to feel how a studio functioned. The respondent
stated,
what does a natural working environment feel like, what is it like to have to interface
with all these different people and personalities and present themselves in a way that
shows their intelligence, their capabilities, that they’re put together, that they’re taking
tasks at hand seriously . . . because it is rudimentary at this point and their move into the
professional world. (PS)
This provided very tangible and practical application of skills. The studio department
also provided the intern an opportunity to float and observe what other producers on staff were
working on a day-by-day basis. The intern was told to ask in advance for anything that they
specifically would like to learn. If possible, the employer [studio] would be able to provide the
intern with the opportunity to learn those skills during their internship experience. One intern
requested an opportunity to work with an editor so that the intern would learn how to supervise
and edit an episodic program. The respondent explained how this occurred,
INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 113
Hey, I’d like to do what you do. I’d like to cut an episodic. Could you help me? Which
meant, he would have to supervise and edit session. I said to him, ‘Well, let me check
with my editor. We’re going to have to build in some time,’ but luckily, he gave me a
good eight weeks to figure it out. I said, ‘If your work is to take care of all these guys,
then we’ll be able to take on this project and you’ll learn what it is to supervise and edit
session, but you’ve got to have your timecode written down and you’ve got to have all of
your shots picked.’ (DJ)
This opportunity allowed the intern to prepare for a real-world work assignment. Also,
the intern was encouraged to be curious and talk to everyone. As the executive, WG, stated, “If
you’re not doing something,” ask someone, “Hey, what can I do to help?”
On the post production side, the respondent looked at how an intern who had aspirations
that were not exactly what the internship provided was allowed to speak up and express what he
wanted to achieve and his future career plans. The respondent explained how he found out about
the intern’s interests as,
The point of this is that you need to communicate with the people that are around you
whether you used to see them as somebody that is above you that you aspire to, or maybe
they’re just a coordinator at that point, but you have director aspirations, so you feel like I
don’t need to talk to coordinators, I only need to talk to directors. Well, no, actually, you
need to talk to everybody, because everybody interconnects. This whole thing really is
about communication and communicating with everybody that you can and make
opportunities where you can. (MR)
INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 114
In the unscripted television area of the industry, PS described what the intern was
expected to do during their internship and what the opportunities were to learn at his company.
The respondent, PS, stated,
I think in terms of during the internship, the most important thing is to learn how to do
things that are adaptable to an office and learn how to work within an office, or on a set if
that’s where you’re interning, and learn the different departments and who is running
what and how they’re running it and what they’re looking for and learn how you can
service them better to help make their job easier because ultimately, if you help them,
they’re going to want to help you.
The faculty and administrators of HHU discussed what was expected during the time of
the internship. In addition to having an internship, online and in-person classes, and maintaining
their grades within their courses, they needed to remain in good standing at the college, but were
expected to,
understand what’s happening within the dynamics of the organization. And so being able
to proceed with a smile and professionalism, even sometimes when the employer is not
acting in those kinds of ways. So, it’s, you know, kind of, I call it skiing the moguls,
being able to see what’s happening in an organization and how can I help these people? I
want to be successful. If they’re successful, I’m successful. (MD)
Another administrator commented that there would be many applications of skills learned
from their courses that will carry over to the workplace. HR commented that he hoped that they
would be able to,
Supplement what they learned in school with the way business is actually done. And
reinforce those communication skills and interpersonal skills so that they can deal with
INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 115
employment situations on a daily basis, or if unusual situations occur, they have the
capability of resolving any disputes, or other issues that may come up.
The Chair of the Motion Pictures department remarked that the most important thing that
an intern can do and learn during their internship was about their attitude and attention to detail.
WA told the following anecdote,
it doesn’t matter what it is you’re doing, you really have to go into it with the attitude of
they need me to do this. And one of my favorite stories was about an intern who was
told, ‘This is the lunch burrito order,’ and he came, and he didn’t get it right because he
didn’t get the beans drained or whatever it was. And so, the boss fired him, and the guy
was incensed. He said, ‘Well this is just lunch.’ He said, ‘Well if you can’t get the little
things right, why do I think you’d do something important?’ (WA)
During the internship program many companies provide educational seminars or
executive lunches for their interns. These are a valuable perk of the program that not every
production company provided but was an extremely useful part of the educational opportunity to
learn during the program. The former Chair of the Motion Pictures Department explained it as,
I think something that not enough companies do, that I did back when I was on the other
side and I think that is very valuable is, a lot of companies do not have sessions where
people from the company meet with the interns. A lot of time students just get one little
tiny desk idea of, and they don’t get the big picture of what people do and how they work
with each other, and how they fit in. The companies I know where, once a week
someone comes in and talks to the interns, and at the end of it . . . and I always tell
students that at the next to last week of their internship, if they think they’re doing well,
to ask somebody if they can have 10 minutes to get some advice. Then there are some
INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 116
internships where that’s done as a matter of course. I think that is the best and I think the
people at the company are more invested in the interns, and the interns are more invested
in what they’re interested in. I think that’s very valuable when people do it. (CE)
Other important things to be able to experience during the internship are,
to learn how to approach people and when to approach people to ask them things . . . I
think they also have to be conscious of, most of the people in the entertainment industry
like their jobs and they’re mostly talkers. You can get them going and you can learn a lot
from them, and you don’t just ask the person who has the one job you want. You ask
everybody. ‘How did you get started? Can I ask you what exactly did you do? Who do
you work for?’ All that stuff. Most of them stay in their own little area, and the ones
who don’t, learn so much, and the people who’ve they’ve asked, now have a favorable
opinion of them. They remember them. (CE)

I think in terms of during the internship, the most important thing is to learn how to be
adaptable to an office and learn how to work within an office, or on a set if that’s where
you’re interning, and learn the different departments and who is running what and how
they’re running it and what they’re looking for and learn how you can service them better
to help their job because ultimately, if you help them, they’re going to want to help you.
(SD)
Figure O compared what skills an intern learns and used during their internships in the
motion pictures industry. One part Figure O was through the lenses of the employers and the
other part was through the lenses of the colleges and universities. Using a Likert scale where “1”
indicated Strongly Disagree, “2” indicated Disagree, “3” indicated Agree, and “4” indicated
Strongly Agree, these “Hard Skills” were viewed through the lenses of both the employers and
INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 117
universities (see Table 17). Motion Pictures, Television, Digital, Streaming Companies -
Additional Skills were asked to rate the following additional skills that an intern learns at their
company DURING their participation in their internship program. Colleges and Universities
Motion Pictures, Television, Digital, Streaming Department Programs were asked to rate the
following additional skills that an intern learns in their internship at an entertainment industry
company DURING their participation in their internship program.
Comparing the tables, “Skills Learned before the Internship” (see Figure M), and “Skills
Used During the Internship Experience” (see Figure O), one did see the impact the internship
experience had on interns during the actual internships. Comparing the skills learned prior to
internship and the use of these skills during the internship presented a different and a clearer
view of the importance of the internship experience. Using the data from Figures M and O,
Tables 16 and 17 represented the total number of Agree and Strongly Agree responses comparing
skills. Table 18 represented the responses of the motion picture employers. This table is based
on eight responses from eight respondents.
The Motion Pictures employers’ expectations of their interns knowing certain skills prior
to the interns starting their internship was as expected in four of the 13 skill areas. Of the
remaining nine skills, the employers stated that there was an increase in the use of five of the
skills the interns used during their internships. The most significant change was in Production,
Rolling Calls, and Set Operations. The largest decrease was in Writing Cover Letters.

INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 118

Employers – Motion Pictures

Colleges and Universities

Figure O: Comparison of Hard Skills – Motion Picture Employers and Colleges & Universities’
Perspectives

INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 119
Intern Employers – Motion Pictures
Table 17
Comparison of Skills - Motion Pictures Employers & Colleges and Universities
Learned during their Internships

Intern Employers – Motion Pictures Industry

# Question
Strongly
Disagree Disagree Agree
Strongly
Agree Total
1
Script
Coverage
28.57% 2 28.57% 2 14.29% 1 28.57% 2 7
2 Rolling Calls 14.29% 1 42.86% 3 28.57% 2 14.29% 1 7
3 Excel 14.29% 1 85.71% 6 7
4 Scriptwriting 16.67% 1 50.00% 3 33.33% 2 6
5
Pitching
(Script, Film,
Etc.), Pitch
Decks 14.29% 1 14.29% 1 57.14% 4 14.29% 1 7
6 Directing 14.29% 1 28.57% 2 57.14% 4 7
7 Production 62.50% 5 37.50% 3 8
8 Editing 28.57% 2 28.57% 2 42.86% 3 7
9
Special
Effects
42.86% 3 42.86% 3 14.29% 1 7
10
Resume
Writing
14.29% 1 71.43% 5 14.29% 1 7
11
Writing
Cover Letters
14.29% 1 71.43% 5 14.29% 1 7
12
Set
Operations
25.00% 2 37.50% 3 37.50% 3 8
13 Networking 71.43% 5 28.57% 2 7
14
Other (Please
specify)* 100.00% 1 1

*Other (Please specify) - Text
taking feedback/critical feedback/criticism

Colleges and Universities
# Question
Strongly
Disagree
Disagre
e Agree
Strongly
Agree Total
1
Script
Coverage 5.88% 1 11.76% 2 41.18% 7 41.18% 7 17
2 Rolling Calls 6.25% 1 25.00% 4 43.75% 7 25.00% 4 16
INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 120
Table 17 (Cont’d.)
# Question
Strongly
Disagree Disagree Agree
Strongly
Agree Total
3 Excel 46.67% 7 33.33% 6 20.00% 3 15
4 Scriptwriting 25.00% 4 12.50% 2 56.25% 9 6.25% 1 16
5
Pitching
(Script, Film,
Etc.), Pitch
Decks 13.33% 2 73.33% 11 13.33% 2 15
6 Directing 26.67% 4 46.67% 7 20.00% 3 6.67% 1 15
7 Production 12.50% 2 6.25% 1 62.50% 10 18.75% 3 16
8 Editing 7.14% 1 21.43% 3 57.14% 8 14.29% 2 14
9
Special
Effects 13.33% 2 46.67% 7 33.33% 5 6.67% 1 15
10
Resume
Writing 6.67% 1 26.67% 4 33.33% 5 33.33% 5 15
11
Writing
Cover Letters 6.67% 1 26.67% 4 33.33% 5 33.33% 5 15
12
Set
Operations 20.00% 3 20.00% 3 53.33% 8 6.67% 1 15
13 Networking 43.75% 7 56.25% 9 16
14
Other (Please
specify)* 100.00% 2 2

*Other (Please specify) - Text
Being able to identify issues in a screenplay - Writing Development Notes
It depends on the internship. We avoid clerical positions.
Depends on the internship!

Table 18
Intern Employers - Motion Pictures Industry
Skill/Competency
Learned
Prior
Used
During
Difference
+/-
1 Script Coverage 3 3 No Change
2 Rolling Calls 1 3 + 2
3 Excel 6 6 No Change
4 Scriptwriting 2 2 No Change
5 Pitching 5 5 No Change
6 Directing 3 4 + 1
INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 121
Table 18 (Cont’d.)

Skill/Competency
Learned
Prior
Used
During
Difference
+/-
7 Production 5 8 + 3
8 Editing 3 3 No Change
9 Special Effects 2 1 - 1
10 Resume Writing 5 1 - 1
11 Writing Cover Letters 5 1 - 4
12 Set Operations 4 6 + 2
13 Networking 6 7 + 1

Using the same figures through the lenses of the Colleges and Universities, “Skills
Learned before the Internship,” (see Figure M) and the “Skills Used during the Internship
Experience,” (see Figure O) one did see the impact of the internship experience had on interns
during the actual internship. Comparing skills learned prior to their internships and the use of
these skills during the internship presented a different view of the importance of the internship
experience. Using the data from Figures M and O, Table 19, represented the total number of
Agree and Strongly Agree responses comparing skills Learned Prior and Used During the
interns’ internships. Table 19 is based on responses from 15 to 17 respondents.

Table 19
Comparison of Skills - Music Business Industry & Colleges and Universities Learned during
their Internships

Skill/Competency
Learned
Prior
Used
During
Difference
+/-
1 Script Coverage 12 14 + 2
2 Rolling Calls 4 11 + 7
3 Excel 7 8 + 1
INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 122
Table 19 (Cont’d.)
Skill/Competency
Learned
Prior
Used
During
Difference
+/-
4 Scriptwriting 12 10 - 2
5 Pitching 15 13 - 2
6 Directing 11 4 - 7
7 Production 15 13 - 2
8 Editing 11 10 - 1
9 Special Effects 8 6 - 2
10 Resume Writing 15 10 - 5
11 Writing Cover Letters 15 10 - 5
12 Set Operations 15 9 - 6
13 Networking 14 16 + 2

According to the feedback the university received, many of the skills that the universities
taught, as mentioned earlier, were skills that their students needed further on in their career. The
entry-level positions traditionally use skills that are basic skills that are needed to work your way
up the ladder. The best example of this skill is “rolling calls.” It is one of the skills that most
interns use regularly during the day because one of the intern’s main responsibilities is to work
the desk and answer telephones. Another basic skill was “writing script coverage.” However,
the only skill that was unanimous with the respondents was the skill of “networking.” This skill
is the unwritten skill or “art” that opens doors for future employment in the entertainment
industry.
Music Industry

Since only two respondents are from the Music Business and Colleges and Universities,
little can be gleaned from the data except that the responses from them were similar (see Figure
INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 123
P). Using a Using a Likert scale where “1” indicated Strongly Disagree, “2” indicated Disagree,
“3” indicated Agree, and “4” indicated Strongly Agree, these “Hard Skills” were viewed through
the lenses of both the employers and universities. Music Business were asked to rate the
following additional skills that an intern learns at their company DURING their participation in
your internship program. Colleges and University Music Business Department Programs were
asked to rate the following additional skills that an intern learns in their internship at an
entertainment industry company DURING their participation in their internship program.
Since the responses from the Music Business of this study was minimal, much of the
information about the comparison of skills taught prior to the internships and the skills used
during the internships are discussed in the qualitative section of this question.
R1C) After Their Internship

What are the agreed upon skills that students need to know after their internship so that they are
best prepared for the workplace?
R1C: Industry Employers Perspectives - Qualitative (Interviews)

After the completion of the internship program, industry employers were asked to
assess and evaluate the tasks that their intern was assigned and completed during their internship
experience. These were the same internship goals and learning objectives that were listed in the
original learning agreement between the student and the employer at the beginning of the

INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 124
Music Business Companies

Figure P: Comparison of Skills – Music Business and Colleges & Universities’ Perspectives

Employer – Music Industry

Colleges and Universities

INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 125
Table 20
Comparison of Skills – Music Business Industry & Colleges and Universities Learned During
their internships

Intern Employers - Music Business Industry
# Question
Strongly
Disagree Disagree Agree
Strongly
Agree Total
1
Music
Supervision

50.00% 1 50.00% 1 2
2
Sync and
Licensing
50.00% 1 50.00% 1 2
3 Contracts 50.00% 1 50.00% 1 2
4
Audio
Engineering

100.00% 2 2
5 Songwriting 50.00% 1 50.00% 1 2
6
PR, Social
Media, and
Marketing 50.00% 1 50.00% 1 2
7 Rolling Calls 50.00% 1 50.00% 1 2
8
Artist
Management 50.00% 1 50.00% 1 2
9
Event
Management 50.00% 1 50.00% 1 2
10
Concert
Touring 50.00% 1 50.00% 1 2
11
Music
Publishing 50.00% 1 50.00% 1 2
12
Resume
Writing 50.00% 1 50.00% 1 2
13
Writing
Cover
Letters 50.00% 1 50.00% 1 2
14 Networking 50.00% 1 50.00% 1 2
15
Other (Please
specify)* 100.00% 1 1

*Other (Please specify) - Text
Professional writing, website CMS

College and Universities - Music Business

# Question
Strongly
Disagree Disagree Agree
Strongly
Agree Total
1
Music
Supervision 100.00% 1 1
2
Sync and
Licensing 100.00% 1 1
INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 126
Table 20 (Cont’d.)
# Question
Strongly
Disagree Disagree Agree
Strongly
Agree Total
3 Contracts 100.00% 1 1
4
Audio
Engineering 100.00% 1 1
5 Songwriting 100.00% 1 1
6
PR, Social
Media, and
Marketing 100.00% 1 1
7 Rolling Calls 100.00% 1 1
8
Artist
Management 100.00% 1 1
9
Event
Management 100.00% 1 1
10
Concert
Touring 100.00% 1 1
11
Music
Publishing 100.00% 1 1
12
Resume
Writing 100.00% 1 1
13
Writing
Cover Letters 100.00% 1 1
14 Networking 100.00% 1 1
15
Other (Please
specify)

internship experience. Often, they were expanded on after the student gained the trust of the
employer through their hard work, innovative solutions, and grasp of the tasks and duties that
were initially assigned. For some of the interns, the company was so impressed that they offered
the student an entry-level position. Others had to decline since they had more classes to take to
complete their degrees or weren’t yet ready to move to Los Angeles. The student had to find a
way to keep in touch with their employer afterwards to continue to build the relationship in a
meaningful way without seeming or appearing to be too pushy or a pest. Some suggestions by
industry employers to keep the relationship alive were,
INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 127
After they’ve completed their internship skills would be a respectable, non-aggressive,
but effective way to keep in touch. That’s a really weird line to walk. Keep in touch and
not being overly obnoxious or always emailing or feeling very forced. (BA)

Coming away from the internship, I think learning how to keep contact strong is the most
important thing to learn there and how to continuously impact someone and their life and
their career after you’ve left. Working for them is an important thing and that’s how
you’re going to keep that relationship strong and how you’re going to help them in the
future and how they can help you in the future, and it’s really a two-way street there.
(SD)
Those who could do this with extreme tact and etiquette ultimately built strong
relationships and continued to be mentored by their employers after the conclusion of the
internship. Then, they could approach them for advice, recommendations, networking
suggestions, and leads to positions and careers in the future.
R1C: Colleges and Universities Perspectives - Qualitative (Interviews)
Once the internship concluded from the college and university perspective, there were
many things that were important for the student to have learned during their time in Los Angeles
at their internship. The most valuable aspect of the college internship experience was to help the
student transition into a job or career. One of the respondents stated,
After the completion of their internship, they need to learn to stay in touch with the
people that they met at the internship. They need to learn how to stay in touch and not be
pushy. But maintain, keep that little fire burning in the heart of the person who is the
employee at the company, so that they don’t forget the intern. I mean a concern for an
intern who’s too young to get a job immediately, is how they can over a period of several
INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 128
years be remembered by someone in Los Angeles who has seen lots and lots of interns
since that person was there and now they’re graduating. How do you keep that
relationship alive? (WA)
Two of the respondents remarked,

The kids who get the jobs find a way to be a member of the team without presuming. I
think that . . . They really need to learn people skills. (CE)

And just work and work and work, and one of the things that one of our students said
was, ‘I was the guy who was always working,; and they always liked that. You’re not
ever sitting around doing nothing, you’re trying to find something to do and they’re going
to give you more interesting things to do. (WA)
Research Question 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?
Industry Employers Perspectives - Qualitative (Interviews)

Industry employers were asked how they viewed the internship period as a transition
from being an intern to an entry-level job and if it sped up the process by participating in an
internship program. Many respondents reflected on their experience in the workplace
supervising interns from various colleges and universities and if it helped ensure a smoother and
quicker path to employment. Some of the intern supervisors were only one step away from
being an intern themselves, just a few months before or within the past several years and how
their own internship experience helped them to obtain a full-time position. Since the process
differed slightly with a large corporate entity versus a small start-up company, the respondents
answered slightly differently depending if they were in a position to have a new employee at the
INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 129
conclusion of the program didn’t have the authority or budget to do so at that particular time.
The respondent reflected on this question to explain his thoughts about it as,
Studio side: It’s a very competitive world out there and employees are not just going to
hire just people without . . . that they don’t have confidence in or have some experience.
Even in entry-level positions, even as assistants, they want to know that you’ve been,
again, just had some experience in the workplace and know how to conduct yourself and
have a level of interest and passion and having multiple internships obviously shows that
you’re someone who has sought out experiences and is trying to improve themselves and
find a career path . . . They want people that are ambitious and want to grow and are
going to contribute ultimately to the company in bigger ways down the road. I think that
internships are like invaluable for that now. (WG)
Another respondent, (MR), who worked in post production stated,
They’re coming with a good recommendation; that is going to get them to the door.
Finally, they get through the door, but is there actually a job open that fits the portfolio of
the company? So, all of those things have to line up or it won’t work.
A former intern and now an employer in reality television commented,

because it’s the easiest way to get a job is that if you worked with someone or interned
with someone and they really liked you, they can be like, ‘Oh, I know this person’s
hiring. Like you should hire this person because they were a really great intern. They
were really focused. They were a hard worker.’ (PS)
Another former intern and now a person who hires interns for the music management company
in sync and licensing stated,
INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 130
Internships speed up the process, and it definitely helps where an intern is in their last
semester, and they’re in an internship. They can kind of prove their worth, and then if
they alert the team, ‘Hey I’m going to be here, and I’m now looking for a job,’ the
employees can then keep an ear out for any opportunities that come up as the industry is
pretty small and connected, and people are always talking. So, if there’s an open spot,
you can easily suggest that person for it. Or, if it’s an internal spot, they’re already there,
and if they like the company, it’s a good two-way street, working relationship. (DL)
Industry Employers Perspectives – Quantitative (Survey)

Over the last 20 years, internships have become a major pathway to finding employment
in industry. In the entertainment industry, internships are viewed by many as a two-way street.
One way, the employers view it as an opportunity to “try-out” prospective employees while the
universities view it as an opportunity for their students to acquire entry-level positions in the
industry. Both employers and the colleges and universities both agree that internships are useful
and, in many cases, “speed-up” the career path of their interns. One of the factors that was an
important part of the internship experience was the structure of the program. Companies that
assigned intern supervisors, or if the intern was “mentored” by someone in the company, it
provided the intern with the guidance that helped the intern adjust to the workplace. One
important characteristic of the mentoring aspect of the internship was that it provided an avenue
to create new connections and working relations with people in the industry. For many, it was
the first step in creating a network of peers that can be a catalyst in finding employment in the
near future and beyond. Surveying the industry employers, they were asked about the
importance of networking and who at your company encouraged the intern to build a strong
INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 131
network. Every employer stated that networking was an important skill that everyone, including
interns, should have. The importance of this skill is shown in Figure Q.

Figure Q: Networking – Who at Your Company Encourages the Interns to Build a Strong
Networking System?

Table 21

Company Resources for Networking
# Answer % Count
1 Intern Supervisor 90.00% 9
2 Mentor 90.00% 9
3 Human Resources 20.00% 2
4 Fellow Interns 70.00% 7

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Table 21 (Cont’d.)
# Answer % Count
5 Company Employees 80.00% 8
6 Other* 10.00% 1
Total Responding 100% 10
*Other - Text
Parents and Teachers

A second question asked about the importance of internships being a catalyst for future
employment at their company or at other companies. Using a Likert scale where “1” indicated
Strongly Disagree, “2” indicated Disagree, “3” indicated Agree, and “4” indicated Strongly
Agree, the employers were asked the following statement: “Are internships a catalyst for
obtaining a paid position in your company?” (see Figure R)

Figure R: Are Internships a Catalyst for Obtaining a Paid Position at Your Company?
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Table 22

Catalyst for Obtaining a Paid Position at Your Company
# Answer % Count
1 Strongly Disagree 10.00% 1
2 Disagree 20.00% 2
3 Agree 50.00% 5
4 Strongly Agree 20.00% 2
Total 100% 10

In asking the question in the survey to the employers who had interns that they
supervised during the internship experience, many of them either agreed or strongly agreed that
the internship led to the hiring of students at the conclusion of the internship. Participating in an
internship program and having an internship was the catalyst towards obtaining a paid position in
the entertainment industry. This prepared the students for a workplace position after completing
their college degree.
Another question directed to the employers was related to the opportunity of being hired
by the company at the completion of any internship. Figure S shows the response to How
frequently do they hire interns at the conclusion of their internships?
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Figure S: How Frequently do You Hire Interns at the Conclusion of Their Internships?

Table 23

Frequency of Hiring Interns at the Completion of the Internships
# Answer % Count
1 Never 10.00% 1
2 Sometimes 60.00% 6
3 About half the time 30.00% 3
4 Most of the time
5 Always
Total 100% 10

Ninety percent of the employers responded positively that they will hire their interns if
the company needs them and if the intern fitted into the company’s work environment.
INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 135
In conclusion, many of the companies stated that internship programs have provided their
companies with a different point of view and in some situations invigorated the company with
new ideas. The employers discovered that, as mentioned before, it was a good way to “try-out”
new people and see if these potential employees fit the mold of the company. Some of the
employers commented,
the way that I looked at it is if I’m able to hire somebody, and I’ve already worked with
them for three or four months and they know how I want to do something and they’re
already doing it, then that’s the guy or girl that I want. So yeah, I’ve always tried to do
that so that if something popped open, I’ll just grab that person. (MR)

It really is because it’s the easiest way to get a job is that if you worked with someone or
interned with someone and they really liked you, they can be like, ‘Oh, I know this
person’s hiring. Like you should hire this person because they were a really great intern.
They were really focused. They were a hard worker.’ (PS)

It definitely helps to have multiple internships, and in different cities too, depending on
the actual job. Sometimes, if it’s only one, that’s okay too, if they are really hard-
working, and they’ve kind of proven themselves to us that they can handle these
responsibilities and take on these tasks. (DL)
The studio employer continued about what it takes to get the position,

‘Talk to as many people as you can because that’s how, really, this world operates.’
People want to work with people that they have a familiarity with, if you can establish a
relationship and trust of some sort, then people will come back to you when there’s an
opportunity . . . keep talking to people and keep taking as many opportunities as you can
INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 136
to meet people [network]. Because again, like we said, I think that’s the way they get
their foot in the door in the first place. Maybe it’ll just be by chance because there’s an
opening that happened while they’re there or someone will remember them when an
opening comes up. It’s really about building the relationships and just by being really
committed to getting out there and talking to people. I think it’s grit. (WG)
Colleges and Universities Perspectives – Qualitative (Interviews)

In interviewing faculty and administrators at the university level about their insights of
transitioning their students from interns to entry-level employees they reflected on their
observations about their current and former students who participated in the internship
experience. They commented on the ability of students to obtain recommendations from
employers, to have job offers at the conclusion of the internship, to obtain a mentor from the
internship, and to know how to network and build relationships from their internships that can
assist them with providing future opportunities to enter the workplace after the completion of
college. JJ stated, “The more of those opportunities they have, the more apt they are to be
successful in that first entry-level job. That is so vital, that internships be a part of what all
students do.” Some of the respondents answered the question from their perspective from their
roles at the university whether it was as the Chair of the Department, the Career Advisor, or the
Associate Provost who oversees the entire program at the university,
There are some students who get jobs where they intern, but there are a lot more who get
references from people in the industry and get people who have worked with them to say,
‘Oh, I know there is an opening here, I’ll call.’ I’ll make a call. So, I think that’s one
way. (CE)

INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 137
I think that an internship probably skips a year or two of struggling through an entry level
position, because by the time you get to . . . You already served. You know the rhythm,
you know a little bit about the industry, you know some of the unspoken things and you
have some specific skills and now everybody wants people who have had internships and
if you look at, you know, advertisements for so-called entry-level jobs, or assisting jobs,
they want skilled assistants. They say must have a year or two as an intern on this, or
must have this experience at an agency, or must have this . . . And I think because it’s
like the bar is getting higher and higher because . . . I also think it’s because they want
people who are ready . . . Nobody has patience now. Nobody really . . . Even though
they talk about wanting to train people, what they really want to do is take people who
have training and want to train them how to do something their way. They don’t want to
train them from scratch. (CE)

We’ve seen it over and over and over again that when people, students, interns, have
done well, employers are willing to wait for them. They’re willing to create positions for
them, because someone who is valuable, who has the hard skills and the soft skills and
the interest and the passion and the energy, that is highly valuable especially to an
industry that’s constantly moving and to slow down and talk to HR about creating a job
description, oh my gosh that takes forever, but if you know you have a good match, then
those kinds of things can be expedited. So that’s why it happens as it does and that’s why
we have student interns who are in highly influential positions that all began with
internships. (MD)

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The internships were primarily how they get their jobs. How they receive employment. I
think it’s a great way for the employer and intern to test each other to make sure that they
are a good fit. And to me they come in, they’re better prepared because they know the
work environment and they come in ready to get started from the first day. There’s no
learning curve . . . And I think our data will indicate that students who have a successful
internship have a much better chance of getting a job in the industry. And eventually,
being good employees too. (HR)

We learn from doing the program: that if you went out there, got a job, worked your way
up, you’d get to a certain level after a certain number of years. If you went out there, had
an internship, got a job, and worked your way up, you would get to that same level, but
three years faster. They found, and I agree with this, that it lops three years off of the
career ladder. It speeds you up by three years. (WA)

Whether it speeds up the process as WA suggested by three years, provides skills that
students progressively gain from each internship that they have to make them more competitive
in the workplace, or if it provides students with hidden opportunities for jobs that are never
advertised but created for them when the situation occurs and they are an excellent match for, are
all consequences of students participating in the internship program. The university by creating
and maintaining internship programs provides their students with this opportunity to achieve
success in entering the workplace and speeds up the transition into becoming employees without
the down time that other students experience after college if they do not participate in internships
during their years in college.

INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 139
Colleges and Universities Perspectives – Quantitative (Survey)

Colleges and universities have emphasized the importance of internships as a gateway to
finding employment in the entertainment industry. In many universities, internships have
become a major component in the university’s educational program. Over the last 25 years,
universities have made internships a primary function of its students’ educational experience. In
addition to the classroom, internships gave the students real world experience as well as it
became the bridge to acquiring entry-level positions in the industry. One of the biggest benefits
of the internship experience was it provided the opportunity for the interns to start building a
network of colleagues and professional contacts. Figure T only emphasized the importance of
networking. The university faculty and associates of the school reinforced the concept the
importance of networking.

Figure T: Networking – Who at Your University Encourages the Students to Build a Strong
Networking System?
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Table 24

Colleges/Universities Representatives who Encourage Networking

# Answer % Count
1 Dean 27.78% 5
2 Associate Dean 16.67% 3
3 Department Chair 50.00% 9
4 Internship Administrator 77.78% 14
5 Career Services 66.67% 12
6 Fellow Students 61.11% 11
7 Alumni 77.78% 14
8 Faculty 88.89% 16
9 Other
Total Responding 100% 18

The results shown in Figure T only reinforced the importance of internships. The
universities’ efforts to have different people involved in the students’ educational experience
encouraged students to participate in internship programs and emphasized the hidden agenda of
all internships. These programs build networks that open doors and help the interns in the
immediate as well as in the future. During the interviews, all the interviewees reinforced the
importance of networking. The general theme of networking is “Build Trust, Not Burn Bridges”
as the motto for networking.

INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 141
Research Question 3
What are the equity, diversity, gender, and socioeconomic issues that internships need to address
in the entertainment industry?
Industry Employers Perspectives – Qualitative (Interviews)

Understanding what it takes for an employer to address the issues of equity, diversity,
gender, and socioeconomic issues in the industry as it relates to providing an equal and fair
opportunity to all who want to work in the entertainment industry was explored through the
various answers that the respondents provided in answering this question. Their thoughts
expressed what a production company, studio, network, digital start-up, or individual employer
should perceive as barriers or gaps in the hiring process. This is the topic of conversation in
recent years as studies that addressed this issue become public knowledge and employers are
being held accountable for their hiring practices. The larger companies have Human Resources
departments (sometimes called Talent Acquisitions) and Diversity and Inclusion Initiatives to
identify and position themselves for compliance with the EEOC laws. Smaller companies utilize
all the resources available to them and try to adhere to the best hiring practices. It is a period of
change and adjustment in providing solutions to these issues that have been endemic to the
entertainment industry and to many other industries in the country. It starts with providing
internships to all who want to have them and then addresses the career path to becoming full-
time employees. “They’re having to start paying interns, and being smarter about their working
paid hours, and not being discriminative, or discriminatory toward the interns they are hiring”
was DL’s opinion. Some of the respondents voiced their concerns and solutions as follows,
A company, needs to do a certain amount of outreach to make sure that we are having a
diverse workforce and that we are extending help to people who may not have the
INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 142
resources to just have their parents pay for them to be in LA for a summer or something.
(WG)

A huge barrier for people who do not have the money to really make that leap of faith of
like, ‘I’m going to leave my small town in the middle of the country’ and I am thankful
that the majority of the students that come through our program are typically women of
color, which I think is very fascinating. It seems that it’s usually maybe 80% of our
applicants are women. And I don’t know if that’s specifically because it’s reality
television or maybe it’s the kind of shows that we produce, which are all like fun female-
skewing networks and stuff, but I really do appreciate that we can give women the
opportunity. (PS)

Encouraging students of different backgrounds, just encouraging kids of different
backgrounds, to go after something that they want. I think there are a lot of people who
don’t feel like they . . . because of whether it’s their social status or economic status or
whatever, feel like that they can’t go for this and take that risk. (SD)

But I think in the terms of gaining a wider range of people who encourage people of all
different backgrounds and cultures and race and gender to go after . . . if they want to
work in the entertainment industry, encourage them. Say, ‘No, you can do that. You can
get an internship and you can work hard and you can become very successful.’ I think
that’s an important thing. (SD)

INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 143
This just begins to address the various problems that are encountered in the entertainment
industry and offers up possible ways to find solutions to having a diverse workforce. It is a
continual challenge that needs to be tackled by industry employers.
Industry Employers Perspectives – Quantitative (Survey)

The question of equity or equal opportunity in the entertainment industry has become a
major issue today. Since internships are one of the gateways to employment in the entertainment
industry, the survey focused on issues related to the question of equity. Employers were queried
about these basic issues of equity.
Diversity is one part of equity. Companies are becoming more sensitized to the issues
that face many students as they start their professional careers. The internship experience has
become a way to transition to an entry-level position, but on the other hand it has become an
obstacle for many aspiring students.
Each employer stated that they have interns working for them during the fall, spring, and
summer semester. Three questions were asked as it related to the number of interns. What is,
• The gender of each intern.
• The race of each intern.
• The socioeconomic status of the intern.
In order to understand the results of the respondents, the data presented in Table 25
represents the number of interns employed by the each of the companies by semester.

INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 144
Table 25
Number of Interns per Semester
Number of
Internships Fall Semester Spring Semester Summer Semester
0
1 4 5 5
2 – 3 3 3 1
4 – 5 1 1 3
6 or more 2 1 1

Each employer stated they were an equal opportunity employer when it came to the issue
of gender. Each company looked for the best qualified person for their respective internship and
gender was not an issue. The average is about 50% over the course of the year with some
fluctuation from semester to semester. Table 26 represents a breakdown of the number of interns
by gender used by each company for the past year.

Table 26
Number of Interns by Gender
Gender 1 2 3 4 5 6 7 8 9 10
Female 5 18 1 1 1 4 3 1 7 2
Male 3 18 0 2 1 5 1 1 4 1

The next question was that of race. The question asked: “Over the last three semesters,
did your company employ interns of the following races?” Figure U represents a summary of the
results.

INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 145

Figure U: Percentage of Interns by Race

Of the respondents, 80% of the companies select White candidates, 60% selected
African-American candidates, 50% Latino candidates, 40% Asian, 30% Native American, and
40% other. The only problem was that this question did not provide the researcher with exact
numbers of participants by race. It only stated the number of different races rather than the
number of interns by race.
The last question is the socioeconomic issue of the internship. Students have discovered
that living in Los Angeles is more expensive than living at school or at home. Since many
interns work to earn money to pay for their tuition plus additional costs for their internships, the
employers were asked a series of questions related the socioeconomic issues faced by students.
INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 146
Since the Fox Searchlight decision (Glatt v. Fox Searchlight Pictures, Inc., SDNY, No.
11-06784, 2013) many larger companies have started to pay interns for their internships. In
order to attract interns, some companies offered paid internships. For many students, this
compensation is a major factor as to whether a student takes an internship with a company. In
this survey, 90% of the companies that responded did not offer paid internships. This has helped
some interns offset the costs of their internships in Los Angeles. The first question, Do you pay
your intern? (See Figure V)

Figure V: Are Your Internships Paid or Unpaid?

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Table 27

Paid Versus Unpaid Internships
# Answer % Count
1 Paid 10.00% 1
2 Unpaid 90.00% 9
Total 100% 10

Since most of the respondents represented smaller companies, the survey shown in Figure
V and Table 27 stated that 90% of their internships were unpaid. For some of the interns, this
created another issue for them. This issue was whether the intern and the employer can agree on
a schedule where an intern can work and do an internship at the same time. The next question
pertaining to the socioeconomic issue was the number of hours an intern worked during a week
as an intern, How many hours per week is an intern expected to work? (See Figure W)

Figure W: How Many Hours per Week is an Intern Expected to Work?

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Table 28

Weekly Workload for Interns
# Answer % Count
1 Part-time (less than 19 hours) 40.00% 4
2 Half-time (20 - 34 hours) 60.00% 6
3 Full-time (35 hours or more)
Total 100.00% 10

The data from this survey reinforced the issue of the number of hours that an intern
worked was less than 35 hours. Sixty percent of the respondents stated that internship’s hours
were between 20 – 40 hours/week. Other respondents, 40%, reported that their interns worked
less than 19 hours per week. This allows the interns to pursue other work or in many cases
students had the opportunity to take classes either online or at the college’s Los Angeles’s
campus.
The last part of the socioeconomic issue was the requirement that the intern be enrolled in
a university. According to FLSA Fact Sheet #71, factor #3 stated: “The extent to which the
internship is tied to the intern’s formal education program by integrated coursework or the
receipt of academic credit” (U. S. Department of Labor, Wage and Hour Division, 2018). Even
though this requirement is necessary, only 60% of the respondents (companies) were required
that the intern earned college credit for their internships (see Figure X).
INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 149

Figure X: Are the Interns Required to Earn College Credit? (Select one)

Table 29
College Credit Requirements for Internships
# Answer % Count
1 Yes 60.00% 6
2 No 40.00% 4
Total 100% 10

In conclusion, socioeconomic factors are an important issue for students as they pursue
the career.

INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 150
Colleges and Universities Perspectives – Qualitative (Interviews)

From the college and university perspective, they are not immune to this problem on their
campuses. Because of the high cost of higher education, students and their parents need to have
the resources to send them to college and to participate in internship programs away from their
main campus at satellite campuses in Los Angeles. Students and their parents take student loans
both from the state and federal government, private loans, and attempt to receive scholarships to
pay for some of the expenses. However, few funding sources exist to pay for the semester that
they do not reside on campus which is usually much more expensive than living in the dorms or
even in an apartment in their campus city. There is the cost of housing, food, transportation, and
miscellaneous expenses in addition to tuition and fees that occur from being away from the
campus and their home community. Several of the respondents addressed these issues and
arrived at possible solutions to these problems.
If colleges and universities truly want diversity, you raise money for full-board
scholarships, you have a whole system to find some of the most talented, promising
students, then you attract them. You make it pleasant for them to be there and then the
word trickles down. So, you are now someplace that people from a diverse background
apply to. (CE)

Turn on the television and watch the Academy Awards . . . It’s the old guard who are old
White men and you know, people are in positions of power for all sorts of systemic,
historic reasons. And so, people like me and faculty who are in positions where, of gate-
keeping can, and I lead other areas where diversity is . . . you know we have low
representation of minorities, where we work hard to create role models to do marketing to
find ways to provide opportunity especially for ones, even tapping young students on the
INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 151
shoulder, ‘Have you considered a, b or c?’ Because often times, people don’t even
imagine for themselves, that they could have that kind of position and so people in my
role need to be saying, ‘Hey you need to broaden your horizons and think beyond what
you’ve known, and this could be you.’ Everything you just asked, these students need
internships and they need jobs, they need to be in the pipeline so that someday, we have
boards that are made up and are representative of what our society truly looks like. (MD)

I think it’s apparent that businesses, entertainment businesses, are addressing the
deficiency of gender and diversity. And also, socioeconomic issues. And they’re doing
that by aggressively seeking to hire students and to accept interns who are from different
backgrounds. And also, as a side note, I think that’s one of the reasons that I encourage
our students to have both internships in the school’s city and to attend internship program
in New York City and Los Angeles. These internships provide the students with an
opportunity to work with and meet people from diverse backgrounds which they may not
have been exposed to in the past. (HR)

The awareness that this problem exists both on campus and in the entertainment industry,
should be addressed for possible solutions. It remains an ongoing area that the colleges and
universities need to examine and provide answers to in the future if they want to have a more
diverse environment for their students.
Colleges and Universities Perspectives – Quantitative (Survey)

Colleges and universities face similar problems dealing with the issues of diversity. The
issues of race and gender are reflected by the demographics of their respective universities.
Looking through the lenses of the colleges and universities, the socioeconomic issues that interns
INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 152
face are similar to the same issues the interns faced with the employers. These issues revolved
around the affordability of the internship programs. When an intern is paid, this money offsets
some of the costs of taking an internship program. When queried many of the universities
attempted to find internships where students can be paid for their internships as well as receiving
internship credit. All the universities offered internships where a student received credit, but not
all internships were paid internships. However, universities reported that some of their students
were able to obtain internships even though the school did not give credit or authorize the
internships (see Figure Y).

Figure Y: What are the Internship Course Options for Your Internships?

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Table 30

Internship Course Options

# Answer % Count
1 Academic Credit - Unpaid 100.00% 18
2 Academic Credit - Paid 88.89% 16
3 Non-Credit - Unpaid 16.67% 3
4 Non-Credit - Paid 11.11% 2
Total Responding 100% 18

Since finances are a major issue for many interns, universities have attempted to offer
their students different options. Financially, some interns discovered that taking internships
during the school year was beneficial to them while other students discovered that summer
sessions were better for them. One way that universities have helped their students address this
additional expense was to give them the option to either participate in an internship program
during the school year or during the summer. Students were, then, able to select the time of the
year that they wanted to take an internship. On the other side, three universities offered a two-
semester option which some students could afford (see Figure Z).

INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 154

Figure Z: What is the Length of the Internship Experience?

Table 31

Length of Internship
# Answer % Count
1 One Semester 94.44% 17
3 Summer 83.33% 15
2 Two Semesters 16.67% 3

Total Responding 100% 18

Internship Workloads are the number of hours an intern works during a week. Colleges
and universities offered different workloads for their students that are part of their academic
INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 155
program. The schools required their interns to take three or more credits in addition to the
internship credits they received for their internships. This helped the students meet the FLSA
Fact Sheet #71 requirements that interns must be registered in a university program. In order to
accommodate the needs of the students, the universities allowed students to take part-time, half-
time, or full-time internships (see Figure AA).

Figure AA: What is the Internship Workload that Colleges and Universities Offer?

Table 32

Internship Workload Required by Colleges/Universities
# Answer % Count
1 Part-time (less than 19 hours) 44.44% 8
2 Half-time (20 - 34 hours) 38.89% 7
3 Full-time (35 hours or more) 16.67% 3
Total 100% 18

INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 156
Of the 18 respondents, eight of the universities, 44.44%, offered their interns the
opportunity to participate in part-time internships (less than 19 hours per week) so that interns
could meet their academic as well as their internship requirements. Seven respondents, or
38.89%, offered the option of half-time (20 – 34 hours per week) while 3 respondents, or
16.67%, offered full-time (35 or more hours per week).
In conclusion, the data collected suggested that the employers and the universities are
working together to make the students’ internship program a positive and a successful
experience.
Research Question 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?
Industry Employers Perspectives – Qualitative (Interviews)

At the conclusion of the internship, the usual method is to have the internship supervisor
evaluate the performance of the intern during the course of their internship at the company.
Some companies prefer to have ongoing feedback from the beginning of the internship process.
Others have mid-term evaluations to make sure that the intern is learning and thriving in the
workplace. If there is time at the conclusion of the internship for an exit interview, this is a
valuable time to assess the internship experience for both the intern and the internship
supervisor. It is also a time to review the intern’s resume, provide a reference or
recommendation, arrange for the intern to keep in touch, and coach or mentor them while they
complete their education. In some cases, the intern is offered an entry-level position with the
company and if the student is in his/her last semester of college then must decide if it something
INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 157
that he/she wants to accept. If a student has more college to complete, then he/she must figure
out a way to keep the relationship going until they finish their studies.
The studio executive explained his process of evaluation as,
I, usually, will talk to them and ask them about their experience. We give them feedback
as they go along. There’s no one way, at the end of it, you’re getting graded, so to speak,
but I definitely try and ask everyone what the experience was like and get an assessment
of how the individual was working with everyone. (WG)
Another studio executive described how the evaluation process works as an ongoing
process throughout the internship experience and the expectation that the university is a key
player in providing a cutting-edge curriculum and preparing the student to transition into the
workplace as,
the evaluation is ongoing . . . I will say though, there is, maybe an expectation that the
universities are at least identifying what’s critical in the workplace and adjusting their
curriculum to it. Does that make sense? It’s an expectation. That’s why I was asking if,
mostly, you’ve vet through USC or UCLA or any of those because their curriculum is
closer to a professional environment. (DJ)
In the unscripted area, the respondent described how a project that the students are given
at the beginning of their internship provides them a means to learn how to pitch projects and
receive feedback. This is a progressive skill [the more one learns a skill, the more proficient one
becomes], where the internship supervisor can comment on how learning specific skills will help
them to find an entry-level position in the future. The respondent explained how this was a
progressive skill that can be evaluated from the beginning of the internship program to the
conclusion of it as:
INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 158
we’re teaching them how to develop and pitch shows and they’re pitching those shows to
us, so they get feedback, ‘This is what you’re doing wrong like with how you’re
presenting it, and this is what can be improved.’ So, they’re growing as a developer
through the program, so we see that progress and it’s interesting to show them at the end
of it, ‘This is the last show that you pitched, and this is the first show that you pitched,’
side-by-side. So, they can kind of see how far they’ve come over the course of it. (PS)
Another respondent discussed their means of evaluating their intern in the music industry
by having an exit interview that both helped the employer and the intern. The respondent
explained how this was done.
We have an exit interview, just to kind of go over what they did learn and get any
feedback of how they would change the internship, because we’re very open and
communicative. We’re all about any feedback to alter and evolve the internship itself.
(DL)
At the digital production company, the evaluation process included a midterm check-in to
identify if changes could be made to the internship program specific to any student requests.
We have midterm emails, so a check-in, a one-on-one. They start and maybe like a
month-and-a half or two months in, we’ll do the midterm email thing and then we’re
checking with each other. That’s not to say that this is the only time we talk because we
sit next to each other, but it’s an actual focused sit-down time where I’m like, okay, so
you’ve been here for about two months now, what have you learned, what new things are
you excited about now or what do you want to know more of? (SM)

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Industry Employers Perspectives – Quantitative (Survey)

As mentioned earlier, successful internships rely on the cooperation and communication
between the employers and educational institutions. This research question discussed the
relationships between the employers and the universities and looked how they perceive each
other.
The first set of questions are from the employers’ point-of-view. These questions are,
• What do you expect from the University in preparing their students for their internship
program?
• What do you (the employer) provide your intern with during their internship program?
• Internship Program Experience - Student Preparation. Please rate the following
statements based on student preparation by their university.
• Values of specific aspects of internship experience such as mentoring, networking,
structure of the program, etc.
Using a Using a Likert scale where “1” indicated Strongly Disagree, “2” indicated
Disagree, “3” indicated Agree, and “4” indicated Strongly Agree, the employers were asked to
rate the university’s preparation of their interns for their internships (see Figure BB).

INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 160

Figure BB: What do You Expect from the University in Preparing Their Students for Their
Internship Program?

INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 161
Table 33

Employers Expectations of Preparation from the Colleges/Universities
# Question
Strongly
Disagree Disagree Agree
Strongly
Agree Total
1
The university provides a
clearly defined internship
program. 10.00% 1 40.00% 4 50.00% 5 10
2
The university provides an
orientation to the
organization’s culture,
internship program purpose,
rules and policies, and work-
related performance
expectations. 44.44% 4 22.22% 2 33.33% 3 9
3
The university provides the
student with clearly written
and measurable performance
objectives. 20.00% 2 30.00% 3 50.00% 5 10
4
The university communicates
expected learning outcomes
to enrich the internship
experience. 10.00% 1 40.00% 4 50.00% 5 10
5
The university provides
sufficient
direction/supervision and
training prior to the
internship. 20.00% 2 40.00% 4 40.00% 4 10
6
The university regularly
monitors student progress
and evaluates their
performance. 30.00% 3 20.00% 2 50.00% 5 10
7
The university discusses the
student’s performance with
the student, provides
constructive feedback, and
makes recommendations. 10.00% 1 40.00% 4 50.00% 5 10

Of the seven statements asked, three statements received a 90% approval score (5
strongly agreed and 4 agreed). These areas were,
INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 162
• The university provides a clearly defined internship program.
• The university communicates expected learning outcomes to enrich the internship
experience.
• The university discusses the student’s performance with the student, provides
constructive feedback, and makes recommendations.
The communication between the employers and the universities provided both parties
with a clear picture of expectations between them. The employers knew that interns had clear
guidelines as well as a means of evaluation. The employers understood that the evaluation was
ongoing and would benefit the intern as well as the company. The presence of an onsite
Internship Administrator in Los Angeles was an avenue for immediate feedback and
recommendations, both positive and constructive.
The next two statements received an 80% approval score. These areas were,

• The university provides the student with clearly written and measurable performance
objectives.
• The university provides sufficient direction/supervision and training prior to the
internship.
In keeping with the theme of the question relating to the university/employer relationship
as it pertains to the interns’ performance, monitoring and evaluation are an important part of the
relationship. Seventy percent of the employers agreed that,
• The university regularly monitors student progress and evaluates their performance.

Universities, for the most part, have placed an administrator or coordinator to work with
the employers in Los Angeles to ensure that the internship experience is a positive experience.
The universities use a combination of written evaluations, telephone conferences, electronic
INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 163
communications, off-site meetings, and on-site visits with the employers and interns in order to
provide the interns with feedback. This on-going monitoring only enhanced the internship
experience.
According to the survey, compared to the other statements, the area that needed
improvement in the employer/university relationship was,
• The university provides an orientation to the organization’s culture, internship program
purpose, rules and policies, and work-related performance expectations.
Of the nine respondents, five, or 55.55%, of the employers agreed that the university
provided the interns with an understanding of how the employer’s company functions. This
orientation is considered by the employer as a way of making the transition from the classroom
to the employer’s workplace.
In conclusion, the importance of building and continuing to have a close working
relationship between the employer and the universities is a vital component for a successful
internship experience.
Internship Program Experience – Preparation by the University

The employers were asked to rate their interns’ preparation for their internships and how
their internships were impacted by their classroom education. Internships are touted as the
bridge between the classroom and a paid position in the entertainment industry. The set of
statements pertained to bridging academic studies to the workplace. Using a Likert scale where
“1” indicated Strongly Disagree, “2” indicated Disagree, “3” indicated Agree, and “4” indicated
Strongly Agree, the employers were asked to rate the impact of the academic curriculum and
studies at the university to prepare their students for these internships (see Figure CC).

INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 164

Figure CC: Internship Program Experience - Student Preparation

INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 165
Table 34

Internship Program Experience - Student Preparation
# Question
Strongly
Disagree

Disagree

Agree
Strongly
Agree Total
1
The university provides the
ability to connect subject
matter to a “real world”
experience. 20.00% 2 40.00% 4 40.00% 4 10
2
The student is provided with
the opportunity to excel in a
professional work
environment. 70.00% 7 30.00% 3 10
3
The courses the student
takes prior to their
internship properly prepares
them for their internship
experience. 30.00% 3 60.00% 6 10.00% 1 10
4
The student gains a better
understanding of how to
apply the knowledge and
skills gained through their
academic courses and
classroom preparedness. 20.00% 2 50.00% 5 30.00% 3 10
5
The student obtains a better
understanding of the
professional work
environment. 20.00% 2 20.00% 2 60.00% 6 10
6
The student learns more
about career options in their
field of study. 10.00% 1 20.00% 2 70.00% 7 10
7
The internship experience
prepares students for their
career goals and an eventual
job. 40.00% 4 60.00% 6 10
8
After the internship
experience, the student feels
confident that they can
obtain a full-time position in
this or at a similar
organization 70.00% 30.00% 10

INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 166
Table 34 (Cont’d.)

# Question
Strongly
Disagree Disagree Agree
Strongly
Agree Total
9
Student preparation
for their internship
positively impacts
their performance. 60.00% 6 40.00% 4 10

The intern employers felt strongly about many of the statements queried about the impact
of internship experience as it related to the student’s classroom preparation. All the employers
that either “agreed” or “strongly agreed” about the following statements:
• The internship experience prepares students for their career goals and an eventual job.
• After the internship experience, the student felt confident that they can obtain a full-time
position in this or at a similar organization.
• Student preparation for their internship positively impacts their performance
• The student is provided with the opportunity to excel in a professional work environment.
The next statement of which 90% of the employers either “agreed” or “strongly agreed”
with was:
• The student learns more about career options in the field of study.

Some comments on this statement reflected the importance of this statement. Interns
discovered that there were many different jobs in their field of endeavor than what they learned
in classes. The internships encouraged the interns to look at different positions within the
industry and gave them the opportunity to find out which position or career they wanted to
pursue. The companies also stated that interns were able to make career decisions based on real-
life decisions.
INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 167
Three of the remaining statements of which 80% of the employers either “agreed” or
“strongly agreed” were,
• The student obtains a better understanding of the professional work environment.
• The student gains a better understanding of how to apply the knowledge and skills gained
through their academic and classroom preparedness.
• The university provides the ability to connect subject matter to a “real world” experience.
Again, the interns were able to make informative career decisions based on working
experiences versus classroom learning. The transition from classroom learning to industry
experience by having internships hasten the development and growth of the interns.
The last statement of which 70% of the employers either “agreed” or “strongly agreed”
was,
• The courses the student takes prior to their internship properly prepares them for their
internship experience.
Even though many employers stated that their interns came to the internships armed with
many of the skills that were necessary for success in the future, they were concerned that the
interns lacked some basic entry-level skills such as: script coverage, handling rolling calls, music
licensing, and the integration of Excel into the business-end of each company. Other employers
voiced the opinion that if they planned to hire interns at the completion of their internships, then
they want to “train” them into the protocols of their company.
The data collected for this series of statements reflected that internships continue to
reinforce the work that the universities do in preparing their students for their internships and for
their future work in the entertainment industry. For employers, internships brought the
classroom to life for the interns and was a factor as to whether the intern continued pursuing a
INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 168
career in the entertainment industry. In conclusion, internships brought the “real world” to the
interns and were a bridge to their academic experience.
Employers View of Their Internship Program

In order to make an internship effective for the intern, the company provides a program
that meets both the needs of the employer and the intern. These questions asked the employer to
be self-reflective about their internship program. Using a Likert scale where “1” indicated
Strongly Disagree, “2” indicated Disagree, “3” indicated Agree, and “4” indicated Strongly
Agree, the employers were asked to evaluate the following: What do you (the employer) provide
your intern with during their internship program? (see Figure DD).
The responses by the employers was very interesting and provided data that was positive
overall. Of the 11 statements, all 10 employers had a positive response to five of the statements.
Of these statements, two stood out further because of the number of “strongly agree” responses.
The first statement was:
• You provide a professional work environment and encourage the student to contribute
ideas and input.
Eighty percent of respondents “strongly agreed” with this statement. This statement focused on
the workplace environment that provided an opportunity for the intern to contribute positively to
the company’s programs and provide input to their projects. An example of this is when an
intern was asked to write script coverage, the interns were expected to be honest and give
reasons about their decisions. These decisions can affect whether a company proceeds or
“passes” on that particular script. Another example was that some of the interns were included
in meetings with the executives about projects that were under consideration by the company.

INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 169

Figure DD: What Do You (the Employer) Provide Your Intern with during Their Internship
Program?

INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 170
Table 35

Employers' Responsibilities to the Interns
# Question
Strongly
Disagree Disagree Agree
Strongly
Agree Total
1
You work with the
student to develop a
work plan with
assignments specific
to their area of
study.

20.00% 2 50.00% 5 30.00% 3 10
2
You designate a
work area and
resources allowing
the student with a
place to work.

30.00% 3 70.00% 7 10
3
You show a
willingness to train,
mentor, and coach
the student at all
times.

40.00% 4 60.00% 6 10
4
You provide
sufficient
direction/supervisio
n and training.

40.00% 4 60.00% 6 10
5
You regularly
monitor student
progress and
evaluate their
performance.

10.00% 1 40.00% 4 50.00% 5 10
6
You discuss the
performance
appraisal with the
student, provide
constructive
feedback, and make
recommendations.

10.00% 1 40.00% 4 50.00% 5 10
7
You provide a
professional work
environment,
encourage
constructive
feedback, and make
recommendations.

40.00% 4 60.00% 6 10

INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 171
Table 35 (Cont’d.)
# Question
Strongly
Disagree

Disagree Agree
Strongly
Agree Total
8
You provide a
professional work
environment and
encourage the
student to contribute
ideas and input.

20.00% 2 80.00% 8 10
9
You host a site visit
for the internship
administrator from
the university
during the
semester. 10.00% 1 50.00% 5 10.00% 1 30.00% 3 10
10
You provide a
mentor at the
internship site.

20.00% 2 40.00% 4 40.00% 4 10
11
You provide
educational
seminars with other
professionals
(lunch meetings,
guest speakers,
etc.).

66.67% 6 22.22% 2 11.11% 1 9

The second statement of which 70% of the employers responded “strongly agreed” was,
• You designate a work area and resources allowing the student with a place to work.

This statement, like the first statement, focused on the work environment, but dealt with
providing interns with their own work space which allowed them to function like the other entry-
level employees. This meant, besides providing a desk, interns were given supplies and access to
the materials necessary to perform the job. In some cases, this meant providing food to the
interns and allowing them to sit in meetings with the executives of the company. The next three
statements discussed areas of supervision and training. Although all of the respondents agreed to
the importance of supervision and training, 60% “strongly agreed.” These statements were,
INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 172
• You show a willingness to train, mentor, and coach the student at all times.
• You provide sufficient direction/supervision and training.
• You provide a professional work environment, encourage constructive feedback, and
make recommendations.
In answering, the employers focused their willingness on the importance of providing
training, mentoring, supervision, and guidance as the interns learn and grow in their position.
The employers provided the feedback and made recommendations to assist the interns as they
progressed in their positions like they were paid employees.
The next two statements focused on the importance of monitoring and evaluation of the
interns during their internships. Here 50% of employers “strongly agree” with the statement
while 10% “disagree.” These statements were,
• You regularly monitor student progress and evaluate their performance.
• You discuss the performance appraisal with the student, provide constructive feedback,
and make recommendations.
Companies stated that by providing ongoing monitoring of the interns’ progress, it helped
both the intern and the company maximize the internship experience. During the evaluations, the
interns were provided with feedback relating to their general performance and to specific
assignments. An example of this was “how to work the reception desk” and while at the desk
how to handle “rolling calls.” Again, these recommendations are meant to be constructive and
help the intern progress at their position.
The next statement dealt with the assignment of a “mentor” at the internship. Eighty
percent of the employers “agreed” of which half “strongly agreed” to the importance of an on-
site mentor. The statement was,
INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 173
• You provide a mentor at the internship site.
To many of the employers, the mentor was seen as the “go to” person at the company for
the interns. The companies who utilized mentors discovered that they helped build a hierarchy
and eliminated some problems or issues that may occur if the interns needed direction. To put it
simply, accountability to the position was real. Many interns stated that their mentor helped
guide them through the pitfalls of the company and allowed them to develop as if they were
employees.
Another area of discussion was the development of a “game plan” for the intern as it
related to the interns’ area of study. The statement was,
• You work with the student to develop a work plan with assignments specific to their area
of study.
Eighty percent of the employers “agreed” of which 30% “strongly agreed” with the
necessity to develop a program related to the interns’ field of study. Companies in many
instances were interested in whether interns were a fit for their companies rather than if they
brought a specific skill from their interns’ area of study. Since most internships in the
entertainment industry are viewed as entry-level positions, the companies are more interested in
soft skills. The hard skills needed for the position are taught to the interns at the beginning of
their internships. An example is at one company, the company had a special procedure for script
coverage. The company only wanted someone who could write and analyze material and the
company will teach the rest. Unfortunately, at another company the interns were handed scripts
and asked to write coverage. Fortunately for the interns, they learned how to write coverage at
the university’s Script Coverage “Bootcamp.”
INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 174
Another statement related to the visitation of an Internship Administrator from the
university to the internship site. The statement was,
• You host a site visit for the Internship Administrator from the university during the
semester.
Thirty percent of the companies who “strongly agreed” stated that they had hosted the
Internship Administrator from the university. Two reasons were given. Since many of the
employers’ business is confidential, they preferred that only people who need to know should be
in the building. Most employees have to sign confidentiality agreements (Non-Disclosure
Agreements or NDAs) to work for the company. Another reason was that many of the university
administrators never request the visit for different reasons. In some cases, the university’s
administrators are not located in Los Angeles, but at the university’s main campus. Another
reason is that there is a disconnect between the university administrator and the employer. Here
the employer is too busy or there is no one who is responsible in the company to mentor or
supervise the intern.
Finally, the last statement discussed the implementation of onsite educational seminars
with professionals. The statement was,
• You provide educational seminars with other professionals (lunch meetings, guest
speakers, etc.).
Ten percent of the companies “strongly agreed” with this statement. A few companies
provided seminars on a regular basis. However, it must be noted that some of these companies
have established weekly or bi-weekly seminars (executive lunches) with professionals in their
company. In fact, at one company, an executive of the company was always present at these
lunches and helped plan the agenda for that meeting.
INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 175
The next set of questions looked at the different issues that are important to the internship
experience. The researcher first looked at these issues through the lens of the employers and
then through the eyes of the educators.
Employers were asked to evaluate six questions relating to the importance of internships
and the commitments of the universities and the employers (see Figure EE). Using a Likert scale
where “1” indicated Strongly Disagree, “2” indicated Disagree, “3” indicated Agree, and “4”
indicated Strongly Agree, rate the importance of the following,
• Value of the Internship.
• Structure of the internship.
• Mentoring during the internship.
• Value of Networking.
• Commitment by the Internship Company.
• Commitment by the University to the Internship Program.

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Figure EE: Employers Evaluation of the Importance of the Internship Program

Table 36
Employers' Evaluation of the Internship Experience 101
# Question
Strongly
Disagree Disagree Agree
Strongly
Agree Total
1
Value of the
Internship 20.00% 2 80.00% 8 10
2
Structure of the
Internship 10.00% 1 40.00% 4 50.00% 5 10

INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 177
Table 36 (Cont’d.)

# Question
Strongly
Disagree Disagree Agree
Strongly
Agree Total
3
Mentoring during the
Internship 20.00% 2 80.00% 8 10
4 Value of Networking 33.33% 3 66.67% 6 9
5
Commitment by the
Internship Company 10.00% 1 90.00% 9 10
6
Commitment by the
University to the
Internship Program 10.00% 1 20.00% 2 70.00% 7 10

In all categories mentioned, the responses were very positive. In four of the categories,
all (100%) of the respondents either “agreed” or “strongly agreed.” Of these three statements,
the employers felt strongest about the “Commitment of the Internship Company” as the most
important, 90% of the employers responded, “strongly agreed.” The employers said that
without a strong commitment by the employers, internships would not provide a positive
environment where the intern could gain experience in the industry, learn and hone skills,
acquire new skills, and finally make a more informed career decision.
The second category in which all agreed was important and had an 80% “strongly
agreed” response was the “Value of the Internship.” Again, there was a strong consensus among
the employers that it provided both the intern and the internship company a way to determine
first-hand that this was the profession an intern should pursue. For many employers, it provided
them the opportunity to train future employees in “how to do it the way the company does it.” In
most cases, the intern does the work without compensation or a promise of employment at the
conclusion of the internship.
INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 178
The third category in which all agreed was important and had an 80% “strongly agreed”
response was the “Mentoring during the Internship.” The companies stated that having a mentor
or a “go to” person helped in the interns’ growth and development in handling their work.
Accountability for the interns’ performance was in the hands of the mentor in many cases and
also provided the interns with a person who could be part of the interns’ future network of
colleagues in the industry.
The fourth category, in which all agreed was important had a 66.67% “strongly agreed”
response was the “Value of Networking.” Employers encouraged their interns to start
networking during their internships. The employers stated that networking was an important
aspect in the industry because it becomes a major conduit to finding future work in the industry.
Networking, also, provided the intern with a broader picture of the industry and was a
tremendous source for growth.
The next category, “Commitment by the University to the Internship Program,” had a
90% “agreed” or “strongly agreed” response including a 70% “strongly agreed” response. The
employers felt that it was important that the universities had to have a presence in Los Angeles.
The employers stated that the employers appreciated having a university representative with
whom they could work with before, during, and after the internship program.
The last category, “Structure of the Internship,” had a 90% “agreed” or “strongly
agreed” response including a 50% “strongly agreed” response. The employers stated that the
structure of the university’s internship program was tailored by the company to meet the
company’s individual needs. Some companies included “executive lunches” as part of their
program. Also, one-on-one meetings with various employees are encouraged and scheduled as
part of the structure of the program.
INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 179
Colleges and Universities Perspectives - Qualitative (Interviews)

The question of whom is noticing the interns at their internship site is an important one to
address. From the colleges and universities perspective, they considered internships as a way for
their students to gain exposure and for them to learn professional skills in the workplace prior to
completing their academic studies. If their students can gain a foothold in the industry from their
physically being in Los Angeles and having employers become aware of what their students
bring to their internship experience, it helps to separate them from other students who do not
intern and who do not have this relationship with a potential future employer. As the former
Chair of the Motion Pictures department commented,
One is that they are invisible and that nobody notices them. And in fact, everybody
notices them. And two is that they are so crucial and important in everything they do is
such a big deal that they are looked at as the future. And both of them are true. And both
of them are not true. And so, I think that it’s funny because I think that in the eyes of the
employers they have to look at them as . . . I mean they are sort of looking at them as
potential employers. I don’t know. It’s a funny thing. I think one of the things that most
successful interns do is show that they want to be good employees rather than good
interns. (CE)
Building a relationship with employers that can lead to them being involved at the
university by providing one-day and short-term seminars and workshops, and in accepting
adjunct faculty assignments helps to provide students with “real-world” knowledge about the
industry and the workplace environment. Many employers are willing to share their experiences
with students either through Skype or by visiting the campus throughout the year. This helps the
students to acclimate to becoming professionals. During the semester that interns are in Los
INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 180
Angeles, many employers and industry professionals are asked to be guest speakers at a weekly
class entitled, “Pizza and a Guest,” that the Chair of the Motion Pictures department developed at
a prior academic institution. The structure and implementation of it is described as follows,
We organize a guest speaker program. Guests come every single Wednesday [night] and
talk to the students, and they’re from every possible corner of the industry that we can
get. And they talk to students one-on-one, or one-on-20, and they can answer questions
and they get an enormous amount out of that, about professionalism and how to behave
and all kinds of things. They research the guest before the guest shows up. So, what that
does, which I’m very pleased with, is if they research the guest before the guest shows
up, is they don’t ask too many stupid questions because they’ve already answered all of
those questions doing their research. So now when they get in there and the guest arrives
they have really good questions to ask. (WA)
In order to bridge academia and the industry, there is always a constant push to update
and revise the curriculum. As the Chair of the Music Business department commented,
Course curriculum is designed to be cutting-edge. And the instructors that we bring to
campus, to our campuses, we expect that. That’s why they’re hired. And then just
through seminars that we provide, in an effort to make sure that the students are kept
abreast of what the changes are. And they’re rapid in this industry. We have hired a lot
of professionals and professionals in the business just for that exact reason. So, they can,
they’ll make sure that our students are taught the most recent and most up-to-date
information about the industry. (HR)
INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 181
Other faculty members and administrators have commented in a similar way. DB stated,
“I’m doing all kinds of things that are meant to bring people [faculty] in who are working
professionals and are very current on specific things. We have them talk about it.”
Leadership of faculty and the relationships they have with the industry . . . faculty to
constantly be paying attention to the pulse of the industry, to what new technologies are
coming along, even to the pulse of the culture . . . faculty and industry leaders would
always be soft on in this ongoing conversation about what’s needed now and who are the
new people and how can we help nurture so that they can go on and be successful,
because it’s a constant evolution, if you will, of this cycle of life. (MD)

I try to keep my faculty current so that the students can stay current on what’s going on
and how things are changing. We just have to keep it up and keep the students prepared
for whatever is new and whatever is happening. (WA)
At the conclusion of the internship experience, there is always an evaluation form that the
employer completes to submit to the university either directly to the department or through the
career adviser who oversees the internship program at the university. Some of the questions that
they ask the employer to comment on are if the intern has attained the skills to work in their
workplace. JJ asked, “We send out an evaluation to the actual supervisor in the workplace. In
my opinion, that’s the most important. How do they see that student performing in that
environment?”
We rely heavily on the employers to help inform us to what kind of job they’ve done.
And so, we have a standard form that the employers fill out that helps determine, there
are key parts of that form that are completed by the employer to help make us aware of
the job that was done. And then we, also, give the students an opportunity if they want to
INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 182
take advantage of it, of meeting one-on-one with an internship coordinator to discuss any
issues that may have occurred in the internship that might cause some concern. (HR)

The employers fill out an evaluation on their students and how they did . . . I was very
pleased this year that our students, I think they got all 5s and 4s and I think it was the
others . . . we had a bunch of students who didn’t go through our training program and
they had internships that they got through another part of the university and they got 3s
and 4s. They didn’t get as high a grade. Ours were almost all 5s, is what I remember out
of 5. And the other students who hadn’t gone through our training program and we
hadn’t taught them how to be interns, they did not do as well on their evaluations. So,
it’s all about, it seems to me, it is all about the training that we give them before they get
on the plane or before they drive out there. (WA)
The student is also asked to write a reflection piece to self-reflect and gain awareness
[self-efficacy] on the internship experience. The career advisor stated,
An open-ended piece of what do you want to do now, how has it changed, what do you
see yourself doing, what do you want to do in the future. We still have that. We still
have them reflect on what they did, why they did it, how they felt about doing it. It’s still
there, it’s just not titled, ‘Hey, you’re going to reflect today.’ It’s still there, they just
don’t know it. Right, on top of the final report that the students do. (JJ)
Also, the employer is asked to take into consideration the overall experience that the
intern had at a workplace from the beginning to the end of the semester. The career advisor asks
of the employer,
Are they functioning, are they professional, have they taken the things that we’ve had in
class and applied it? Those are the things that I’m looking for. Those are the kinds of
INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 183
questions that these supervisors are asked about the students so that we can really see
how they performed throughout the semester from start to finish. (JJ)
By assessing and evaluating the intern, the university can ascertain if the relationship
between the intern and educational institution is working and if they can build a relationship of
trust between the two. The Associate Provost who oversees both programs commented on
various aspects of this approach. The first thought is to build a pipeline between the employers
and the institution.
There is a pipeline established between the employers and us as the institution, but also
the faculty relationships with those employers and then the students so that there is this
relationship of trust and so if the employer would say, ‘hey next time we need two
instead of one’ or ‘next time we might need six instead of three.’ (MD)
The second thought is to establish a way to provide practical experience in the workplace
environment using the methodology of “high-impact practice.” Internships are one of the means
to achieve this as part of their academic studies.
To take the theory from their learning and apply it, so they get some real practical
experience. That’s what an internship does. It’s called ‘high impact practice.’ And so,
the hard skills they’re learning as theory, they actually get to execute and then I think the
thing that is so incredibly valuable is the soft skills that are necessary to become part of a
team. (MD)
The third thought is the need to build a team with the employers to develop students’ soft
skills so that they obtain these valuable and necessary skills before they complete their
undergraduate studies. MD commented, “To work together as an interdependent team. And
INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 184
those soft skills come about through the nuance back and forth of being together with people in
the industry and then our students being shaped by that.
The fourth thought is the evaluation of the intern through qualitative means to assess
what worked and what can be improved on for the future.
At the end of an internship, the qualitative information provided by the employer, this
went really well but here’s an example of where it all kind of fell apart and how can we
work together to shore this up so next go around we’ll mention this particular experience
and how to be ready and often times people can adapt to unexpected circumstances and it
just helps them to know that they by the way, there are going to be some unexpected
circumstances and be ready to accommodate those sorts of things. So, it’s a constant
cycle if you will, and it goes back to the trust, between the employer and the institution
and the faculty and then of course the student. (MD)
The final reflection from the college and university faculty and administrators concerned
how you evaluate the success of the internship program from their perspective. If the students
are well-prepared and succeed in the industry by being offered employment, it positively reflects
back on their preparation by the university. CE, the former Chair of the Motion Pictures
department, commented, “I do think that if interns get consistently good reviews that’s the
university has done their job in training certain ways and some of it is just the university in
certain areas attract a certain kind of personality.” AW, the current Chair of the Motion Pictures
department stated,
If they get hired, they did a great job. You can tell that. The employers fill out an
evaluation on their students and how did they do. Other students who hadn’t gone
through our training program and we hadn’t taught them how to be interns, they did not
INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 185
do as well on their evaluations. So, it’s all about, it seems to me, it is all about the
training that we give them before they get on the plane or before they drive out there.
Colleges and Universities Perspectives – Quantitative (Survey)

Sources for Internships

The crucial first step for an internship program to be successful is the recruiting and
placement of its students in internships that best fit their individual needs and align with their
career goals. Internships provide the students with different avenues to find their pathway into
the entertainment industry. Educators were asked to identify different sources that they used to
help their students find their specific internships. Using a Likert scale where “1” indicated
Strongly Disagree, “2” indicated Disagree, “3” indicated Agree, and “4” indicated Strongly
Agree, the educators were asked the following: “Which of the following sources do you use to
place information about your internship program?” (See Figure FF).
The survey showed that the universities offered different options for their students. Some
of these options were through the university’s sources while others were by internet and social
media. The responses from the university’s educators was that “Academic Department
Announcements” was the largest in-house source for internships at 66.67%. Of the other in-
house university sources, 55.56% stated that “Academic Department Advisor” was second and
50% stated that “Campus Career Center/Job Fairs” was the next choice.

INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 186

Figure FF: Which of the Following Sources Do You use to Place Information about Your
Internship Program?

Table 37

Sources of Information about Internships 108

# Answer % Count
1 Academic Department Announcement 66.67% 12
2 Academic Department Advisor 55.56% 10
3 Campus Career Center/Job Fairs 50.00% 9
4 Posting on an Internship Job Board Website (Handshake) 50.00% 9

INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 187
Table 37 (Cont’d.)
# Answer % Count
5
Social Media (Facebook, LinkedIn, Twitter, Instagram,
Snapchat) 61.11% 11
6 Other (Please specify)* 22.22% 4
Total 100% 18

*Other (Please specify) - Text
course instructors and guest speakers
Our internships are not part of an official program per se and so there is nothing to advertise
except our suite of programs and offices.
I’m not involved in the internship program
Weekly newsletters

The internet resources, also, were important sources for finding internships. 61.11% of
the respondents stated that “Social Media” such as Facebook, LinkedIn, Twitter, and Snapchat
were an important source for finding internships. Also, 50% of those surveyed stated that
“Internet Job Bulletin Boards” such as Handshake was an important source for finding
internships.
Internship Program Experience at the University
The next set of statements discussed how the universities studied the value of their own
internship programs. This part of the survey focused on two areas. The first area discussed the
university’s commitment to the program. The second area discussed the relationship of the
Internship Administrator to the intern and to the university. Using a Likert scale where “1”
indicated Strongly Disagree, “2” indicated Disagree, “3” indicated Agree, and “4” indicated
Strongly Agree, the educators were asked the following: The universities were asked to rate the
INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 188
following statements based on their experience at the university related to their internship
program (see Figure GG).

Figure GG: Internship Program Experience at the University

INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 189
Table 38
University's Commitment to Internships through the Lenses of the Internship Administrator
# Question
Strongly
Disagree Disagree Agree
Strongly
Agree Total
1
A dedicated
university
internship
administrator is
assigned. 5.56% 1 38.89% 7 55.56% 10 18
2
There are
expected
learning
outcomes and
grades for the
internship
experience. 11.11% 2 11.11% 2 77.78% 14 18
3
The internship
administrator
establishes and
communicates
clear
expectations on
the work
responsibilities
of the
employer. 11.76% 2 41.18% 7 47.06% 8 17
4
The internship
administrator
works with the
supervisor and
provides close
oversight
throughout the
internship
experience. 23.53% 4 47.06% 8 29.41% 5 17

INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 190
Table 38 (Cont’d.)
# Question
Strongly
Disagree Disagree Agree
Strongly
Agree Total

5
There is a clear
understanding
of all the
prerequisites
that a student
must have
prior to their
internship
experience. 17.65% 3 35.29% 6 47.06% 8 17
6
The internship
administrator
provides the
student with
the opportunity
to evaluate
their internship
experience. 35.29% 6 64.71% 11 17
7
The internship
is a mandatory
requirement
for a
major/degree. 22.22% 4 33.33% 6 27.78% 5 16.67% 3 18
8
If an internship
is not
mandatory,
does the
university
prefer students
to complete
one? 20.00% 3 26.67% 4 53.33% 8 15

The university’s commitment to their program focused on four statements. The statement
“There are expected learning outcomes and grades for the internship experience;” 77.78% of the
respondents strongly agreed with this response. The interns knew what they would accomplish
INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 191
during their internships. These included job descriptions, goals, and expectations of the
internship.
The second statement related to the university’s commitment to the internship program
was, “There is a clear understanding of all the prerequisites (requirements) that a student must
have prior to their internship experience;” 47.06% of the respondents strongly agreed with this
response. The educators felt that the students needed to understand what skills were needed for
their specific internships as well as learning new skills while enhancing and improving on the
skills they knew prior to their internship experience.
The third and fourth statements related to the university’s commitment to the internship
program were whether internships were mandatory. One statement was. “The internship is a
mandatory requirement for a major/degree;” 16.67% of the respondents strongly agreed with this
response. Most universities did not require their students to have internships, but studies showed
that internship experience did open doors for future employment in the entertainment industry.
The next statement is an extension of the previous statement. It was “If an internship is not
mandatory, does the university prefer students to complete one?” Even though most universities
do not mandate internships, 53.33% of the respondents strongly agreed that universities
encourage their students to participate in their internship programs. In fact, some of the
universities encouraged their students to have two or more internships during their undergraduate
program.
The next set of statements discussed the relationship with the Internship Administrator,
the interns, and the university. The respondents felt strongly about the importance of an
Internship Administrator as part of the university’s program. All the respondents (100%) either
agreed or strongly agreed with the response that “The Internship Administrator provided the
INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 192
student with the opportunity to evaluate their internship experience.” Drilling down further,
64.71% of the respondents strongly agreed with this statement. It was important to the interns
that they receive feedback about their internships. This evaluation helped the interns optimize
their internship experience as well as helped prepare the intern as they moved on in their career.
The second statement relating to the Internship Administrator was “A dedicated
university Internship Administrator is assigned;” 94.45% of the respondents agreed or strongly
agreed that the Internship Administrator was a very important part of the internship program.
Again, drilling down, 55.56% of the respondents strongly agreed that the Internship
Administrator is an important part of the internship program. The universities stated that having
an Internship Administrator in Los Angeles with the interns providing the interns with a “go-to”
person during their internships.
The third statement relating to the Internship Administrator was “The Internship
Administrator establishes and communicates clear expectations on the work responsibilities of
the employer;” 88.24% of the respondents agreed or strongly agreed that the Internship
Administrator was the person who was the main contact person between the university and the
internship company (employer). Drilling down, 47.06% of the respondents strongly agreed that
the Internship Administrator is the liaison among the employer and the university. Employers
looked at the Internship Administrator as the contact person between them and the university.
The last statement relating to the Internship Administrator was “The Internship
Administrator works with the supervisor and provides close oversight throughout the internship
experience;” 76.47% of the respondents agreed or strongly agreed that the Internship
Administrator collaborated with the employers to make sure that the internship was a positive
experience. Again, drilling down, 29.41% of the respondents strongly agreed that the Internship
INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 193
Administrator was in contact with the employers, interfaced with the employer, and occasionally
visited the worksite. It was the responsibility of the Internship Administrator to assist both, the
intern and company, and accomplish the goals and expectations set for by all the participants in
the internship.
In conclusion, the Internship Administrator, is the eyes and ears of the university in Los
Angeles during the internship part of the university’s program.
University’s Expectations of Employers at the Internship Site
The next set of statements discussed what the university expected from the employers
during the internship period. There were 14 statements regarding the expectations of the
university in regard to the internship employer and the intern (see Figure HH). Using a Likert
scale where “1” indicated Strongly Disagree, “2” indicated Disagree, “3” indicated Agree, and
“4” indicated Strongly Agree, the educators were asked the following, Based on your own
experience, what does the University expect at the Internship Site from the Employer?
The responses of this part of the survey were very positive; however, the majority of the
responses were agreed rather than strongly agreed. Of the 14 statements, two statements
received 94.12% where the respondents either agreed or strongly agreed with the following
statements:
• They provide sufficient direction/supervision and training.
• They provide a professional work environment, encourage constructive feedback, and
make recommendations.
Drilling further down, each statement received 41.18% responses of strongly agreed.

INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 194

Figure HH: What Does the University Expect at the Internship Site from the Employer?

INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 195
Table 39
University's Expectation of the Employer
#
Question
Strongly
Disagree Disagree Agree
Strongly
Agree Total
1
They provide a clearly
defined internship
program. 5.88% 1 11.76% 2 47.06% 8 35.29% 6 17
2
There is an orientation to
the organization’s culture,
internship program
purpose, rules and
policies, and work-related
performance expectations. 5.88% 1 17.65% 3 47.06% 8 29.41% 5 17
3
They provide the student
with a clearly written job
description of work duties,
responsibilities, and
measurable performance
objectives. 17.65% 3 64.71% 11 17.65% 3 17
4
They communicate
expected learning
outcomes to enrich the
internship experience. 5.88% 1 29.41% 5 35.29% 6 29.41% 5 17
5
They work with the
student to develop a work
plan with assignments
specific to their area of
study. 11.76% 2 17.65% 3 41.18% 7 29.41% 5 17
6
They designate a work
area and resources
allowing the student with a
place to work. 6.25% 1 6.25% 1 75.00% 12 12.50% 2 16
7
The supervisor shows a
willingness to train,
mentor, and coach the
student at all times. 5.88% 1 11.76% 2 29.41% 5 52.94% 9 17
8
They provide sufficient
direction/supervision and
training. 5.88% 1 52.94% 9 41.18% 7 17

INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 196
Table 39 (Cont’d.)
# Question
Strongly
Disagree Disagree Agree
Strongly
Agree Total
9
They regularly monitor
student progress and
evaluate their
performance. 11.76% 2 64.71% 11 23.53% 4 17
10
They discuss the
performance appraisal
with the student, provide
constructive feedback,
and make
recommendations. 5.88% 1 70.59% 12 23.53% 4 17
11
They provide a
professional work
environment, encourage
constructive feedback,
and make
recommendations. 5.88% 1 52.94% 9 41.18% 7 17
12
They provide a
professional work
environment and
encourage the student to
contribute ideas and
input. 5.88% 1 76.47% 13 17.65% 3 17
13
They host site visits for
the internship
administrator during the
semester. 11.76% 2 35.29% 6 35.29% 6 17.65% 3 17
14
They provide a mentor at
the internship site. 12.50% 2 25.00% 4 37.50% 6 25.00% 4 16

Other statements scored the same number of agreed or strongly agreed responses, but the
strongly agreed responses were less. One of these statements was “They discuss the
performance appraisal with the student, provide constructive feedback, and make
recommendations.” It received an overall positive response of 94.12% but a strongly agreed
response of 23.53%. Another statement that had a similar response was “They provide a
INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 197
professional work environment and encourage the student to contribute ideas and input;” only
17.65% strongly agreed with this statement.
The following statements scored in the 80% range where the respondents agreed and
strongly agreed with the statements,
• They provide a clearly defined internship program.
• They provide the student with a clearly written job description of work duties,
responsibilities, and measurable performance objectives.
• They designate a work area and resources allowing the student with a place to work.
• They regularly monitor student progress and evaluate their performance.
• The supervisor shows a willingness to train, mentor, and coach students at all times.
Within this group of statements, the statement “The supervisor shows a willingness to train,
mentor, and coach students at all times” had the most strongly agreed responses (52.94%) of all
the statements relating to the university’s expectations of the employer.
The last set of statements scored in the 50% to the mid 70% range. These statements
were,
• There is an orientation to the organization’s culture, internship program purpose, rules
and policies, and work-related performance expectations.
• They communicate expected learning outcomes to enrich the internship experience.
• They work with the student to develop a work plan with assignments specific to their area
of study.
• They host site visits for the Internship Administrator during the semester.
• They provide a mentor at the internship site.
INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 198
Even though these statements were scored lower in the eyes of the educators as compared
to the other statements, it was important to note that they are still considered important to the
educators. Open lines of communication between the educators and the employers only improve
and enrich the intern experience for the interns. Having a mentor at the internship only enhances
the internship by providing immediate feedback to all the participants (intern, employer, and
educator). It, also, gives the educator a direct link to the employer as the intern works during the
internship.
Student Preparation through the Lenses of the University

The next set of statements looked at how universities viewed their preparation of their
students for their internships. Using a Likert scale where “1” indicated Strongly Disagree, “2”
indicated Disagree, “3” indicated Agree, and “4” indicated Strongly Agree, the educators were
asked the following, Based on your own experience about your internship program, please rate
the following statements based on student preparation by your university (see Figure II).
Compared to the university’s survey of the employers, the universities looked at their program in
a more positive light. Of the nine statements, 100% of the respondents either agreed or strongly
agreed on seven statements about the university’s preparation for their students’ internships.
These statements focused on how the internship experience extended and expanded their
classroom learning into the real world. Drilling down, the highest percentage of strongly agreed
responses (77.78%) was “The student obtains a better understanding of the professional work
environment.” This theme continued with 76.47% of the respondents strongly agreed about the
following statement “The student learns more about career options in their field of study.” Other
areas reflecting this theme were,

INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 199

Figure II: Internship Program Experience - Student Preparation

INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 200
Table 40
University's Point of View of Student Preparation for Internship
# Question
Strongly
Disagree Disagree Agree
Strongly
Agree Total
1
The university provides
the ability to connect
subject matter to a “real-
world” experience. 29.41% 5 70.59% 12 17
2
The student is provided
with the opportunity to
excel in a professional
work environment. 41.18% 7 58.82% 10 17
3
The courses the student
takes prior to their
internship properly
prepares them for their
internship experience. 17.65% 3 52.94% 9 29.41% 5 17
4
The student gains a better
understanding of how to
apply the knowledge and
skills gained through their
academic courses and
classroom preparedness. 41.18% 7 58.82% 10 17
5
The student obtains a
better understanding of
the professional work
environment. 22.22% 4 77.78% 14 18
6
The student learns more
about career options in
their field of study. 23.53% 4 76.47% 13 17
7
The internship experience
prepares students for their
career goals and an
eventual job. 5.56% 1 22.22% 4 72.22% 13 18
8
After the internship
experience, the student
feels confident that they
can obtain a full-time
position in this or at a
similar organization. 16.67% 3 55.56% 10 27.78% 5 18

INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 201
Table 40 (Cont’d.)
# Question
Strongly
Disagree Disagree Agree
Strongly
Agree Total
9
Student preparation for
their internship
positively impacts their
performance. 38.89% 7 61.11% 11 18

• The university provides the ability to connect subject matter to a “real-world” experience.
• The student is provided with the opportunity to excel in a professional work environment.
• The student gains a better understanding of how to apply the knowledge and skills gained
through their academic courses and classroom preparedness.
• Student preparation for their internship positively impacts their performance.
Another statement that the respondents reinforced was the concept that internships are a
bridge to finding employment after their internships. The statement was “The internship
experience prepares students for their career goals and an eventual job.”
The remaining two statements reinforced the theme of internship preparation and that
internships are a “bridge” to employment in the entertainment industry. These are,
• The courses the student takes prior to their internship properly prepares them for their
internship experience.
• After the internship experience, the student feels confident that they can obtain a full-time
position in this or at a similar organization.
The importance of internships through the lens of the university has become a vital component of
the university’s curriculum.
Educators were asked to evaluate six questions relating to the importance of internships
and the commitments of the universities and the employers (see Figure JJ). Using a Likert scale
INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 202
where “1” indicated Strongly Disagree, “2” indicated Disagree, “3” indicated Agree, and “4”
indicated Strongly Agree, rate the importance of the following,
• Value of the Internship.
• Structure of the internship.
• Mentoring during the internship.
• Value of Networking.
• Commitment by the Internship Company.
• Commitment by the University to the Internship Program.
The educators responded positively about the value of and the commitment to internships
Two of the statements received either an agreed or strongly agreed response from 94.45% of the
educators. Of these responses, 88.89% of the responses were a strongly agreed response. These
were:
• Commitment by the University to the Internship Program.
• Value of Networking.
The “Commitment by the University to the Internship Program” reflected the efforts put
forth by the universities to maximize the internship program in the entertainment industry in Los
Angeles. Previously, in the qualitative research, WA stated that the Los Angeles internship
experience helps speed up their students’ growth and advancement in the entertainment industry
by three years.

INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 203

Figure JJ: University’s Evaluation of the Importance of the Internship Program

INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 204
Table 41
University's Evaluation of the Internship Experience
# Question
Strongly
Disagree Disagree Agree
Strongly
Agree Total
1 Value of the Internship 5.56% 1 16.67% 3 77.78% 14 18
2
Structure of the
Internship 11.11% 2 38.89% 7 50.00% 9 18
3
Mentoring during the
Internship 5.56% 1 38.89% 7 55.56% 10 18
4 Value of Networking 5.56% 1 5.56% 1 88.89% 16 18
5
Commitment by the
Internship Company 5.56% 1 16.67% 3 77.78% 14 18
6
Commitment by the
University to the
Internship Program 5.56% 1 5.56% 1 88.89% 16 18

The “Value of Networking” has become the unwritten skill that plays an important part of
the internship experience. The internship provided the interns with the opportunity to start
building lifelong relationships in the industry with both their peers and other professionals who
are further along in their careers. The educators frequently encouraged their students to make
connections and keep in touch with them after their internships. Networking, also, provided the
intern with a broader picture of the industry and was a tremendous source for growth.
Two of the statements the respondents either “agreed” or “strongly agreed” scored
94.55%. These were
• Commitment of the Internship Company.
• Value of the Internship.
INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 205
Drilling down further, the educators felt that the “Commitment of the Internship Company” and
the “Value of the Internship;” 77.78% strongly agreed with the importance of these categories.
Commitment of the Internship Company
The educators stated that without a strong commitment by the internship companies,
internship programs would not provide the environment or the opportunity where the interns can
flourish in the position. Also, the interns gain experience in the industry, learn and hone skills,
acquire new skills, and finally make a more informed decision about their careers.
Value of the Internship
The universities over the last two decades have discovered the importance of having
strong internship programs. An important value of the internship program is that it is the bridge
between the classroom and the real working world. Students were able to find their way and are
able to determine which road they want to travel as their careers in the entertainment industry
begin. Another importance of internships was that it provided an avenue for interns to network
with fellow interns and professionals. As WA in the qualitative study stated, internships on an
average advance ones’ career by three years versus a student who has not taken an internship.
Mentoring during the Internship
The next category in which all agreed was important and had a response of 94.45% of
either agreed or strongly agreed response was the “Mentoring during the Internship;” drilling
down, 55.56% of the response were strongly agreed. Again, there was a strong consensus
among the educators that it provided the interns with a “go-to” person at the company that will
guide them in their day-to-day experiences as a source for future career decisions. In some
cases, the mentor can be the first contact in developing an interns’ network of colleagues. Also,
INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 206
the educators felt that the mentor added another level of accountability for the interns’
performance during the internship.
Structuring of the Internship
In the last category, Structure of the Internship, all the educators responded 88.89% either
agreed or strongly agreed of which 50.00% “strongly agreed” with the statement. The
educators stated that the structure of the university’s internship program was tailored by the
university to meet the needs of their students by working with companies in the entertainment
industry. The structure of the internship program benefitted the students because it provided an
environment for growth while experiencing what it is to work in the industry. A good internship
is a win-win situation for both the intern and the company. Some companies included “executive
lunches” as part of their program. Also, one-on-one meetings with various employees are
encouraged and scheduled as part of the structure of the program.
Summary
This mixed-methods dissertation discussed internships in the entertainment industry from
the perspectives of both colleges and universities that provided internship programs in Los
Angeles for their students in motion pictures and in the music business, and from industry
employers in film, television, digital, streaming, and music through interviews and surveys. The
first research question examined how the university prepared their students before they arrived in
Los Angeles, during their time here, and after the completion of the internship program. It also
asked the same series of questions of the industry employers of what they expected in terms of
specific skills from their interns before they were selected, during their time under their
supervision, and after they completed their semester with them. This three-prong approach
enabled the researcher to identify what was needed and expected at each step of the process. The
INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 207
second research question asked both the colleges and universities and the industry employers if
internships were a catalyst for students to obtain paid positions in the industry. The third
research question asked about equity, diversity, gender, and socioeconomic issues in the
entertainment industry as reflected both at colleges and universities and at the internship site of
the students’ internship. The fourth research question asked how the internship program was
assessed and evaluated by the colleges and universities and by the industry employers as it
pertained to the individual student and to the university internship program itself. These four
research questions measured the effectiveness and accessibility of internship programs as they
exist today in the entertainment industry by looking at one particular university, HHU as a case
study, and measured it against many colleges and universities that offered internship programs in
Los Angeles and through entertainment industry employers in film, television, digital, streaming,
and music.
Chapter Five contains a summarization of the findings, discuss limitations, and where
future research can look for suggestions to accelerate a student’s transition from higher education
to a career in the entertainment industry.

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CHAPTER FIVE: SUMMARY, FUTURE IMPLICATIONS,
AND CONCLUSION

Focus of Study

This research study analyzed the factors from a quantitative and qualitative viewpoint of
how colleges and universities play a role in a student’s acquisition of skills so that they can be
prepared to obtain internships, and the entertainment industry employers’ role in providing the
structure and oversight of an intern under their supervision during the time that they participate
in an internship program in Los Angeles. It also examined how interns gain the necessary skills
during their internships and afterwards so that they can transition into paid entry-level positions
upon graduation into the entertainment industry. The issues of equity, diversity, gender, and
socioeconomic factors were addressed through the lens of the colleges and the universities and
that of the employers’ responsibility to provide access to all students. Finally, there is an
extensive evaluation process that colleges and universities request from the employers who
supervise and assess the students during their semester-long internships and that of the
employers who inform the universities about the preparation and performance of their students in
the workplace.
Research Questions
The research questions that were examined in this study were:
• R1. 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?
• R2. 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?
INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 209
• R3. What are the equity, diversity, gender, and socioeconomic issues that internships
need to address in the entertainment industry?
• R4. 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

R1. 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?
This research question addressed the various stages of preparation that students need to
have before they enter the competitive environment of an internship in the entertainment industry
in Los Angeles. Through the quantitative surveys and qualitative interviews with faculty,
administrators, and employers in all sectors of the motion pictures, television, digital, streaming,
and the music industries, a great deal of information was obtained. In certain instances, there
was agreement of skills that were necessary before the student applied for the internship that
were necessary in order to obtain it. This led to an extensive description of soft skills as defined
by NACE and the hard skills as defined by both the colleges and universities and the employers
in motion pictures and in the music industry. Other times, it was skills that could be taught by
the employer to the student once they started their internship and progressively acquired
proficiency during the semester. A great deal of emphasis was placed on script coverage and
administrative office skills that were applicable for the workplace. HHU provided internship
bootcamps on script coverage and what it takes to be a superb intern prior to the students’ arrival
in Los Angeles. This prepared them ahead of time for what the expectations would be at their
INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 210
future internship. It was also suggested that students have an internship or two in their
hometown or college town before trying one in Los Angeles. Once the student acquired an
internship then the learning objectives were designed to provide hard skills that were unique to
the particular internship and reinforced soft skills that were universal to all industries. The
employers provided learning opportunities by one-on-one meetings, executive lunches, field
trips, assigning a mentor at the company, and setting up networking activities and events that the
students could attend. This made it a valuable experience for the students. Also, most students
were also taking 16 credits during the school year in addition to their internship. Some of the
courses were online, but a few were taught by working professionals in Los Angeles sharing
their expertise with guest speakers from the industry who provided their insight and career
advice. After the conclusion of the internship, students were encouraged to keep in touch with
their employers in a meaningful way if they were not graduating and offered an entry-level
position, and to build strong relationships. The entertainment industry is an industry of
relationships, so this was an extremely valuable skill that they learned through their internship
experience.
R2. 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?
Colleges and universities in providing the opportunity for their students to learn new
skills through interning in Los Angeles at studios, networks, production companies, post
production facilities, camera houses, PR firms, management companies and agencies, music sync
and licensing firms, and a variety of other employers who service the entertainment industry,
enable their students to get their “foot in the door” and demonstrate their academic knowledge
and skills to potential employers. This is priceless in terms of gaining access to the powers that
INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 211
hire. In proving themselves as superb interns, they can show that they could be excellent
employees if given the chance to be hired. The students who intern have an advantage over the
students who do not intern by “being at the right place at the right time” and transition to paid,
entry-level positions at a much faster rate. They also have acquired mentors in their internship,
supervisors at the companies that they intern at, and also have started to build a network of peers
and colleagues to assist them in achieving their career goals through providing advice,
recommendations, and relationships. Employers do not have to view hundreds or thousands of
resumes, sit through dozens of interviews, or hire Talent Acquisitions staff, to find their next
employee. Their intern is sitting right there in their offices. It becomes a “win-win” situation for
all stakeholders in the process. The colleges and universities have successfully placed their
students in the workplace, the employers have found excellent new employees from their
internship pool, and the students benefit from the interaction of both stakeholders. Internships
are the catalyst for obtaining entry-level positions in the entertainment industry.
R3. What are the equity, diversity, gender, and socioeconomic issues that internships
need to address in the entertainment industry?
The issues of equity, diversity, gender, and socioeconomic barriers in the entertainment
industry was examined from both the college and university perspective and from the employers’
perspective. This affects the hiring process and is a concern that needs to be addressed by both
stakeholders. Colleges and universities need to provide more scholarships and assistance for
diverse and underrepresented populations so that they can participate in internship programs.
Because these programs are expensive, it does not allow everyone to participate. With the
industry providing more diversity and inclusion initiatives, employers can identify and position
themselves to reach out and break the barriers down. There is a lot of attention to this problem
INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 212
which also includes the high cost of higher education in general which students and their families
are concerned about and want to know if education and participating in an internship will lead to
employment so that it will pay for itself in the future. Having more paid internships can help
students to offset some of the expenses that are associated with coming to Los Angeles for the
semester.
R4. 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?
At the end of the semester, colleges and universities request that the internship supervisor
at the company where their student was placed complete a comprehensive evaluation of the
performance of the student. This provides validation of how the student worked out in
completing the tasks and assignments that the supervisor oversaw in the workplace. Sometimes
there is a specific assignment, but most of the time it is the learning objectives which were
discussed when the student started their internship and signed a learning agreement. If the
employer has done their job of providing an excellent work environment, mentoring, networking,
and continually offering guidance to the student, then the student and the educational institution
are pleased with the results. The student is either offered a position if one is available or uses
their experience to build their career portfolio to gain future internships or future employment.
Depending on where the student is in their academic career, this may not be the case since they
must return to college to complete their studies and graduate. The student usually evaluates the
employer so that future students can learn how the employer company was as a possible site for
others. This evaluation usually goes to the career advisor, the chairperson of the department, or
the internship administrator. It is a continual process to determine if the colleges and universities
INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 213
are preparing their students for the workplace and if the employers are attuned to the skills that
the students are bringing with them to their companies. Sometimes curriculum is revised and
updated as a result of this feedback from the employers and what students bring back from their
internship experiences. Everyone benefits from this period of assessment, evaluation, and
accountability.
Conclusions
In researching the four questions that were developed to study how internships worked
from the perspectives of colleges and universities and from the industry employers’ perspective,
it was revealed that each of the stakeholders that were examined had their own ideas about the
best way to prepare students to enter the workplace after graduation. There was some overlap in
their desire to educate students to achieve their career goals by possessing the necessary 21st
century skills as defined by NACE.
Implications for Practice
The implications of studying and analyzing all the quantitative and qualitative data that
was examined during the research period revealed that in the fields of motion pictures and music
business that the continual education of the faculty and administration on the changing
technology and content of the art form means that students need to be prepared for the
workplace. Internships are the catalyst for students to gain “hands-on” experience to
complement their academic knowledge that they gain from their curriculum and courses.
Employers need to embrace students who bring their talents and initiatives into the workplace to
share with their employees. They both need each other to engage in the creation of new works in
film, television, digital, streaming, and music. This is the cycle of artistic and technological
advancement in our culture, locally, nationally, and internationally.
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Limitations and Delimitations

As it was described in Chapter One, the limitations and delimitations of research
examined that most colleges and universities do not operate their programs in a similar way.
There were few similarities to each program except that academic course credit was provided, a
student accepted an internship in Los Angeles and was supervised at the internship site, that they
interned at a place or company for a defined period of time, and that a formalized methodology
of evaluation was completed by the internship employer and sent to the colleges and universities
at the conclusion of the semester. Differences included how each college and university program
operated in connection with a department, division, school of the college or university, career
placement center, or without any administrative or faculty oversight. Employers operated their
internship programs differently depending on how each company, studio, or network was
organized. The result was that the more corporate the employer then the more structured the
program was for the students.
By examining one specific university using a pseudonym, Howard Hawks University
(HHU) as a case study, various perspectives from each of the stakeholders (students participating
in internship programs, college and university faculty and administrators, and entertainment
industry employers), the researcher was able to determine if there was internal validity. Through
the research into other college and university programs and through other industry employers,
generalizability was examined to provide insight into college and university internship programs
and experiences. The issue of external validity was assessed by the researcher so that it could
provide information and knowledge that would be applicable to all students, colleges and
universities, and internship employers. This makes it useful to all stakeholders in the internship
experience and its outcome.
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The subject of the research was internships in the entertainment industry and the various
stakeholders who are university students, college and university faculty and administrators, and
entertainment industry 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 attended classes either in the classrooms that
their universities maintained in Los Angeles or online. The students also attended educational
and cultural events during their internship experiences and lived in university-arranged housing.
Classes were generally taught by working industry professionals with guest speakers who
provided their working knowledge of the practice of their profession on a wide range of
specialized topics. The university had administrative support on the main campus and in the Los
Angeles area who coordinated and administered the students’ internships, classes, cultural
events, and interfaced with the representatives at the housing facilities. The Internship
Administrator was also responsible for the safety of the students and provided student affairs
support when a student or students were identified in need of it. Industry employers provided
internship coordinators, supervisors, and mentors who oversaw their interns during their
semester-long internship experiences. These internship coordinators provided tasks, assigned
projects, and arranged shadowing opportunities so that the interns who worked throughout the
semester received training which was educational in nature and did not replace the work of paid
employees in order to maintain and legally fulfill the FLSA (Federal Labor and Standards Act)
guidelines from the DOL (Department of Labor).
Recommendations for Future Study
In identifying areas for future research into internships in the entertainment industry from
both the perspectives of the colleges and universities and from the internship employers, it
INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 216
should be noted that the internship experience needs to be aligned so that each student receives a
structured and extensive program of classes, cultural and industry events in Los Angeles, and
supervision and hands-on interaction during their semester in the program and that internship
employers care for and educate their interns into the working practices of the industry. They are
partners in this endeavor so that they may provide and achieve an optimal experience for
everyone involved. Since the industry is becoming more global in its reach, there is an
additional responsibility to ensure that students gain global and intercultural fluency not only in
their studies but in the applications of it in the world market. Students need the soft skills and
the hard skills to compete in the future, but additionally need to be cognizant of equity, diversity,
gender, socioeconomic, and financial concerns as well as a complete understanding and
realization of values, beliefs, fears, and behavioral styles in society. Only when all this can be
factored into the equation can new creative solutions be found and implemented.
First, more research into the expected learning outcomes in a professional setting are
necessary for a student to be best prepared for the specific industry that they want to transition
into upon graduation and should be a priority. This would help colleges and universities to
develop and strengthen their curriculum to adjust to the changes and future requirements for
preparing their students. A dialogue between colleges and universities needs to occur so that
both entities can work together to improve relationships between the two. It is not just the
academicians in the ivory tower preaching theory or industry employers implementing practices
to educate its future workforce. They both have one thing in common, the students who are the
next generation to transition from higher education into the sector of the entertainment industry
of their choice.
INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 217
Second, more studies of the music industry and how the rapid changes occurring almost
daily in technology and streaming are changing the entire landscape. Since, the researcher
attempted to learn more about this aspect of the industry, but does not work in it, future research
should be attempted to understand and provide a roadmap for colleges and universities who offer
music business programs and for the employers who hire interns to preview possible careers and
transition into the latest divergence occurring in the music industry. This is an industry of
disruption and innovation at the same time and defined as disruptive innovation. More studies
can be undertaken to learn how to best prepare students to enter this field.
Third, is the film, television, digital, and streaming industry and the changes that are
happening all at once similarly to music. As each technological implementation changes how
stories are told in the past, so too has the social, cultural, political, and economic aspects of the
industry. As social and intellectual history defines it, film reflects the society that produces it as
emanating from its creators to its audiences. Academic research into the historical roots of how
creators can create products that can affect how a society experiences it can assist employers in
novel and unique ways. Likewise, expanding the scope of professionals to teach their newfound
understanding of the world can help colleges and universities to gain a place at the table in the
evolving industry that can help students progress into becoming the leaders of this art form of the
21st century.
Fourth, the study of entertainment in all of its various forms needs to be a top priority on
campuses since it is the single most pervasive communication medium that exists. It is the
responsibility of our colleges and universities to best prepare the students who are our future for
the present and the quickly accelerating changes in the world. As Obi-wan Kenobi said to Luke
Skywalker in the original Star Wars film, “You are our only hope” (Kurtz & Lucas, 1977). The
INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 218
students are the link from the past through the present to the future in taking us forward. We
need to listen to them and find out what it is that they need and want as they begin their journey
from students into working professionals in the entertainment industry.
Conclusion and Final Thoughts
In conclusion, open the doors to the kingdom so that all who want to enter have a way
inside. It should not be exclusionary or discriminatory to anyone whether by race, gender,
socioeconomic, or age reasons. Everyone has a story to tell about their past, their present, or
what they anticipate in their future. There should not be any barriers to entry, no “open sesame”
or other secret words to keep someone out from entering. As the entertainment industry
continues to evolve in terms of technology, formats, VR, AR, AI, gaming, and alternative means
of storytelling and immersive content creation, there is one thing that is common to all and that is
that a story is a visual representation of something that happens. The beauty of it all is that each
generation embraces the entertainment industry with their passion, dreams, inspiration,
motivation, and curiosity. There is always something more to learn and to treasure about the
human condition. Having a way to enter through internships approved and supervised by faculty
and administrators at colleges and universities and implemented by the various employers in the
entertainment industry provides a student with the opportunity to learn about their industry and
to perfect their skills before they complete their education. It is a time to try it to see if they like
it and want to pursue this as a career. For the employers, it is a way to observe the student and
encourage them as they begin their journey. Those who take advantage of internship programs
often state that the experience was life-changing and a revelation about the industry that they are
considering it as a lifetime career. For some, it is a place and pursuit that they do not want to
continue chasing, but for most it is only the first step where they will leave their footprints. How
INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 219
fitting is it that one of the most historic and idolized sites in film history and architecture is the
movie palace on Hollywood Boulevard and that was originally called Grauman’s Chinese
Theatre, then Mann’s Chinese Theatre, and recently renamed TCL Chinese Theatre, where
movie, radio, and television stars of the past and present placed their handprints and footprints in
cement telling us that they were here? This commemorates a rite of passage for the stars just like
for the interns who signed up for a semester and marked their footprints in Hollywood, the
capital of the entertainment industry, by walking down the red carpet to meet their adoring fans,
and for the interns in preparing them for their future employers and to chase their aspirations and
dreams.

INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 220
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1202023846/
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Tripp, M. (2015). In defense of the unpaid internships: Proposing a workable test for eliminating
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Zehr, S. M. (2016). Student internship experiences and learning opportunities: A mixed methods
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INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 228
Appendix A: Conceptual Framework Concept Map

INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 229
Appendix B: Interview Protocol - # 1 Interns
Interview Protocol - University Administrators and Entertainment Industry Employees Who
Supervise Interns

Good morning, my name is Selise Eiseman and I am a doctoral candidate in the Rossier School
of Education at the University of Southern California. I want to give you an overview of my
study and answer any questions about participating. The purpose of this study is to understand
how universities are preparing their students to work in the entertainment industry and how
entertainment industry companies and employers are assessing the preparation, skills, and future
employment opportunities for students who intern in Los Angeles as part of their university
internship program.
A supplementary question that I am trying to study is how interns are transitioning into
the industry by looking at both sides, the universities and the entertainment industry companies
and employers as stated below:
There is a need in the entertainment industry to find a path to transition interns into
employees and what are the changes that need to be made from the top down and the bottom up
to achieve it? How is the entertainment industry and the universities going to examine this
problem to achieve and effect change through leadership initiatives?
The interview will take between a half-hour and an 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?

Research and Interview Questions Table
Research Question
Audience
Interview Question Type of Question (e.g.,
Devil’s advocate, opinion,
etc.)
University and
Entertainment
Industry Employer
How did you set up your
entertainment internship
program?
Warm-up question.
University and
Entertainment
Industry Employer
What skills and training are
needed to be implemented so
that entertainment industry
employers can find new
employees who meet the
guidelines for the specific jobs
that you have available now and
in the future?
Knowledge Questions.

INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 230
University How can interns increase the
possibilities for entertainment
industry employers to find new
potential employees?
Opinion.
Entertainment
Industry Employer
How can the entertainment
industry employers implement
mentoring and coaching
programs to assist students
transitioning into the workforce
from being an intern to become
a potential employee?
Knowledge questions.
Entertainment
Industry Employer
How can the entertainment
industry identify diversity
challenges so that it will have a
more diversified workforce?
Knowledge questions.
University and
Entertainment
Industry Employer

RQ #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?
What are the agreed upon skills
that a student needs to acquire
during their internship so that
they are best prepared for the
workplace?
A) Before they start their
internship;
B) During their internship;
C) After the completion of their
internship.
Knowledge questions.
University How can you encourage your
students to participate in paid
internships?... and to assess
their acquisition of the National
Association of Colleges and
Employers (NACE) Rate
Readiness Competencies skills
that employers seek in college
graduates?
Opinion.
INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 231
University How can you encourage your
students to participate in unpaid
internships?... and to assess
their acquisition of the National
Association of Colleges and
Employers (NACE) Rate
Readiness Competencies skills
that employers seek in college
graduates?
Opinion.
University How do student perceptions of
the acquisition of skills
employers seek compare based
on whether they participated in
a paid or unpaid internship?
Opinion.
University How do you think your
university internship program
can provide for entertainment
industry changes in this evolving
industry to remain current?
Opinion.
University and

Entertainment
Industry Employer

What do you see as the best way
for educators at your university
to keep current in their
teaching?
What do you see as the best way
for educators to keep current in
their teaching so that you as an
employer feel that they are
preparing their students to
succeed in the entertainment
industry?
Opinion.
University and
Entertainment
Industry Employer

RQ#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?
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?

Knowledge Question
INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 232
University and
Entertainment
Industry Employer

RQ#3
What are the
equity, diversity,
gender, and
socioeconomic
issues that
internships need to
address in the
entertainment
industry?

What are the equity, diversity,
gender, and socioeconomic
issues that internships need to
address in the entertainment
industry?

Knowledge Question
University and
Entertainment
Industry Employer

RQ#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?
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?

Knowledge Question
University and
Entertainment
Industry Employer
If an intern came to you seeking
advice as to how to break into
the entertainment industry
today how would you advise
them?
Wrap-up question. Opinion.
INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 233
University and
Entertainment
Industry Employer
Before we finish, is there
anything else you would like to
share with me? Is there
anything else you think might be
helpful to my research study?

Thank you for sharing your
thoughts and experiences with
me.

Closing

A supplementary question that I am trying to study is how interns are transitioning into the
industry by looking at both sides, the universities and the entertainment industry companies and
employers as stated below:
There is a need in the entertainment industry to find a path to transition interns into
employees and what are the changes that need to be made at the university level and at the
company level to achieve it? How is the entertainment industry and the universities going to
examine this problem to achieve and effect change through leadership initiatives?

INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 234
Appendix C: Consent Form

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 Research: Internships in the Entertainment Industry: From the
Perspectives of Colleges and Universities and Internship Employers

___________________________________________________________________________

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: From the Perspectives of Colleges
and Universities and Internship Employers

INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 235
Appendix D: Questionnaire for Dissertation – Colleges and Universities
My name is Selise Eiseman and I am currently a doctoral student working on my dissertation. I
am pursuing an Ed.D degree in K-16 Educational 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
Perspectives of the Colleges and Universities and the Industry Employers. 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 xxxxxxxxxx@usc.edu or at (xxx) xxx - xxxx. I am very aware
of your time constraints as an administrator or faculty member and am asking if you would assist
me with my research and demographic data sheet. The survey asks about your experience as you
prepare your students to take part in the internship experience in Los Angeles. The questionnaire
and support questions are designed to take no more than 10 - 15 minutes.

Thank you for your participation in my study.

Q1 In which state is the main campus of your university or college?
▼ Alabama (1) ... I do not reside in the United States (53)

Q2 What is your position at the university or college? (Check one)
o Dean (1)
o Associate Dean (2)
o Department Chair (3)
o Faculty (4)
o Advisor (5)
o Other (Please specify) (6) _______________________________

INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 236

Q3 How many undergraduates attend your university? (Check one)
o 0 - 4,999 students (1)
o 5,000 - 9,999 students (2)
o 10,000 - 14,999 students (3)
o 15,000 - 19,999 students (4)
o 20,000 - Over (5)

Q4 How many undergraduate major students are in your department? (Check one)
o 0 - 99 (1)
o 99 - 199 (2)
o 200 - 299 (3)
o 300 - 399 (4)
o 399 - Over (5)

Q5 What is the major area(s) of study in your department? (Check all that apply)
▢ Motion Picture, Television, Digital (1)
▢ Music Business/Music Industry (2)
▢ Other (please specify) (3)

INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 237
Q6 Type(s) of Internships offered by your department. (Check all that apply)
o Motion Pictures, Television, Digital (1)
o Music Business/Music Industry (2)
o Other (please specify) (3)

Q7 How many students participate in your school's internship program during a semester or
summer? (Check one)
▼ 0 - 14 students (1) ... 60 - 0ver (5)

Q8 In what cities do you place your interns? (Check all that apply)
▢ Los Angeles (1)
▢ New York (2)
▢ Other (please specify) (3) _____________________________

Q9 Is there an internship administrator or a career advisor assigned to each intern? (Check one)
o Yes (1)
o No (2)

Q10 Do you assign a mentor to the intern during their internship? (Check one)
o Yes (1)
o No (2)

INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 238

Q11 What are the Credit Options for your internships? (Check all that apply)
▢ Academic Credit - Unpaid (1)
▢ Academic Credit - Paid (2)
▢ Non-Credit - Unpaid (3)
▢ Non-Credit - Paid (4)

Q12 What is the length of the internship experience? (Check all that apply)
▢ One Semester (1)
▢ Two Semesters (2)
▢ Summer (3)

Q13 What is the internship workload? (Check one)
o Part-time (less than 19 hours) (1)
o Half-time (20 - 34 hours) (2)
o Full-time (35 hours or more) (3)

INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 239
Q14 The National Association of Colleges and Employers (NACE) established a list of skills
necessary for entry into the workplace. Please rate the skills that you identify that an intern needs
to be prepared for by their University internship program in the entertainment industry.

Skills
Strongly
Disagree (1) Disagree (2) Agree (3)
Strongly Agree
(4)
Critical Thinking (1)
o o o o
Problem Solving (2)
o o o o
Oral/Written
Communication (3)
o o o o
Teamwork/Collaboration
(4)
o o o o
Digital Technology (5)
o o o o
Leadership (6)
o o o o
Professionalism/Work
Ethic (7)
o o o o
Career Management (8)
o o o o
Global/Intercultural
Fluency (9)
o o o o

INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 240
Q15a Motion Pictures, Television, Digital, Streaming Department Programs - Answer 15a
and 15b. Music Business and Music Industry Programs skip to Questions 16a and 16b.
Additional Skills - Please rate the following skills that you teach in your classes PRIOR to the
students' participation in your internship program.

Skills
Strongly
Disagree
(1) Disagree (2) Agree (3)
Strongly Agree
(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
Networking (13)
o o o o
Other (Please specify) (14)
o o o o
INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 241
Q15b Motion Pictures, Television, Digital, Streaming Department Programs
Additional Skills - Please rate the following skills that an intern learns in their internship at an
entertainment industry company that they LEARNED DURING and USED after their
participation in your internship program.

Skills
Strongly
Disagree
(1) Disagree (2) Agree (3)
Strongly Agree
(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 Decks (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
Networking (13)
o o o o
Other (Please specify) (14)
o o o o
INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 242
Q16a Music Business and Music Industry Programs - Answer Questions 15a and 15b.
Additional Skills - Please rate the following skills that your intern is prepared for PRIOR to their
participation in your internship program.

Skills
Strongly
Disagree
(1) Disagree (2) Agree (3)
Strongly Agree
(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
Networking (14)
o o o o
INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 243
Other (Please specify)
(15)
o o o o

Q16b Music Business and Music Industry Programs
Additional Skills - Please rate the following skills the intern should acquire in their time at their
music industry company that they LEARNED DURING and USED after their internships.

Skills
Strongly
Disagree (1) Disagree (2) Agree (3)
Strongly Agree
(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
INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 244

Q17 Which of the following sources do you use to place information about your internship
program? (Check all that apply)
▢ Academic Department Announcement (1)
▢ Academic Department Advisor (2)
▢ Campus Career Center/Job Fairs (3)
▢ Posting on an Internship Job Board Website (Handshake) (4)
▢ Social Media (Facebook, LinkedIn, Twitter, Instagram, Snapchat) (5)
▢ Other (Please specify) (6) ____________________________

Q18 Internship Program Experience at the University
Please rate the following statements based on your experience at the university related to your
internship program.

Statements
Strongly
Disagree
(1) Disagree (2) Agree (3)
Strongly Agree
(4)
A dedicated university
internship administrator is
assigned. (1)
o o o o
There are expected learning
outcomes and grades for the
internship experience. (2)
o o o o

Writing Cover Letters
(13)
o o o o
Networking (14)
o o o o
Other (Please specify)
(15)
o o o o
INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 245
The internship administrator
establishes and
communicates clear
expectations on the work
responsibilities of the
employer. (3)
o o o o
The internship administrator
works with the supervisor
and provides close oversight
throughout the internship
experience. (4)
o o o o
There is a clear
understanding of all the
prerequisites that a student
must have prior to their
internship experience. (5)
o o o o
The internship administrator
provides the student with the
opportunity to evaluate their
internship experience. (6)
o o o o
The internship is a
mandatory requirement for a
major/degree. (7)
o o o o
If an internship is not
mandatory, does the
university prefer students to
complete one? (8)
o o o o

INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 246
Q19 What does the University expect at the Internship Site from the Employer?
Please rate the following statements based on your experience related to the internship program.

Statements
Strongly
Disagree
(1) Disagree (2) Agree (3)
Strongly Agree
(4)
They provide a clearly defined
internship program. (1)
o o o o
There is an orientation to the
organization's culture, internship
program purpose, rules and
policies, and work-related
performance expectations. (2)
o o o o
They provide the student with a
clearly written job description of
work duties, responsibilities, and
measurable performance
objectives. (3)
o o o o
They communicate expected
learning outcomes to enrich the
internship experience. (4)
o o o o
They work with the student to
develop a work plan with
assignments specific to their area
of study. (5)
o o o o
They designate a work area and
resources allowing the student
with a place to work. (6)
o o o o
The supervisor shows a
willingness to train, mentor, and
coach the student at all times. (7)
o o o o
They provide sufficient
direction/supervision and
training. (8)
o o o o
They regularly monitor student
progress and evaluate their
performance. (9)
o o o o
They discuss the performance
appraisal with the student,
provide constructive feedback,
and make recommendations. (10)
o o o o

INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 247
They provide a professional work
environment, encourage
constructive feedback, and make
recommendations. (11)
o o o o
They provide a professional work
environment and encourage the
student to contribute ideas and
input. (12)
o o o o
They host site visits for the
internship administrator during
the semester. (13)
o o o o
They provide a mentor at the
internship site. (14)
o o o o

Q20 Internship Program Experience - Student Preparation
Please rate the following statements based on student preparation by your university.

Statements
Strongly
Disagree
(1) Disagree (2) Agree (3)
Strongly Agree
(4)
The university provides the
ability to connect subject
matter to a “real world”
experience. (1)
o o o o
The student is provided with
the opportunity to excel in a
professional work
environment. (2)
o o o o
The courses the student takes
prior to their internship
properly prepares them for
their internship experience.
(3)
o o o o
The student gains a better
understanding of how to
apply the knowledge and
skills gained through their
academic courses and
classroom preparedness. (4)
o o o o
INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 248
The student obtains a better
understanding of the
professional work
environment. (5)
o o o o
The student learns more
about career options in their
field of study. (6)
o o o o
The internship experience
prepares students for their
career goals and an eventual
job. (7)
o o o o
After the internship
experience, the student feels
confident that they can obtain
a full-time position in this or
at a similar organization. (8)
o o o o
Student preparation for their
internship positively impacts
their performance. (9)
o o o o

Q21 Please rate the importance of the following:

Statements
Strongly
Disagree
(1) Disagree (2) Agree (3)
Strongly Agree
(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
INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 249
Commitment by the
University to the
Internship Program (6)
o o o o

Q22 Networking
Who encourages the student to build a strong networking system? (Check all that apply)
▢ Dean (1)
▢ Associate Dean (2)
▢ Department Chair (3)
▢ Internship Administrator (4)
▢ Career Services (5)
▢ Fellow Students (6)
▢ Alumni (7)
▢ Faculty (8)
▢ Other (9) _______________________________

Thank you for taking the time to complete this survey for my dissertation. It will benefit
students, colleges and universities, and internship employers in creating, administering, and
providing excellent internship programs in the entertainment industry.

INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 250
Appendix E: Internships in the Entertainment Industry –
Employers’ Survey

My name is Selise Eiseman and I am currently a doctoral student working on my dissertation. I
am pursuing an Ed.D degree in K-16 Educational 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
Perspectives of Industry Employers and the Colleges and Universities. 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 xxxxxxxxxx@usc.edu or at (xxx) xxx - xxxx. I am very aware of your time
constraints as an Internship Supervisor and am asking if you would assist me with my research
and demographic data sheet. The survey asks about your experience as you select and supervise
interns as part of your internship program in Los Angeles. The questionnaire and support
questions are designed to take no more than 10 - 15 minutes. Thank you for your participation in
my study.

Q1 How many people are employed by your company? (Select one)
o 1 - 9 (1)
o 10 - 19 (2)
o 20 - 29 (3)
o 30 - 39 (4)
o 40 - 49 (5)
o 50 or more (6)

INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 251
Q2 When does your company offer internships? (Check all that apply)
▢ Fall Semester (1)
▢ Spring Semester (2)
▢ Summer Semester (3)

Q3 On an average, how many interns do you take each semester? (Fill in the space provided)
▢ Fall Semester (1)
▢ Spring Semester (2)
▢ Summer Semester (3)

Q4 On an average, by gender, what is the number of interns in your program each semester?
▢ Men (1)
▢ Women (2)

INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 252
Q5 On an average, what percentage of interns are: (Fill in each)
▢ African-American (1)
▢ Asian (2)
▢ Latino (3)
▢ Native American (4)
▢ White (5)
▢ Other (6)

Q6 Are your internships paid or unpaid? (Select one)
o Paid (1)
o Unpaid (2)

Q7 How many hours per week is an intern expected to work? (Select one)
o Part-time (less than 19 hours) (1)
o Half-time (20 - 34 hours) (2)
o Full-time (35 hours or more) (3)

Q8 Are the interns required to earn college credit? (Select one)
o Yes (1)
o No (2)

INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 253

Q9 The National Association of Colleges and Employers (NACE) established a list of skills
necessary for entry into the workplace. Please rate the skills that you identify that an intern needs
to be prepared by their University for your internship program in the entertainment industry.

Skills
Strongly
Disagree (1) Disagree (2) Agree (3) Strongly Agree (4)
Critical Thinking (1)
o o o o
Problem Solving (2)
o o o o
Oral/Written
Communication (3)
o o o o
Teamwork/Collaboration
(4)
o o o o
Digital Technology (5)
o o o o
Leadership (6)
o o o o
Professionalism/Work
Ethic (7)
o o o o
Career Management (8)
o o o o
Global/Intercultural
Fluency (9)
o o o o

INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 254
Q10a Motion Pictures, Television, Digital, Streaming Companies - Answer 10a and 10b.
Music Business and Music Industry Companies skip to Questions 11a and 11b.
Additional Skills - Please rate the following skills that your company expects from an intern
PRIOR to the interns' participation in your internship program.

Skills
Strongly Disagree
(1) Disagree (2) Agree (3)
Strongly Agree
(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
Networking (13)
o o o o
Other (Please
specify) (14)
o o o o
INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 255
Q10b Motion Pictures, Television, Digital, Streaming Companies -
Additional Skills - Please rate the following skills that an intern learns at your company
DURING their participation in your internship program.

Skills
Strongly
Disagree (1) Disagree (2) Agree (3)
Strongly Agree
(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
Decks (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
Networking (13)
o o o o
Other (Please
specify) (14)
o o o o
INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 256
Q11a Music Business and Music Industry Programs - Answer Questions 11a and 11b.
Additional Skills - Please rate the following skills that your company expects from an intern
PRIOR to the interns' participation in your internship program.

Skills
Strongly
Disagree (1) Disagree (2) Agree (3)
Strongly Agree
(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
Networking (14)
o o o o
INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 257
Other (Please specify)
(15)
o o o o

Q11b Music Business and Music Industry Programs -
Additional Skills - Please rate the following skills that an intern learns at your company
DURING their participation in your internship program.

Skills
Strongly
Disagree (1) Disagree (2) Agree (3) Strongly Agree (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
INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 258
Networking (14)
o o o o
Other (Please specify)
(15)
o o o o

Q12 Which of the following sources do you use to advertise your internship program? (Select all
that apply)
▢ Campus Career Center/Job Fairs (1)
▢ Posting on an University Internship Job Board Website (Handshake) (2)
▢ Social Media (Facebook, LinkedIn, Twitter, Instagram, Snapchat) (3)
▢ Industry Websites (UTA, CAA, The Tracking Board, Entertainment Careers.net)
(4)
▢ School Faculty (5)
▢ University Alumni (6)
▢ Other (7) _____________________

INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 259
Q13 What do you expect from the University in preparing their students for their
internship program?
Please rate the following statements based on your experience related to the internship program.

Statements
Strongly
Disagree (1) Disagree (2) Agree (3)
Strongly Agree
(4)
The university provides a
clearly defined internship
program. (1)
o o o o
The university provides
an orientation to the
organization's culture,
internship program
purpose, rules and
policies, and work-
related performance
expectations. (2)
o o o o
The university provides
the student with clearly
written and measurable
performance objectives.
(3)
o o o o
The university
communicates expected
learning outcomes to
enrich the internship
experience. (4)
o o o o
The university provides
sufficient
direction/supervision and
training prior to the
internship. (5)
o o o o
The university regularly
monitors student progress
and evaluates their
performance. (6)
o o o o

INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 260
The university discusses
the student's performance
with the student, provides
constructive feedback,
and makes
recommendations. (7)
o o o o

Q14 What do you (the employer) provide your intern with during their internship program?

Statements
Strongly
Disagree (1) Disagree (2) Agree (3)
Strongly Agree
(4)
You work with the student
to develop a work plan
with assignments specific
to their area of study. (1)
o o o o
You designate a work area
and resources allowing the
student with a place to
work. (2)
o o o o
You show a willingness to
train, mentor, and coach
the student at all times. (3)
o o o o
You provide sufficient
direction/supervision and
training. (4)
o o o o
You regularly monitor
student progress and
evaluate their
performance. (5)
o o o o
You discuss the
performance appraisal
with the student, provide
constructive feedback, and
make recommendations.
(6)
o o o o

INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 261
You provide a
professional work
environment, encourage
constructive feedback, and
make recommendations.
(7)
o o o o
You provide a
professional work
environment and
encourage the student to
contribute ideas and input.
(8)
o o o o
You host a site visit for
the internship
administrator from the
university during the
semester. (9)
o o o o
You provide a mentor at
the internship site. (10)
o o o o
You provide educational
seminars with other
professionals (lunch
meetings, guest speakers,
etc.). (11)
o o o o

Q15 Internship Program Experience - Student Preparation
Please rate the following statements based on student preparation by their university.

Statements
Strongly
Disagree (1) Disagree (2) Agree (3) Strongly Agree (4)
The university provides the
ability to connect subject
matter to a “real world”
experience. (1)
o o o o
The student is provided
with the opportunity to
excel in a professional
work environment. (2)
o o o o

INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 262
The courses the student
takes prior to their
internship properly
prepares them for their
internship experience. (3)
o o o o
The student gains a better
understanding of how to
apply the knowledge and
skills gained through their
academic courses and
classroom preparedness. (4)
o o o o
The student obtains a better
understanding of the
professional work
environment. (5)
o o o o
The student learns more
about career options in their
field of study. (6)
o o o o
The internship experience
prepares students for their
career goals and an
eventual job. (7)
o o o o
After the internship
experience, the student
feels confident that they
can obtain a full-time
position in this or at a
similar organization. (8)
o o o o
Student preparation for
their internship positively
impacts their performance.
(9)
o o o o

INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 263
Q16 Please rate the importance of the following:

Statements
Strongly
Disagree (1) Disagree (2) Agree (3) Strongly Agree (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

Q17 Networking
Who at your company encouraged the intern to build a strong networking system? (Check all
that apply)
▢ Intern Supervisor (1)
▢ Mentor (2)
▢ Human Resources (3)
▢ Fellow Interns (4)
▢ Company Employees (5)
▢ Other (6) _______________________

INTERNSHIPS IN THE ENTERTAINMENT INDUSTRY 264

Q18 Are internships a catalyst for obtaining a paid position at your company?
o Strongly Disagree (1)
o Disagree (2)
o Agree (3)
o Strongly Agree (4)

Q19 How frequently do you hire interns at the conclusion of their internships? (Select one)
o Never (1)
o Sometimes (2)
o About half the time (3)
o Most of the time (4)
o Always (5)

Thank you for taking the time to complete this survey for my dissertation. It will benefit
students, colleges and universities, and internship employers in creating, administering, and
providing excellent internship programs in the entertainment industry.

Abstract (if available)

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Asset Metadata

Creator Eiseman, Selise E. (author)

Core Title Internships in the entertainment industry: From the perspectives of colleges and universities, and internship employers

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,college and university faculty and administrators,college and university internship programs,cutting-edge technology in the entertainment industry,education,entertainment industry programs,entry-level positions in entertainment industry,equity, diversity, gender, and socioeconomic factors in university internship programs,evaluation and assessment of interns,experiential learning,hard skills,Higher education,high-impact practices,industry changes,internship employers,internships,internships in entertainment industry,internships in the film, television, digital, streaming, and music industries,Los Angeles internships,NACE,OAI-PMH Harvest,preparation of interns,soft skills,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 eiseman@usc.edu

Permanent Link (DOI) https://doi.org/10.25549/usctheses-c89-32755

Unique identifier UC11670830

Identifier etd-EisemanSel-6509.pdf (filename),usctheses-c89-32755 (legacy record id)

Legacy Identifier etd-EisemanSel-6509.pdf

Dmrecord 32755

Document Type Dissertation

Format application/pdf (imt)

Rights Eiseman, Selise E.

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