We here in the US run at 29.97 for broadcast. In SD it's referred to as 29.97 but in HD you see it as email@example.com. The 29.97 number refers to frames and 59.94 refers to fields. Multiply 29.97 by 2 and you get 59.94 because there are two fields in one frame.
If you shoot 24 it will be slowed down to 23.976 for video. If you are making film prints from your negative there will be no speed change because projectors run at 24fps. If you shoot 23.976 on film, transfer it to video and finish in firstname.lastname@example.org and then transfer the video to film it will be sped back up to 24. HDCAMSR decks do this all the time. I can take a 23.976 tape and play it at 24fps or 25fps if I want. The speed change is minor and happens all the time.
The big issue is syncing external audio to your film transfers. They both need to run at the same speed to stay in sync. When you shoot 24fps on your camera the telecine slows the film to 23.976 so you have to slow your audio down by the same percentage. If you shoot 23.976 the telecine will play back the film at the speed you shot so there is no slow-down. In this instance the audio does not need to be adjusted to stay in sync with the picture. If you shoot 23.976 and try and sync audio up the audio on a film bench the audio will drift because the film is playing back at 24fps in the projector and it's now running faster then when it was recorded.
The usual workflow is: Shoot 24, transfer to 23.976 or 29.97, slow-down the audio, sync the audio, edit and output a 23.976 or 59.94 HD master. I would suggest creating a 23.976 master first and then adding the pull-down to create the email@example.com Drop-Frame broadcast tape. You just have to keep in mind that the timecode on a 23.976 timeline is not an accurate measure of time. Your film is actually running longer than what it is telling you.
I hope I haven't given you too much information to make it confusing.