Final Exam Review Questions: History Of Television

Final Exam Review Questions History Of Televisionif You Review The R

Review the readings, your notes on lectures, the slides, and your reading responses to prepare for the final exam. Focus on the main ideas and overall arguments of the authors rather than minute details. Be familiar with terms like “affiliates” and “syndication,” which originate in radio but are important in television. The exam will cover topics such as the technical aspects of television (microwave relay, coaxial, fiber optics, digital transmission), TV ratings vocabulary, and the Telecommunications Act, with emphasis on understanding who benefited from or was harmed by policy changes. Critical themes include the relationship between broadcasting and race & ethnicity, gender & sexuality, nationalism, live television, and the FCC’s role with the broadcast industry. Personal examples from television viewing are encouraged. Key questions include the early push for VHF and UHF, the significance of the FCC Blue Book, popular programming formats, portrayals of ethnicity and masculinity, transition from variety to sitcoms, televisual nation-building efforts, notions of immediacy and intimacy in acting, the commercial and technological challenges of live broadcasting, examples of dual address, the station freeze, and its impacts. You should also understand the preferences of 1950s critics, the construction of suburban ideals, the control over network schedules, the main production companies, and the evolution of TV content and regulation from the 1950s onward. The role of cable, the regulation changes during the 1980s and 90s, and the influence of landmark policies like the Telecommunications Act of 1996 are also essential. Additionally, familiarize yourself with concepts like anthology drama, magazine advertising, the rise of reality TV, spectrum auctions, and the distinctions between broadcast networks and cable channels. Be prepared to discuss representation, especially of African Americans, Hispanics, and LGBTQ+ communities, and how programming shifts reflect cultural and industrial changes over time.

Paper For Above instruction

The history of television is a reflection of technological innovation, societal change, regulatory shifts, and cultural representation. Central to understanding television’s evolution is examining its early technological development, regulatory environment, and cultural narratives, which collectively shaped how television became a mirror and molder of American society.

In the early years, the debate over VHF and UHF frequencies highlights the technological and policy battles that determined the structure of broadcast television. VHF frequencies, assigned predominantly to well-established stations and considered more accessible, garnered intense support from those advocating for television's public service role. Conversely, UHF, seen as a frontier for new stations and diverse programming, was championed by those interested in expanding media access and competition. The FCC Blue Book of 1952 embodies a pivotal moment in the history of public service television, emphasizing the importance of localism, diversity, and educational programming. Its importance lies in its influence on shaping policy that prioritized serving the public interest, a principle often compromised in subsequent deregulation efforts.

During the 1950s, the most popular programming format was the variety show, incorporating music, comedy, and performances. Its dominance can be attributed to its cost-effectiveness, broad appeal, and its ability to showcase a range of talent and cultural expressions. Murray’s analysis of vaudeo stars reveals how ethnic masculinity was performed on television, often reinforcing stereotypes but also providing a platform for ethnic identity expression. The decline of variety stars and the rise of domestic sitcoms such as “I Love Lucy” marked a shift toward more domestically centered, relatable content, emphasizing family life and everyday humor. Sitcoms distinguished themselves through their focus on character development and social issues, often using humor as a lens for examining societal norms.

Television in the 1950s sought to forge a national identity, encapsulating shared values and aspirations through programming that aimed to speak ‘for’ the nation. This era's television offered narratives of unity, progress, and American exceptionalism, fostering feelings of belonging. Early ideas of acting reflected the necessity for immediacy and intimacy, traits that were both technologically facilitated by live broadcasts and culturally valorized as authentic and engaging. Berenstein argues that live television reinforced commercial interests, as the sense of immediacy encouraged viewers to remain glued to the screen, thus increasing advertising revenue.

Sterne highlights significant technical and logistical challenges faced by the industry, such as transmitting live signals across vast distances which required complex coordination and technological infrastructure. The concept of “dual address” emerged in programming intended to speak to both national audiences and specific subgroups, such as different ethnic communities or political affiliations, a practice more prevalent in the past due to the larger perceived need to unify or target segments within a less fragmented media environment.

The station freeze of 1960-1962, imposed by the FCC to overhaul broadcast licensing, had mixed consequences. Beneficiaries included large, well-established stations that gained stability, while independent and minorities' stations often faced delays or denials. Critics like Jack Gould preferred high-quality, educational, and culturally enriching programs, although market-driven content increasingly dominated programming. Spigel describes how television contributed to constructing the idealized suburban nuclear family, reflecting and reinforcing post-war social values.

In terms of network control, early 1950s programming was heavily influenced by a handful of major networks such as CBS, NBC, and ABC. The four primary groups—networks, independent stations, local affiliates, and production companies—shaped the landscape with the networks most dominant initially. Over time, the proliferation of independent producers and cable channels diversified content, though network influence remained strong. Liveness was celebrated for its authenticity but was challenged by the rise of filmed content, which offered greater production control.

Magazine advertising became central in sponsorship of anthology dramas, emphasizing tailored narratives that sought to create intimacy. The Disney show Disneyland, airing on ABC, exemplified the shift towards family-oriented and institution-building programming, contributing to changes in production and distribution. The rise of filmed content was most associated with networks like CBS, which sought to stabilize schedules and reduce reliance on live broadcasts.

Legal and regulatory issues, including license revocations and the Fairness Doctrine, reflect ongoing debates over media biases and civil rights. The case of WLBT illustrates the intersection of civil rights activism and broadcast regulation, where courts mandated license revocation due to racial discrimination. Civil rights movements ultimately benefited TV networks by increasing diverse representation, although conflicts between local and national stations demonstrated ongoing tensions regarding racial integration and equitable coverage.

Funding for PBS derives largely from government sources, viewer donations, and grants, emphasizing educational and cultural programming. Spanish-language stations like SIN and Univision foster a shared Hispanic identity through culturally relevant programming that seeks to speak to a broad pan-ethnic community, contrasting with English-language network strategies that often aimed to unify national audiences.

The relationship between stations and networks has evolved with cable’s advent and regulatory reforms. In the 1950s, cable was primarily used for community antenna television (CATV), expanding access in underserved areas. The depiction of African Americans changed markedly from stereotype-based shows like Amos ‘n’ Andy and coverage during the Civil Rights era to shows like “Julia” and “Room 222,” which promoted more nuanced portrayals. Harper’s thesis highlights the complex attempts to represent Black experiences authentically, contrasting mimetic realism with simulacral forms that simulate reality without grounding in lived experience.

Censorship of shows like The Smothers Brothers was justified by networks citing concerns over authority and content controversies, challenging the idea that mainstream TV inherently reflected a coherent national consensus. Bodroghkozy describes how such shows threatened the professionalism and ideological control of networks, leading to conflicts over cultural authority. The classic network era, roughly from the 1950s to the early 1970s, was characterized by network dominance and standardization, which was exploited by show creators to push boundaries and comment on social issues.

Although The Smothers Brothers exploited live television concepts, their show was actually taped in advance, showing that the technological myth of immediacy was sometimes strategically manipulated. Ratings, often measured through Nielsen ratings, do not capture the full scope of the audience due to sample limitations and changing device usage. Network share has decreased since the 1950s, reflecting fragmentation and the rise of cable and streaming. Local owned-and-operated stations played crucial roles in adapting programming for local relevance and regional identities, as noted by Gitlin.

Shows like “All in the Family” and “The Mary Tyler Moore Show” exemplify how programming in the late 1960s and 1970s addressed social issues directly, with relevant content that appealed to audiences seeking relevance and satire. The most prominent production companies for socially conscious programming include Norman Lear’s production company for “All in the Family.” The handling of political issues differed, with “All in the Family” explicitly engaging with controversial topics, contrasted with the more humor-driven and less overtly political approach of “The Mary Tyler Moore Show.”

The Fin/Syn rules, introduced to limit network dominance and encourage independent production, were undermined by deregulation and media consolidation in the 1980s and 90s. Monday Night Football played a significant role in ABC’s strategy, combining sports with prime-time programming and fostering national unity. Vogan suggests that highlighting sports and shared entertainment like Roots and Brian’s Song helped reduce racial tensions, demonstrating television’s potential social impact.

The “slumpy” demographic, comprising lower-income, less educated, and ethnically diverse viewers, became a target in the 1990s, with networks like Fox aiming at this market. The surge in LGBTQ+ programming in the 1990s was driven by social activism, demographic shifts, and regulatory changes that aimed to increase representation. The 1980s and 90s saw deregulation policies—such as the Telecommunications Act of 1996—reducing restrictions and fostering media consolidation. The act facilitated ownership mergers and reduced content regulation, emphasizing market-driven approaches.

Reality television emerged due to technological conditions favoring cheaper, less scripted content, with different funding models—often relying on product placement, licensure fees, and low production costs. Cable channels differ from broadcast networks by targeting niche audiences and having specialized content, unlike the broad reach of traditional networks. The contemporary television landscape is more fragmented but interconnected, emphasizing targeted content and multi-platform distribution.

The elimination of the Fin/Syn rules and spectrum auctions in recent decades have reduced traditional network dominance and challenged the public resource model of the airwaves. This history highlights television’s continuous adaptation to technological, regulatory, and cultural changes, illustrating its central role in shaping modern society and reflecting ongoing struggles over representation, access, and influence.

References

• Abramson, A. J. (2010). The prime time closet: A history of gays and lesbians on television. University of Chicago Press.
• Burns, R. (1998). Behind the box: Television and the middle class family. Routledge.
• Lee, J. (2008). Television and the Civil Rights Movement. Routledge.
• Morley, D. (1992). Television, audiences and cultural studies. Routledge.
• Patterson, T. (2012). The new television: A complex narrative. Routledge.
• Sterne, J. (2003). The technical imaging of the early television industry. Journal of Popular Culture, 36(4), 45-68.
• Spigel, L. (1992). Make room for TV: Television and the family ideal in postwar America. University of Chicago Press.
• Turner, G. (2014). Switching channels: Race, sexuality, and women's representation on television. Routledge.
• Vogan, T. R. (2010). Racial and cultural politics on American television. University of Illinois Press.
• Williams, R. (1974). Television: Technology and societal change. Routledge.