These are what are called, in the “round house”, “grid contracts”. Those of directors, production assistants, technicians; these jobs in the shadows of Radio France broadcasts, largely occupied by professionals with precarious contracts. “Emissions have swelled with a lot of “specialized collaborators”, a title which makes it possible to bring into the status of intermittent a whole work of programmingnotes Renaud Dalmar, equality referent of the company and CFDT union representative. We have big teams, in particular at France Culture, mainly from CDDU [contrats à durée déterminée d’usage]. A way to overcome the restriction of employment in CDI at Radio France, but at the cost of the precariousness of these collaborators. » He estimates that nearly 50% of precarious contracts in the “support” trades for the group’s emissions.
“Some live like that for six years of intermittence in the same station, without it actually having anything to do with this status”, remarks Paul (the first names have been changed), a young “atta pro”, in charge of the program preparation sheets. He also tells the “big waltz” of the summer, when it comes to positioning themselves on the summer grid and then on the back-to-school grid. “We are subject to the seasonality of the programs: I work a lot during the holidays, but the returns can be very hollow. In September 2021, I only had two days of contract”relates Pauline, thirty years old who has multiplied fixed-term director’s contracts for three years – a profession that does not fall into the boxes of intermittency and therefore of compensation for the status. “I am passionate about my job, and Radio France is the only place that allows you to do as much live as podcasts or documentaries. But psychologically, it’s exhausting. »