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The first examples of reality television
Candid Camera (1948-2004)-began as Candid Microphone on radio; Queen for a Day game show; An American Family, America's Most Wanted, The Real World, Survivor
The origins and importance of Sesame Street
Carnegie Commission recommended "special attention" be paid to TV for preschoolers; funding came from Carnegie, Ford F., and federal government; hired JGC to explore possibilities--bring in kids and be excited to teach them; Children's Television Workshop was established where they learned more about the development and education of children and what the kids enjoyed watching; interracial cast; first episode was November 10, 1969; proved that kids TV can be educational and entertaining
Multiethnic ensemble case shows - how to evaluate impact on diversity of representations
Does multiethnic ensemble cast trend mean actual diversity (vs. backdrop to white stars)?-- How developed are the characters (whose home lives/love lives are depicted; non-white communities featured alongside white); negative portrayals (Friday Night Lights); how natural does the diversity feel? (e.g. Lost); is diversity of locale exploited?
· Excerpts from An American Family: Anniversary Edition (Craig Gilbert, 2011)
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Postmodern style & storytelling in television
(a) hybridity, contradictions; (b) recycling, blending texts (high-brow/low-brow, old/new); pastiche--borrowing from various source; self-reflexive
TV legislation timeline 1934 1949 1952(x2) 1953 1967 1970 1972 1987 1992 1996
*1934: Communications Act of 1934 -Networks & advertisers vs. Educators/ public interest groups -Ad-based commercial radio becomes standard *1949: FCC adopts Fairness Doctrine -call for balanced viewpoints *1952: Ford Foundation establishes National Education Television (NET) (which later becomes PBS) *1952: FCC lifts freeze on new tv stations -set aside 242 for edu pgmg (both vhf and uhf) -demands that cities with 3+ vhf stations use 1 for edu *1953: FCC adopts RCA standard- color TV *1967: Public Broadcasting Act of 1967 -est. by Carnegie Commission -establishes CPB (Corp for Publ. broadcasting) (eventually PBS, NPR) -promoting pgmg diversity, public interest pgmg -with LBJ's support *1970: PTAR/Fin-Syn -Prime Time Access Rule: 1 hr of prime time for loc pgmg (repealed in 96) -Financial and Syndication Rule: ltd # of pgms ntwks could own to protect producers and prevent big 3 monopoly; ltd. ntwk ability to syndicate pgms *1972: 3rd report and order -protects public interest as cable grows -demands cable operators carry at least 1 public interest (PEG-pub/edu/gov) channel *1987: *Fairness doctrine eliminated -Fowler, under Reagan who was pro-deregulation -push for greater media conglomeration *1992: Cable Act of 1992 -req'd cable systs to carry most loc broadcast channels -prohibited cable operators from charging loc bcasters to carry their signal -promoting availability of diverse info, relying on free mkt, protecting consumer interests *1996: Telecommunications Act of 1996 -overhauls *Cable Act of 1992 -loosens caps on media cross-ownership -simplifies license renewal process -buckles down on content (proposes Communication Decency Act--shut down) -Parental ctrls (Vchips) -1st mention of internet (expands in schools, libraries) -under Clinton -->spurs new mergers/consolidation...3 maj ntwks bough by lg companies
· Excerpts, The Real World, "This Is the True Story" (S1, Ep.1, 1992), My So-Called Life; The Sopranos, "College" (HBO, 1999)
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· Hill Street Blues, "Hill Street Station" (NBC, S1 Ep.1, 1981). Roseanne, "Aliens" (ABC, S4, Ep.25, 1992)
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New FCC policies: deregulation
-1987: Fairness Doctrine repealed -Push to allow greater media conglomeration
The Post-network era
-Cable TV networks & new broadcast networks -New programming strategies -Changes in FCC policy encourage media mergers
1980s-90s and the Post-network era
-Economic upturn but only for some -shifts in social mores, race relations Post-Network Era:
· Mary Tyler Moore, "Love is in the Air" (CBS, 1970); All in the Family, S.1 ep. (CBS, 1971); Good Times, "Michael Gets Suspended" (CBS, 1974)
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Synergy and media conglomeration
-Synergy: two things working together = something greater than possible alone -e.g.: film franchises selling products via other companies in conglomerate; made possible by media mergers
1. What was the Classic Network era, and how did it come about? How did the networks influence television production and programming during this period? In your essay, describe how the networks dominated the industry and some of the ways in which network domination affected television programming of the 1960s and 1970s. In your essay, draw on course material from the class, including at least two references to course reading or lecture.
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1990s "quality" viewers
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2. What were some of the ways in which the rise of cable television networks and cable programming influenced the television industry and television programming in the post-network era of the 1980s? Describe first the impact of cable television on the television industry and broadcast networks, then focus the rest of your essay on the impact of cable television shows on television programming of this time period. Be sure to draw on course material from the class, including at least two references to course reading or lecture.
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3. What programming trends of the 1990s-2000s do you think have had the most impact on television today? Pick three discussed in the reading and lectures, and describe how each has influenced television as we know it today or is going to influence television in the future. In your essay, draw on course material from the class, including at least two references to course reading or lecture.
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Impact of digital media on television
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Rising media mergers
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Television viewed via new technologies, 2000s+
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Trends for web television
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Web series, web miniseries, and web animated series
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· Red vs. Blue, "The Rookies" (RoosterTeeth, 2003); The Mis-Adventures of Awkward Black Girl (Issa Rae, 2011), "The Hallway;" Pretty, "Meet the Champagnes" (Steve Silverman, 2010). The Guild, Season 1 (Felicia Day, 2007)
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· Smothered: The Censorship Struggles of the Smothers Brothers Comedy Hour (sc/d. Maureen Muldaur, 2002)
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History of U.S. public broadcasting
1) 1910s- Battles over educational/public interest radio and TV -Interested in making radio primarily an educational thing 2) Communications Act of 1934 -Networks & advertisers vs. Educators/ public interest groups -Ad-based commercial radio becomes standard 3) Interests continue in educational media -1952: Educational television and radio center forms -Ford foundation takes lead 4) By 1960s- public TV finds national base -Multiple interests support, especially WWII -1963+ Johnson's administrative supports
Major types of alternative (non-commercial) media
1) Public access television (channel Austin) - citizens use it to broadcast their own shows 2) Low power radio/tv stations (Texas Student Television) - used by community broadcasters like churches and universities 3) Public Broadcasting, national in scope (KUTX which is an affiliate of NPR) 4) Community radio (KOOP) operates like public access TV but on the radio
TV industry shifts of the Classic Network era
1) Transition to color almost complete (okayed by FCC in 1953); 2) Return to escapism (less socially relevant programming); 3) Rise of Classic Network Era (from 1960-1980 - networks dominating industry (ABC, CBS, NBC) but taking least money)
Traits of relevance
1. Aim for realism 2. Touch on controversial issues 3. More realistic depictions of women, class, race/ethnicity
An American Family: Making of, reactions to
1971 Funded by CPB & Ford Foundation, $1.2 million; filmmakers aimed to blend into background; shot over 200 hours of film, gets edited to 12 hours; got radically different reviews; was considered scandalous; viewers spoke of the Louds as if they were neighbors; promoted as reflecting breakdown of American family
Popular genres of period (classic ntwk era)
1. Fantasy sitcoms, 2. Rural sitcoms such as the Andy Griffith Show, 3. "Sexuals" such as Peyton Place where neighbors are having affairs with each other/romances or Honey West, 4. Teen Shows- teen girl sitcoms such as Patty Duke Show or Rock Dance shows such as Shindig, Hullabaloo.
Shift to color television
1953- FCC ok's RCA color system; 1st sets sold; '56: NBC producing color programs; by the late 60s- mostly colored production; black and white would be used for dramatic effect
Mary Tyler Moore, All in the Family as pioneering shows
1. Mary Tyler Moore: show about an independent woman (first attempt to appeal to urban audience); aiming for greater realism than in previous series 2. All in the Family: initiated more dating, "relevant" programming, used satire to explore serious issues, unique in a number of ways such as social issues were integral to story lines, archi's anger epithets as satire and aim to reach divergent viewers
How shows were financed and produced in this era
1. Pitch & development, 2. pilot production, 3. pilots--few become series, 4. series production (profits come from advertising and not giving enough money to series maker--deficit finance)
Imitation of successful formulas
1. Revolutionizing content over time- Smothers Brothers Comedy Hour (starts off tame, later pushes limits of TV satire), 2. simultaneous appeals to different ages (ex. Dragnet- young and old people may find it interesting), 3. direct appeal to young adults (The Partridge Family- young adults communal adults)
How networks dominated in Classic Network era
1. Take control of affiliates primetime schedule- 80% produced by independent film producers and studios and live program is non existent, by the 1950s different affiliates could opt out of network programming and by the 60s-70s, networks control more of affiliates schedule. 2. Outside producers take financial risk for new shows and fund their own new series.
New technologies and the rise of cable
1. VCRs become commercially available ('82- 4% of households but by '88: >60%) 2. Remote controls appear for the first time 3. Inventions that make TVs into entertainment centers (camcorders, video games, home computers) 4. Cable TV (TV viewing changes drastically, major difference in terms of network dominance Rise of cable: (roots of cable 1949) CATV
Numbers of major media companies over the last few decades
83: approx 50 87 = 27 90 = 23 97 = 10 00 = 9 12 = 6
Community Antenna Television (CATV)
Antennas, fees, charge to broadcast from bigger stations; relay service: brings TV ro rural areas via wires and antennas (both local and distant station); had technical difficulties with regard to being able to get a strong signal all the time; onlt in 6% of homes in '75; not clear before 1968 if FCC could regulate
National Educational Television
Becomes PBS, made to be non profit. A certain amount of frequencies were set aside for this radio.
The Public Broadcasting Act of 1967
Established CPB
How network dominance begins to be challenged, '70s+
FCC pushes stations to reflect community concerns; citizens were able to play a role in station license renewal but scenario of FCC's role in WLBT is rare
The FCC and educational broadcasting
FCC, 1952 (lifting freeze) -Lifting freeze on new TV stations -Set aside 242 channels for educational programming -Both VHF and UHF -Cities with 3+ VHF stations had to set one aside for educational purposes or station would disappear
"Irrelevance" as programming strategy
Fantasy and nostalgia in sitcoms; shows were capitalizing on beautiful women; "jiggle" shows
Impact of the '70s relevant comedies
First TV stars of color- protagonist of show; begins to challenge producers roles and narratives; American husband and wife on Good Times; it brings up the question on who can write female and non-white roles; Realism- stereotypes more of a question as well
Funding for public broadcasting
Initially tried to tax 2% on TV sets but that was denied so CPB requests funding from congress every 2 years plus corporate funders and donors; problems with this is that it puts public media at whim of politicians and can result in "safely splendid programming"; funding now relies heavily on local donors
The Carnegie Commission
Inspired Public Broadcasting Act of 1967
Impact of personal computer usage on television/TV watching
Internet 1982 send and receive information WWW 1989 used to interact. INternet access services 1995
Johnson's FCC vs. Kennedy's FCC
Johnson's FCC was a "toothless watchdog" (of commercial TV) - his wife owned TV and radio stations in Texas and therefore didn't put too much pressure on networks (but supported public networks such as PBS and NPR)
1980s TV industry shifts
Late 70s marked the height of network power and the competition was just amongst themselves (ABC, NBC, CBS); but now in the 80s, things change; they used to have enough ad money to go around but not anymore; A. New competition for viewers B. Rise & Impact of Cable
The role played by the Ford Foundation
Led the mission of educational television, decided to produce and fund prgramming to show how to do it. Created a show called Omnibus(1952-61). Helped found NET
Lost and Glee as case studies
Lost was made by J.J. Abrahms Hurley was cast before script was written and they worked a latin american role into the script. Producers were aiming for something different. Enabled by Abrahm's Success.
Telecommunication Act of 1996
Major overhaul of policy, revoked the Cable Act of 1992,loosened caps on media multi & cross ownership, made license renewal easier, included internet for the 1st time, buckled down on media content: communications Decency Act (soon struck down) also put more parental controls (V-chips, Rating System); Impacts- spurs new mergers and consolidations, 3 major networks bought by large companies, CAble TV carries little regulation, combination with internet access in most schools and libraries.
Ways networks tried to appeal to younger & older generation
New American Cinema (Bonnie and Clyde, The Graduate, Dr. Strangelove) were different in that they were character driven and more interested in mood rather than action or appealing to a wide-aged audience
Gradual racial integration of teen music shows
Over time, some shows racially integrate with the first non-white dancers in 1961 and first African American dancers in Hullabaloo
PTAR and the Fin-Syn Rules
PTAR (Prime Time Access Rule) enforced 1st hour of prime time be open to locally produced programming; Fin-Syn (Financial and Syndication Rule 1971) limited number or programs networks could own (protected producers) and limited network's ability to syndicate programs. Prime time lost power to VCRs
News coverage of the Vietnam War
Pach reading: Vietnam was the 1st "televised war"; TV networks expand coverage to Vietnam; the coverage was initially strictly positive about US involvement in the war but that changed over time and became more of a critique of the war itself; TV news coverage reports from war zones every night--more so waiting than gunfire
Strengths and weakness of current public broadcasting
Potential pluses: Audience a broad cross-section of Americans Reach of public stations Ties btw stations & local communities Very loyal subscribers Can provide programming that helps equalize Americans, esp. in the case of kids Quality of programming, esp. kids' programming Potential problems: Can be seen as catering just to elites Perception of reaching only very young & old Lack of a clear mission Lack of common schedule across PBS stations Funding always in jeopardy: makes planning short-term only
The "cultivating" goals of public broadcasting
Rationale #1: To maintain a non-commercial space within populat culture Rationale #2: ideally situated to serve minority interests Rationale #3: Social interests (what's good for society) Rationale #4: Freedom of the press
Sanford and Son: Christine Acham's arguments
Sanford and Son was about a junkyard owner and his son; Acham responds to critics that show didn't support racial "uplift"; the show did not show blacks as professional, middle-class, intact families
New networks in 1990s and teen shows
The WB(1995-2006) like dawson's creek buffy, Smaville, Gilmore Girls, Roswell., The UPN (1995-2006) Buffy, Rosewell, Jake 2.0 Veronica Mars. Start to influence big netwroks.
The Moynihan Report
The report would blame African American families for financial woes and problems of the instability of their families; blamed black poverty on broken families, lack of jobs and education; the report is worded in a way that African American men and women are seen as major cause of poverty; TV producers try to fight with positive images; Redd fought to get paid the same
Genre blending in 1980s and 1990s
ex. Soap (1977-81) has soap opera, comedy, drama. HIll street blues like NYPD Blue, Twin Peaks (1990-91) Soap, horror, sci-fi, detective, comedy, drama had high low culture, -rational and irrational. also had reality with fiction the real world
Citizen activism and the FCC; Example of WLBT
WLBT TV was a station in Jackson, Mississippi that refused to air African American performers civil rights demonstrations and speeches by going into "transmission errors"; it aired only white community events (pro white democracy), despite having a 40% African American audience; Citizens challenge license renewals based on Fairness Doctrine in late 1950s, early 1960s.
CBS's early 70s programming
Women were in the new 70s shows (have careers, more realistic, still at times they are wives and mothers); they wanted to appeal to "quality" audience of 70s
(key audience) The 1980s "quality" audience + pgmg strat
affluent 18-49 year olds (many, baby boomers), educated, active consumers, first generation raised on TV (media savvy
Digital vs. analog media
analog is when info is broken down to transmit through a physical medium. records, transmits data linearly. Digital media si informations broken down to binary.transmitted through microchips.
Rise of reality television
cheaper to produce than from scripted don't need to apys actors or writers as much. easy to adapt hit formats from other countries sometimes appeal of real vs fiction tension; competition/game shows, docusoaps, makeover shows
(key audience) Working women audience + pgmg strat
college educated, over 35; earning over 40k a year, interested in strong female roles, feminist issues, first targeted in the late 70s; seen as part of quality audience
Premium cable's later impact on programming on other networks-
by late 90's majority of people have cable and premium channels 75% as HBO shows start to win the emmy's so they create more original programming. caused more complex narratives, intense seriality, more cinematic stle, bigger budgets, and film directors move to TV
Media convergences
combining media in fewer platforms, Platform is the technology that delivers a communications medium. Boundaries blurring between mediums and platforms. Driven by the rise of digital media. with the rise of PC's in the 1980's and DVDs after 1997
Early MTV and postmodern style
cable network targeting niche market; Postmodern aesthetics: hybridity & contradictions; recycling & pastiche; awareness of performance of social categories
Utopic ideals of the promise of cable
could create a wired nation through these wires and mediums; "wired homes"
2. Seriality (pgmg strategy)
enables new type of storytelling; especially for epic dramas; industry coes to depend on it; milestones in seriality
First cable networks
first premium (HBO- but technical difficulties and too expensive for many); WTBS (Ted Turner's super station); Basic cable networks- MTV (81); ESPN, CNN, E!
Milestones in seriality
first prime-time soap = Peyton Place ABC 64-69); 80s+ prime-time soaps come ot evening hours; new genre of the 80s = mini series
FCC regulation of early cable
how to protect public interest broadcasting? 1972: Third Report & Order -protects public interest as cable grew -cable operators must carry at least 1 public interest (PEG) channel 1980s shift: deregulation; related to Reagan's beliefs in deregulation
Superstations
independent, UHF station using satellite technology for larger reach
The Sopranos as case study
inspired scholarship and critical discussion, and exemplifies discourse of distinction. Had multilayered complex storylines, and varied worlds in which characters reside, and there is a moment in an epic evolution.
Shifts in television viewing
less common watching on a tv set, watching as a family, less flow of television, changing broadcast schedule rating system changed from nielsen
Mid-1960s return to escapist TV programming
less socially relevant programming because the government pressure lessens on the networks
The Fairness Doctrine
meant to regulate the balance of political and social viewpoints included on the air
5. Televisuality (pgmg strategy)
mid 80s = rising emphasis on visual excess/flourish; aesthetic trend that cut across genres; related to rise of digital capabilities, aim to appeal to global audience
Shifts in information gathered with TV ratings
more refined; nielsen ratings box rating by demographics now (can pinpoint details regarding audience)
4. Network branding (pgmg strategy)
need for new type of network promotion; create network image; duse it with that of its programs and stars; establish identity that encompasses shows/stars; by late 80s - star-studded network promos; network bumpers, promos during credits; on screen network logos; overlaps with narrowcasting
Emphasis on teen audiences;History of TV shows featuring teens and their stories
network era not practical to target teens, but had some few early attempts, Daytime TV soaps target teens with some storylines. Enabled by post modern shifts and FOX leads the way
1. Imitation (pgmg strategy)
networks need low risk more than ever; whenever possible = follow hit formulas, includes spin-offs (high % in this era); also, new versions, former shows (Archie, Bunker's Place, reruns)
Chico and the Man.
only series at the time that had a Mexican-American lead role; character is constructed in a negative connotation; producers' vision of a Chicano role; culture clash; major complaints by some mexican viewers (make him less mexican, more generic to take the culture clash out); producers tried to appease them
Postmodern era and postmodern aesthetics
our historical period around 1960-1970 shifts from manufactoring economy to information economy more computers and global economies an interpretive framework. or a style or creative aesthetic. MOre contradictions and hybridity with recycled and blending of texts such as high and low brow culture. Pastiche A text that borrows from various sources. Questinging former master narratives
"worldbuilding" (Derek Johnson's term)
place to find greater discussion of characters, (series websites) some plot development, and there is a larger world for the narrative, join in community of fans and critics.
1990s-2000s trends
postmodernism, reality tv, quality tv (hbo), teen drama, multiethnic ensemble cast
Early and later web television
rise of video segments, and vloggers web series, episodic and serial narratives ar there digital videoexhibited throught the web, and there is a variety of generes, usually short shows ussually better for comedies. protagonists that are less seen in prime TV
The Simpsons as case study
skewering of traditional family sitcoms, a lot of intertextuality and pastiche, appeals to different ages, and is both absurd and realistic.commodification of the show.
Shifting status of television as a whole
some arguing that TV is dying no longer just a few major networks a thus a large group of people watching and discussing a few shows. others argue that television is better than ever with greater complexity and quality, typically don't know director but we know creator and with more season there is more evolution of the characters, called a writer's medium. cognitive workout stephen johnson and hilmes reference. through tv TV makes people interactive with a mental workout, binge TV viewing
HBO and its impact on programming
started in 1972 and its a leader with its original programing Early 90's has its 1st original series passionate but small audience. Encouraged to do new cutting edge shows
3. Narrowcasting (pgmg strategy)
targeting programming to a smaller but more specific audience
Narrowcasting
traditionally been understood as the dissemination of information (usually via Internet, radio, or television) to a narrow audience
Evolution of female images on these shows
twisted genre expectations empowered and feminine, Buffy
Motivations for the networks to air "socially relevant" shows
younger, educated viewers: most desired by advertisers; TV rating information now more refined; now pinpoint details about audience (age, income, etc.) and they pay more to reach younger than older audience
60s-70s counterculture and television
youth counter culture- as # of young people take part in war and civil rights efforts; women's movement= equal rights amendment; creating generation gap in media interests; media then follows social shift with the rise of the underground press
