Radio and
Television Broadcasting
Radio and Television Broadcasting, primary means by which
information and entertainment are delivered to the public in virtually every
nation around the world. The term broadcasting refers to the airborne
transmission of electromagnetic audio signals (radio) or audiovisual signals
(television) that are accessible to a wide population via standard, readily
available receivers. The term has its origins in the medieval agricultural
practice of “broadcasting,” which refers to planting seeds by scattering them
across a field.
Broadcasting is a crucial
instrument of modern social and political organization. At its peak of
influence in the mid-20th century, radio and television broadcasting was
employed by political leaders to address entire nations. Because of radio and
television’s capacity to reach and influence large numbers of people, and owing
to the limited spectrum of frequencies available, governments have commonly
regulated broadcasting wherever it has been practiced. (For more information,
see the Regulation of Broadcasting section of this article.)
In the early 1980s, new
technologies—such as cable television and videocassette players—began eroding
the dominance of broadcasting in mass communication, splitting audiences into
smaller, culturally distinct segments. Previously the only means of delivering
radio and television to home receivers, broadcasting is now just one of several
delivery systems available to listeners and viewers. Sometimes broadcasting
is used in a broader sense to include delivery methods such as wire-borne
(cable) transmission, but these are more accurately called “narrowcasting”
because they are generally limited to paying subscribers.
II
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THE EMERGENCE OF BROADCAST COMMUNICATION
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For most of history, long-distance
communication depended primarily upon conventional means of transportation. A message
could be moved aboard a ship, on horseback, by pigeon, or with a human courier,
but in virtually all cases it had to be conveyed as a mass through space like
any other material commodity. This basic condition of human communication ended
in the 19th century due to a series of technological advances.
A
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Radio Broadcasting
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The story of radio begins
in the development of an earlier medium, the telegraph, which was the first instantaneous
system of information movement. Patented simultaneously in 1837 in the United
States by inventor Samuel F. B. Morse and in Britain by scientists Sir Charles
Wheatstone and Sir William Fothergill Cooke, the electromagnetic telegraph
realized the age-old human desire for a means of communication free from the
obstacles of long-distance transportation. The first public telegraph line,
completed in 1844, ran 64 km (40 mi) from Washington, D.C., to Baltimore,
Maryland. Morse's first message, “What hath God wrought?”—transmitted as a
coded series of long and short electronic impulses (see International
Morse Code)—conveyed his awareness of the momentous proportions of the
achievement.
Telegraphy proved so useful
and popular that over the next half century wires were strung across much of
the world, including a transatlantic undersea cable (1866) connecting Europe
and North America. The instantaneous passage of a message over a distance that
required hours, days, or weeks to traverse by ordinary transport was so
radically unfamiliar an experience that some telegraph offices collected
admission fees from spectators wanting to witness the feat for themselves.
As society began to depend
on the telegraph for everything from birthday greetings to the news of
momentous events, the limitations of telegraphic communication became apparent.
Telegraphy depended on the building and maintenance of a complex system of
receiving stations wired to each other along a fixed route and requiring
trained operators to transmit and receive messages. The telephone, patented by
Scottish-born American inventor Alexander Graham Bell in 1876, made
instantaneous communication possible via a desktop appliance available to
untrained users. However, it required an even more complex system of wires and
switching stations than the telegraph. Neither device could be used by ships at
sea or reach the many remote communities that could not afford the costs of
lines and stations.
Although neither the telephone
nor the telegraph could address large numbers of people simultaneously, mass
circulation newspapers and magazines benefited greatly from the two devices,
translating wired reports into print for mass consumption. News agencies such
as the Associated Press and Reuters are still often called wire services,
referring to their beginnings as telegraph services.
A1
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Radio Experiments
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Scientists in many countries
worked to devise a system that could overcome the limitations of the telegraph
wire. In 1895 Italian inventor Guglielmo Marconi transmitted a message in Morse
code that was picked up 3 km (2 mi) away by a receiving device that had no
wired connection to Marconi's transmitting device. With this transmission,
Marconi demonstrated that an electronic signal could be cast broadly (broadcast)
through space so that receivers at random points could capture it. The closed
circuit of instant communication was at last opened by a so-called wireless
telegraph. The invention was also called a radiotelegraph (later
shortened to radio), because its signal moved outward in all directions,
or radially, from the point of transmission. The age of broadcasting had begun.
Unable to obtain funding in
Italy, Marconi found willing supporters for his research in Britain, a country
that depended on quick and effective deployment of its worldwide naval and
commercial shipping fleets to maintain its empire. Marconi moved to London in
1896 and, with the help of financial backers, founded the British Marconi
Company to develop and market his invention for military and industrial uses.
Within five years a wireless signal had been transmitted across the Atlantic
Ocean from England to Newfoundland, Canada. For his work in wireless
telegraphy, Marconi was awarded the Nobel Prize in physics in 1909.
Within a decade of Marconi’s
invention, wireless telegraphy had developed into a basic tool of the world
maritime industry. Many countries soon required by law that vessels engaged in
international trade have a radio transmitter and a certified operator aboard at
all times. In 1904 the United Fruit Company hired American inventor Lee De
Forest to help build a series of radio broadcasting stations to increase
efficiency in shipping perishable goods, especially bananas, from Central America
to the United States. These linked stations, which shared information on
weather and market conditions, constituted the first broadcasting network.
Public awareness of radio was greatly increased in 1912 with the heavily
publicized Titanic tragedy. About one-third of the passengers aboard the
sinking ship were rescued after wireless telegraph operators on the North
American mainland picked up Titanic’s distress signal and dispatched
help to the scene.
The earliest radios were
truly wireless telegraphs in that they transmitted and received their messages
in Morse code. The work of Canadian inventor Reginald Fessenden, later
elaborated upon by De Forest, allowed for the broadcast transmission of a wider
range of sounds, including the human voice and music. In 1914 American inventor
Edwin Howard Armstrong patented the regenerative circuit, an innovation in
amplifying radio signals that made broadcasting to the general public possible.
Up to this point, little
attention had been given to general consumer applications of the new
technology. Nonmaritime broadcasting was dominated by amateur experimenters and
hobbyists. In 1909 American entrepreneur Charles Herrold established the
Herrold College of Wireless and Engineering in San Jose, California, and he and
his students broadcasted news and music to receivers they had placed in local
hotel lobbies. Backyard tinkerers all over North America built their own
transmitters and used them to voice opinions, pass along information, recite
poems, play music, or otherwise entertain their fellow amateur enthusiasts,
known as hams. Nonbroadcasters built receiver-only units known as
crystal sets. Great pride was taken in homemade equipment, and radio clubs
sprang up around the United States. Listening for distant signals, a practice
known as “DXing,” became popular and can be thought of as a primitive ancestor
of Internet surfing. The U.S. government, which began requiring licenses for
radio operators in 1912, issued more than 8,000 licenses to hobbyist
broadcasters by 1917.
A2
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World War I and Early Regulation
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With the outbreak of World
War I (1914-1918) in Europe, wireless transmission proved an invaluable
military tool on land, sea, and air. Impressed by its strategic applications,
and wary of its potential as an instrument of espionage and mass propaganda,
U.S. president Woodrow Wilson banned nonmilitary broadcasting when the United
States entered the war in 1917. Civilian equipment was confiscated under
executive order, and regulatory power over broadcasting was transferred from
the U.S. Department of Commerce to the Department of the Navy. The war also
aided the development of radio technology, as governments on both sides of the
conflict poured money into research. Armstrong, a decorated military pilot who
served with U.S. forces in France, is credited with having made great
improvements in air-to-ground and air-to-air radio systems.
A3
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The Golden Age of Radio
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Grand Ole Opry, Tennessee
The Grand Ole Opry traces its roots to a
local radio show called “Barn Dance,” which broadcast live country music
beginning in 1925. Credited with popularizing country music, the Grand Ole Opry
won a national radio network spot in 1939. The Opry is the oldest continuous
radio show in the United States, broadcasting live every week from a theater at
Opryland in Nashville, Tennessee.
Early evidence of a systematic
scheme for broadcasting to the general public can be found in a 1916 memorandum
written by David Sarnoff, an employee of Marconi's U.S. branch, which would
become the Radio Corporation of America (now part of General Electric Company; see
RCA Corporation). Sarnoff proposed “a plan of development which would make
radio a household ‘utility’ in the same sense as the piano or phonograph.”
Sarnoff's memo was not given serious consideration by Marconi management, and
President Wilson’s suspension of nonmilitary broadcasting in 1917 made it
impossible for the company to immediately explore Sarnoff's ideas. After World
War I ended in 1918, however, several manufacturing companies in the United
States began to explore and implement ideas for the mass-marketing of home
radio receivers designed for casual use.
In an effort to boost
radio sales in peacetime, the Westinghouse Electric Corporation (now CBS
Corporation) of Pittsburgh, Pennsylvania, established what many historians
consider the first commercially owned radio station to offer a schedule of
programming to the general public. Known by the call letters KDKA, the station
received its license in October 1920 and began service from a studio inside a
canvas tent built on the roof of a Westinghouse factory. Frank Conrad, a radio
hobbyist and veteran engineer with experience in civilian and military radio
research, ran the project. Responsible for the station's programming as well as
its technical operation, he aired various forms of entertainment, including
recorded music generated by a phonograph placed before a microphone. KDKA
charged no user fees to listeners and carried no paid advertisements; instead,
the station was financed by Westinghouse to encourage people to buy home radio
receivers.
Depression-Era Radio
Introduced during the early 1920s,
commercial radio thrived during the Great Depression (1930s) as a national
forum for popular entertainment and news. Families gathered around the radio
each day to listen to adventure serials and vaudeville-style comedy.
Other manufacturers soon followed
Westinghouse's example. The General Electric Company (GE) began broadcasting
over station WGY, located at its corporate headquarters in Schenectady, New
York. The chairman of RCA, Owen D. Young, gave Sarnoff permission to develop
company sales of radios for home entertainment. Sarnoff soon opened stations in
New York City and Washington, D.C., and in 1926 he began organizing the
National Broadcasting Company (NBC), an RCA subsidiary created for the purpose
of broadcasting programs via a nationwide network of stations.
Edgar Bergen
American ventriloquist Edgar Bergen,
right, performed with his famous hand-manipulated dummy Charlie McCarthy in
vaudeville, radio, television, and motion pictures during the mid-1900s. In his
act Bergen would serve as the straight man for the dummy’s irreverent
wisecracks. One of the most successful ventriloquists of all time, Bergen
possessed agile vocal skills and a creative stage demeanor.
Another important early
broadcaster was the American Telephone & Telegraph Company (AT&T,
Inc.). Barred from manufacturing radios by the terms of its telephone antitrust
exemptions, AT&T explored the possibilities of what the company called toll
broadcasting (charging fees in return for airing commercial advertisements
on its stations). The first known instance of an advertiser paying for a
broadcast commercial took place in 1922, when AT&T accepted a fee from the
Queensboro Corporation to air a 12-minute pitch for the sale of cooperative
apartments on WEAF, the company’s New York City station. Fearing legal action
by radio companies that might threaten its telephone franchises, however,
AT&T sold its stations to RCA. In return for leaving the broadcasting
business, AT&T was granted the exclusive right to provide the connections
that would link local stations around the country to the NBC network.
RCA Corporate Logo, Around 1950
The Radio Corporation of America
acquired the Victor Talking Machine Company in 1929. The newly named RCA-Victor
Company adapted for its trademark a painting titled His Master’s Voice by
English photographer and painter Francis Barraud in 1895. The painting shows
Nipper, part bull terrier and part fox terrier, listening quizzically to an
old-fashioned phonograph-speaker as though trying to locate the source of his
master’s voice.
The sale of radios more
than justified the expense of operating broadcasting services for RCA, GE,
Westinghouse, and other radio set manufacturers. According to estimates by the
National Association of Broadcasters, in 1922 there were 60,000 households in
the United States with radios; by 1929 the number had topped 10 million. But
increases in sales of radio receivers could not continue forever. Broadcasters
needed a new incentive to produce and transmit programs once the home radio
market matured. The sale of advertising time loomed as a promising growth area.
In Britain, and in the
many countries that followed its lead, broadcasting was developing in a
different way. Radio owners paid yearly license fees to the government, which
were turned over directly to an independent state enterprise, the British
Broadcasting Corporation (BBC). The BBC in turn produced news and entertainment
programming for its network of stations. The editorial and artistic integrity
of the BBC was to be insured by its funding mechanism, which was designed to
isolate it from immediate political pressures.
Jack Benny
American comedian Jack Benny hosted The
Jack Benny Show on radio from 1932 to 1955 and on television from 1955 to 1964.
One of Benny’s recurring jokes revolved around his age: He was always 39.
In the United States, on
the other hand, it was widely accepted that broadcasting was a commercial
enterprise that should pay its own way without government aid or interference.
However, there was some opposition to the development of broadcasting as a
primarily commercial medium. Herbert Hoover, who as secretary of commerce was
in charge of broadcast regulation, expressed his disapproval of commercialism
at the 1922 Radio Conference in Washington, D.C., saying he found it
“inconceivable that we should allow so great a possibility for service and for
news and for entertainment and education to be drowned in advertising chatter.”
By the late 1920s, nonetheless, the direction of broadcasting as an industry,
art, and technology in the United States had shifted decisively to mass distribution
of popular culture funded by commercial advertising.
George Burns
American comedian George Burns, whose
entertainment career began in vaudeville, made his radio debut in 1932,
starring in a popular show with his wife, Gracie Allen. The program moved to
television in 1950. Burns and Allen also performed together in several motion
pictures. After Allen’s retirement in 1958, Burns continued to work in
television and cinema.
Noncommercial broadcasting would play
only a minor role in the rise of American broadcasting. In the agricultural
Midwest, state universities saw radio as a natural tool for broadcasting
educational programming to rural areas, and schools such as the University of
Iowa, Ohio State University, and the University of Wisconsin established stations
supported with funds set aside by state legislatures. There would not be a
coast-to-coast noncommercial radio network in the United States until the
formation of National Public Radio (NPR) in 1970.
Radio Dramas
During the 1920s and 1930s, radio
listeners could turn on their radios and hear action-packed adventure dramas
complete with sound effects. Whole families gathered around the radio every day
at a given time to listen to the next episode of their favorite radio adventure
story, such as “The Shadow.” The stenode radio-stat, shown here, could indicate
the radio station on the map at the top of the receiver.
In 1927 RCA initiated two
transcontinental radio services through NBC, its subsidiary: the Red Network
(usually just called NBC) and the Blue Network. The Columbia Broadcasting
System (see CBS Corporation) radio service was established in 1928.
Originally launched by the Columbia Phonograph Record Company as a means of
promoting its recording artists, it was saved from bankruptcy after less than a
year of operation by the Paley family of Philadelphia. William S. Paley, who
took charge of CBS, and David Sarnoff, who now headed NBC and its parent
company (RCA), would become the two dominant personalities in the American
broadcasting industry for the next 50 years. As the radio networks grew in
size, they were able to bring a consistently high level of entertainment to
even the most remote corners of the nation. In 1934 a group of nonnetwork (or
independent) stations, led by WGN in Chicago, Illinois, and WOR in New York
City, formed a cooperative programming and news venture, the Mutual
Broadcasting System, to compete against the network programs of NBC and CBS
stations.
By 1934 almost 600 radio
stations were broadcasting to more than 20 million homes in the United States.
The radio had emerged as a familiar household item, usually built into a
substantial piece of wooden furniture placed in the family living room. It
became the primary source for news and entertainment for much of the nation.
Despite the Great Depression that affected the economy of the United States
during the 1930s, American commercial radio broadcasting had grown to a
$100-million industry by the middle of that decade.
A4
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Radio in World War II
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Roosevelt at Work
United States President Franklin Delano
Roosevelt (1933-1945) first achieved national attention when he gave a rousing
speech at the Democratic Party’s 1924 national convention. Roosevelt is heard
here giving one of his “fireside chats,” informal speeches he regularly
delivered to the nation by radio.
Radio broadcasting reached its
height in global influence and worldwide prestige during World War II
(1939-1945), when it carried war news directly from the battlefront into the
homes of millions of listeners. This conflict became, in many ways, a “radio
war.” American commentator Edward R. Murrow created a sensation with his
eyewitness descriptions of street scenes in London during German bombing raids,
delivering these accounts from the rooftop of the city’s CBS news bureau.
American president Franklin Delano Roosevelt had often used radio to bypass the
press and directly address the American people with his so-called fireside chats
during the Great Depression, and he continued to do so throughout the war. The
radio speeches of German leader Adolf Hitler helped set the conditions for war
and genocide in Europe, and the radio appeal from Japanese emperor Hirohito to
his nation for unconditional surrender helped end World War II following the
atomic bombings of Hiroshima and Nagasaki.
B
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The Introduction of Television
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Television Sets from 1950s
Television pictures are formed by the
transmission of a succession of tiny tonal elements on a screen, which appear
as moving images to the human eye. The electronics giant Radio Corporation of
America financed the development of early television, and by 1955, 67 percent
of American households had television sets.
Radio’s success spurred
technology companies to make substantial investments in the research and
development of a new form of audiovisual broadcasting called television, or TV.
Unlike radio, television broadcasting did not go through a period of
experimentation by amateurs. It was obvious to commercial broadcasters that
enormous profits were to be made from such an invention as an advertising tool,
and the dominant companies in communications technology raced to perfect it.
B1
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Origins
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The invention of television
was a lengthy, collaborative process. An early milestone was the successful
transmission of an image in 1884 by German inventor Paul Nipkow. His mechanical
system, known as the rotating or Nipkow disk, was further developed by Charles
Francis Jenkins, who made a telecast of a short film to U.S. government
officials in Washington, D.C., in 1925, and by Scottish scientist John Logie
Baird, who broadcast a televised image in 1926 to an audience at the Royal
Academy of Science in London. In 1928 Herbert Ives, an engineer working for
AT&T, offered what was perhaps the most spectacular demonstration of
mechanical television to that point, transmitting color images of a bouquet of
roses and an American flag to two audiences simultaneously in New York City and
Washington, D.C. However, the proven capability of the electronic tube system
that had been developed for radio turned financial and scientific attention
toward that technology and away from research on the rotating disk.
The earliest U.S. patent
for an all-electronic television system was granted in 1927 to a young Philo T.
Farnsworth, who transmitted a picture of a U.S. dollar sign using his so-called
image dissector tube in the laboratories of the Philadelphia Storage Battery
Company (Philco). Meanwhile, the three radio technology powerhouses—General
Electric, Westinghouse, and RCA—were cooperating closely with each other.
General Electric and Westinghouse owned substantial shares of RCA stock, and
the companies shared a collection of radio patents valuable to the development
of television. In 1930 they consolidated their television research efforts at
an RCA facility in New Jersey under the direction of Russian immigrant
scientist Vladimir Zworykin. Historians usually credit Farnsworth, Zworykin, or
both with the invention of television.
B2
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Early Broadcasts
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Ed Wynn
Comedian Ed Wynn introduces the popular
television program “Camel Comedy Caravan” of the early 1950s. Like other early
American television personalities, including Milton Berle and Jack Benny,
Wynn’s career began in vaudeville, moved to radio, and continued in television.
During the 1930s several
companies around the world actively prepared to introduce television to the
public. As early as 1935, the BBC initiated experimental television broadcasts
in London for several hours each day. That same year, CBS hired American
theater, film, and radio critic Gilbert Seldes as a consultant on its
television-programming development project. RCA unveiled television to the
American public in grand style at the 1939 New York World’s Fair, with live
coverage of the fair's opening ceremonies. This included a speech by President
Roosevelt—the first televised appearance of an American president. Daily
telecasts were made from the RCA pavilion at the fair. Visitors were invited to
experience television viewing and were given the opportunity to walk in front
of television cameras and see themselves on monitors.
With the American entry
into World War II at the end of 1941, television experimentation in the United
States was virtually suspended, although radar research would contribute
several advances to the field. As a measure of the importance that broadcasting
technology had achieved, NBC's David Sarnoff received a commission from the
U.S. Army to supervise its field communications and was promoted to the rank of
general.
B3
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Post-World War II Popularity
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Early Television
With the advent of television, the radio
was quickly displaced from living rooms to the bedroom, the bathroom, or the
kitchen. This television and radiogram, exhibited by Decca at the 19th National
Radio and Television Exhibition in London in 1952, combined both radio and
television in one console. The size of this television allowed large groups of
people to watch such family favorites as “I Love Lucy,” which aired from 1951
until 1957. Lucille Ball and Edward Everett Horton are shown here in an episode
of this popular comedy show.
Technically, network broadcasting
takes place when local stations of different regions simultaneously transmit
the same signal. Four companies stood ready to initiate network television
broadcasting in the United States immediately following the end of World War II
in 1945. Two of the companies, NBC and CBS, had made vast fortunes from radio
broadcasting and were well prepared to dominate the television industry. The
remaining two, the American Broadcasting Company (now ABC, Inc.) and the DuMont
Television Network, were competing without the advantage of such previous
commercial success. ABC had been created in 1943 when the government won a
lawsuit forcing RCA to sell off one of its two national radio networks. RCA’s
Blue Network had been sold to Edward J. Noble, owner of the Lifesavers Candy Company,
who renamed it the American Broadcasting Company. ABC managed to survive the
early years of television through a corporate merger and imaginative
programming innovations, many of them instituted by Leonard Goldenson, who
joined Sarnoff and Paley as the third great founding mogul of American
television. But ABC remained a poor third place in the programming ratings
(estimates of the percentage of television viewers tuned to a particular
program) for decades; it would finally catch up to its rivals in the late
1970s. The DuMont Network, owned by American television manufacturer Allen B.
DuMont, was the only television network launched by a company without prior
broadcasting experience. It went out of business in 1955.
Other companies unveiled plans
to enter the television-broadcasting field during the early years, but they
were effectively blocked by governmental regulatory decisions pushed for by the
broadcasting giants. In 1948, for example, the Federal Communications
Commission (FCC), the U.S. government agency that regulates broadcasting,
instituted a four-year moratorium on the issuance of new TV station licenses.
This freeze kept newcomers out of the broadcasting business while the radio
companies solidified their hold on television. In addition, the FCC initially
made only the 12 very high frequency (VHF) channels available for broadcasting,
prohibiting use of the 69 ultra high frequency (UHF) channels. This action
created an artificial scarcity of frequencies, preventing interested companies
from operating television stations or networks. UHF licenses were eventually
granted, but it was not until 1964 that all sets sold in the United States were
required to have UHF as well as VHF tuners.
Lucille Ball
The popular television situation comedy
“I Love Lucy” (1951-1957) starred American actor and comedian Lucille Ball and
her husband Desi Arnaz. Ball’s career as an entertainer also included the
successful radio show “My Favorite Husband” (1947-1951) and numerous
motion-picture roles. She received an Emmy Award for best comedienne in 1952
and Emmy Awards for best actress in 1955, 1967, and 1968.
By the mid-1950s the so-called
Big Three radio broadcasting networks (NBC, CBS, and ABC) had successfully
secured American network television as their exclusive domain. It was not until
the mid-1980s that a fourth company, News Corporation, Limited, owned by
Australian-born executive Rupert Murdoch, broke this oligopoly with the
establishment of the Fox television network (see Fox Broadcasting
Company). In the 1990s Paramount Pictures (today a division of Viacom, Inc.)
established UPN, and Warner Bros. (now a division of Time Warner Inc.)
established WB, bringing the number of American commercial television networks
to six.
The large-scale introduction of
cable television (in which television signals are transmitted to paying
subscribers by means of coaxial cable) decisively ended channel scarcity in the
1980s. Previously, viewing choices had been limited in most parts of the United
States to the programming that CBS, NBC, and ABC developed or bought. The only
alternatives to the Big Three were found solely in the largest cities:
commercial independent stations that had no network affiliations, and
noncommercial stations (known until the 1970s as educational stations, today
called public stations). The independents offered mostly reruns (shows
previously broadcast by a network) and a selection of older films and local
sports events. In the beginning, the few existing noncommercial stations were
poorly funded, airing mostly programs meant for schoolroom use in the daytime hours
and a variety of documentaries, talk shows, and dramas in abbreviated
prime-time schedules. These stations shared programming through a loose
association known as National Educational Television (NET). Lacking network
linkage technology, they typically shared programming by passing tapes from one
station to another, a process known as bicycling. These stations would only
begin to offer a solid alternative to commercial viewing some years after
passage of the Public Broadcasting Act of 1967, which brought reliable federal
funding to NET stations and resulted in the creation of the Public Broadcasting
Service (PBS).
Sid Caesar and Imogene Coca
Comedians Sid Caesar and Imogene Coca
starred on television together from 1949 until 1954 in “Your Show of Shows,” a
popular variety show. Known for his brilliant satire and witty improvisations,
Caesar became one of the stars of 1950s television.
Due to lack of competition,
during the first 30 years of American television the Big Three’s collective
share of viewership during the prime-time hours (8 pm to 11 pm, or
7 pm to 10 pm in some locations) was typically 95 percent or more. By
the early 1960s more than 600 television stations, 541 of them commercial, were
on the air, collectively broadcasting to about 90 percent of all homes in the
United States. By the beginning of the 21st century, these numbers had
increased to more than 1,200 commercial and about 370 public stations, and
broadcasts were reaching more than 98 percent of homes in the United States.
III
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MODERN BROADCASTING
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Color-Television Debut
On June 25, 1951, the Columbia
Broadcasting System (CBS) inaugurated commercial color television broadcasting.
It was a one-hour program that aired in New York, Boston, Philadelphia,
Baltimore, and Washington, D.C. On the set that day to celebrate the event
were, left to right, CBS President Frank Stanton, television personality Arthur
Godfrey, CBS board chairman William S. Paley, and Federal Communications Commission
chairman Wayne Coy.
Broadcasting dramatically changed
life in the United States wherever it was introduced. Radio brought news and
information from around the world into homes. The availability of
professionally crafted drama and music, historically a privilege of the elite,
was now expected by the general public on a daily basis. The networks brought
the performances of talented artists to large numbers of people in areas
otherwise isolated from concert halls, theaters, and other traditional venues.
The parallel growth of network radio and Hollywood sound cinema, both of which
were launched as commercial enterprises in 1927, created an unprecedented mass
culture shared by people of a wide range of social classes, ethnic backgrounds,
and educational achievement. The influence of broadcasting was further expanded
by television during the 1950s but began to diminish in the 1980s as new
technologies—especially cable television—gradually led to a fragmenting of the
broadcasting audience.
A
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National Broadcasting
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“Twenty-One” Quiz Show
A young professor from a prominent
family, Charles Van Doren became famous in the late 1950s for correctly
answering questions on the television quiz show “Twenty-One.” He later
confessed to having cheated on the show. About the same time contestants from
other quiz shows publicly disclosed the games were rigged by their producers
and sponsors to attract larger audiences. In the photograph, left to right: Van
Doren, an assistant, host Jack Barry, and challenging contestant Herbert
Stempel.
Currently, the basic building
blocks of the national broadcasting networks in the United States are the
approximately 10,000 local radio stations and 1,500 local television stations
found throughout the country. All U.S. radio and television stations fall into
one of four general categories: owned and operated (or O & Os),
which are properties held directly by the networks; affiliates, which
are owned by other companies that contract for exclusive rights to show a
particular network’s programming in a given market; independents,
commercial stations that do not contract for rights to carry network
programming; and public stations, which do not carry commercials but
instead operate on contributions from viewers, corporate gifts, foundation
grants, and production support from the Corporation for Public Broadcasting and
other government agencies.
The advent of television
radically affected radio, forcing it from its primary position in mass
communication to a secondary role. Most radio stations today offer only one
type of programming, designed to attract a demographically homogeneous audience
that the station can sell to advertisers.
Currently, U.S. radio stations
are almost evenly divided between two broadcast spectrums: amplitude
modulation (AM), which comprises the dial range from 540 to 1700 kilohertz
(KHz); and frequency modulation (FM), from 88 to 108 megahertz (MHz). AM
broadcasting, which allows a transmitter to have greater geographical reach,
consists mostly of talk programming, including telephone call-in shows,
all-news formats, religious evangelism, and sports coverage. FM, developed in
the 1930s by Edwin Howard Armstrong, has several advantages over AM: It is
nearly free of static and can be broadcast in stereo—two simultaneous sound
waves that yield more realistic reproduction of music and other sounds. From
Armstrong’s earliest demonstrations, it was obvious that FM offered a richer,
fuller sound than AM. But the millions of radio sets already sold to the public
could not receive FM broadcasts, so companies heavily invested in AM technology
suppressed FM for decades. FM did not reach a large audience until the 1960s,
when the public immediately embraced it. Most FM stations are dedicated to
presenting music. They tend to establish specific, easily identifiable formats,
such as rock, country, rap, or other genres that appeal to particular
audiences.
B
|
Broadcast Programming
|
1950’s Family Shows
During the 1950s several American
television shows portrayed an idealized middle-class family focused on the task
of child rearing, and consisting of a wise breadwinning father, a cheerful and
attractive stay-home mother, and socially and academically successful children.
“Father Knows Best,” which was broadcast from 1954 to 1960 epitomized such
shows. American actor Robert Young starred as father Jim Anderson in the
series.
Despite the obvious differences
between radio and television, the development of programming for both broadcast
media is best understood as a single history made up of two stages. Early
broadcasting was dominated by adaptations of older media. Popular stage drama
was redesigned for radio in the form of weekly action serials, situation
comedies, and soap operas. Vaudeville provided material for the radio
comedy-variety program. Broadcast stations set up microphones in the ballrooms
of major urban hotels where popular bands were featured. Daily newspapers
provided the model for news coverage, and in some cases announcers would simply
read articles from the local newspaper over the air.
Today, television stations in
the United States produce very little of their own programming, apart from
daily local newscasts and a few public-affairs discussion shows. Most stations
broadcast entertainment series, feature films, documentaries, and world and
national news coverage transmitted via network connections from Los Angeles,
California, and New York City.
Most modern television
programming genres are derived from earlier media such as stage, cinema, and
radio. In the area of comedy, the situation comedy (or sitcom) has proven the
most durable and popular of American broadcasting genres. The sitcom depends on
audience familiarity with recurring characters and conditions to explore life
in the home, workplace, or some other common location.
Norman Lear’s “All in the Family”
American television producer and writer
Norman Lear gained fame in the 1970s for his situation comedies that focused on
social and political issues. His show “All in the Family” (1971-1979) based its
humor on the conflict between political conservatives and liberals, and it was
considered controversial for dealing openly with subjects such as abortion,
homosexuality, menopause, and racial prejudice. Shown in this photo are Carrol
O’Connor, left, as Archie Bunker and Jean Stapleton, right, as his wife, Edith.
The most highly rated
sitcom in radio history was Amos ‘n’ Andy, in which white actors
performed the roles of African American characters in outrageous caricature.
The series premiered on NBC in 1928 and ran for 20 years on radio before moving
to television, where it ran from 1951 to 1953. Similarly, The Goldbergs (1929-1950),
Life with Luigi (1948-1953), and other ethnically based family sitcoms
successfully exploited the aural nature of radio by presenting thick immigrant
accents and malapropisms (misuse of words). I Love Lucy (1951-1957),
which starred Lucille Ball and was loosely adapted from her radio show My
Favorite Husband (1948-1951), was the first hit television sitcom,
finishing first in the national ratings for three seasons in a row (1951-1954).
The show established many dramatic elements—such as battles between the sexes,
arguments among neighbors, and other mundane conflicts—that would become
fundamental to the genre. Other television sitcoms, such as Father Knows
Best (1954-1960) and The Cosby Show (1984-1992), leaned toward
moralistic narratives, often focusing on child rearing. Television sitcoms
occasionally use fantasy characters as vehicles for comic special effects, as
in Bewitched (1964-1972) and I Dream of Jeannie (1965-1969); or
they offer social commentary, as in All in the Family (1971-1979) and M*A*S*H
(1972-1983).
Comedy-variety is a hybrid
of vaudeville and nightclub entertainment. Popular comedy-variety radio stars
included Jack Benny, Fred Allen, and Edgar Bergen. In the formative years of
television, many of the medium's first great stars were comedy-variety
performers, including Milton Berle, Sid Caesar, Jackie Gleason, Martha Raye,
and Red Skelton. A comedy-variety hour typically consisted of short monologues
and skits featuring the host, alternating with various show-business acts,
including singers, musicians, stand-up comedians, trained-animal acts, and
other novelties. The variety show is a related form in which the host serves
only as master of ceremonies. The Ed Sullivan Show (1948-1971), for
example, hosted by newspaper columnist Ed Sullivan on CBS, presented
entertainers as diverse as the Beatles and the Bolshoi Ballet.
The Flintstones
The Flintstones was a popular animated
series for television created by William Hanna and Joseph Barbera. The show,
which originally aired from 1960 to 1966, focused on the humorous mishaps of
the “modern Stone Age” Flintstone family. Shown here are Wilma and Fred
Flintstone and their neighbor and Fred’s coworker, Barney Rubble (at the
window).
Broadcast drama can be
presented in either of two formats. An anthology program showcases individual
plays, such as would be expected on stage or in motion pictures. Dramas written
for radio, including adaptations of stage and literary classics, were presented
on anthologies throughout the 1930s and 1940s. These included Mercury
Theater on the Air (also called The Campbell Playhouse, 1938-1941),
created by American actor and director Orson Welles, and Theatre Guild of
the Air (1945-1954). The drama series, using recurring characters,
situations, and settings, were more popular, however. Genres of radio series
included urban police dramas, such as Gangbusters (1935-1957); private
eye mysteries, such as The Shadow (1930-1954); and Westerns, such as The
Lone Ranger (1933-1955). Radio drama virtually disappeared by the mid-1950s
as its biggest stars and most popular programs were transferred from radio to
television.
Johnny Carson
On May 22, 1992, Johnny Carson hosted
The Tonight Show for the final time time after heading up the show for 30
years. Carson’s unassuming manner and ironic wit endeared him to a generation
of fans, and his long run was unprecedented for the late-night talk show
format. The Tonight Show helped launch the careers of many stand-up comedians
and introduced young and emerging performers to a nation of Carson devotees.
The early years of television
offered many highly regarded anthology dramas. Hour-long works by Paddy
Chayefsky, Rod Serling, and other television playwrights were presented live
from New York City on showcase series such as Goodyear-Philco Playhouse
(1951-1960) and Studio One (1948-1958). As with radio, however, serial
television dramas proved more popular and anthologies gradually disappeared.
Television became increasingly lucrative during the 1950s, and large sums of
money became available to record prime-time programming, ending the era of live
television dramas. Filmed (or taped) series allowed for crowd scenes, car
crashes, and other cinematic elements that in turn made possible a variety of action-adventure
formats that are still popular in contemporary programming. The genre includes
police dramas, such as Dragnet (1952-1959, 1967-1970), Hawaii Five-O
(1968-1980), Hill Street Blues (1981-1987), and NYPD Blue (1993- ),
usually depictions of straightforward battles between good and evil; and
private-eye series, such as 77 Sunset Strip (1958-1964), The Rockford
Files (1974-1980), and Magnum, P.I. (1980-1988), in which the
personality of the detective is as important as the criminal investigation.
Other types of action-adventure programming include Westerns, such as Gunsmoke
(1955-1975), Wagon Train (1957-1965), and Bonanza (1959-1973);
war series, such as Combat (1962-1967) and Rat Patrol
(1966-1967); spy series, such as The Man From U.N.C.L.E (1964-1968) and I
Spy (1965-1968); and science-fiction series, such as Star Trek
(1966-1969) and its sequels and The X-Files (1993-2002). Dramatic series
tend to follow the exploits of lawyers (Perry Mason, 1957-1966; L.A.
Law, 1986-1994; The Practice, 1997- ), doctors (Ben Casey,
1961-1966; Marcus Welby, M.D., 1969-1976; ER, 1994- ), or
families (The Waltons, 1972-1981; Dallas, 1978-1991).
The soap opera, or daily
serial drama, was developed as a daytime genre aimed specifically at a female
audience. Soap operas explored romance, friendship, and familial relations in
slow-moving, emotionally involving narratives. The invention of the soap opera
is credited to Irna Phillips, who developed such programs for local radio
broadcast in Chicago during the 1920s. Many of her radio shows were adapted for
television, with some running first on radio and then on television for more
than 25 years. Phillips's productions include The Brighter Day
(1954-1962), Guiding Light (1952- ), and The Edge of Night
(1956-1984).
Garrison Keillor
American writer and broadcaster Garrison
Keillor created “A Prairie Home Companion,” an award-winning radio show that
looks at rural midwestern America with a fond and sometimes critical eye. The
show is modeled after Nashville’s Grand Ole Opry program, and Keillor weaves
music, storytelling, and comedy through a fabric of rustic, fictional
characters.
Other television program types
include talk shows, sports coverage, children’s programming, game shows, and
religious programs, all of which originated on radio. Quiz shows, such as The
$64,000 Question (1955-1958) and Twenty-One (1956-1958), are a
subgenre of game shows in which cash prizes are awarded through quick tests of
knowledge. These shows had been extremely popular in prime time during the late
1950s until a series of cheating scandals resulted in the virtual banishment of
such programming to daytime or early evening schedules, with much smaller
prizes offered. Popular game shows, as they were now called, during this period
included The Price Is Right (a 1950s show that was revived in 1972), Jeopardy
(1964- ), and Wheel of Fortune (1975- ). In the late
1990s, with the audience for the broadcast networks in decline, the “big-money”
quiz show was revived, in part because of its low production costs relative to
dramatic series. Leading the comeback was Who Wants to Be a Millionaire?
(1999- ), a show that originated in the United Kingdom and became a huge
hit in the United States.
David Letterman
An American comedian and television
talk-show host, David Letterman began hosting “Late Night with David Letterman”
in 1982.
New program types are
rarely introduced in broadcasting, since audience familiarity plays a key role
in determining programming. The rise of the reality show in the late 1980s and
1990s is an exception, however. Examples include Cops (1989- ), in
which camera crews accompany police cars on their daily rounds, and Survivor
(2000- ), which records the interactions of a group of people who are
thrown together in a difficult, remote location, such as a desert island. As
with the revival of the quiz show, the drive for lower production costs by
network broadcasters—a result of smaller network audiences in the cable era—was
a determining factor in introducing these programs, which have become extremely
popular.
C
|
Broadcast Journalism
|
Edward R. Murrow
American news broadcaster Edward R.
Murrow was first recognized for his on-the-scene radio reporting during World
War II (1939-1945). He later received acclaim for his bold and controversial
television documentaries, especially those concerning Senator Joseph McCarthy,
aired in 1954 on “See It Now.”
One of broadcasting's original
purposes, predating its use as an entertainment medium, was to spread news of
maritime weather conditions. Early experimenters and amateurs also delighted in
informing far-away listeners of everything from election results to local
gossip. As broadcasting developed into a mass medium, its speed and ubiquity
made the news—international, national, and local—a natural area for
programming. Radio was not only more immediate than the newspaper, but it also
could offer its audience live coverage of events. Television’s instant images
and video coverage made newspaper photographs outdated before readers saw them
and robbed weekly photo magazines, such as Life and Look, of
their purpose and popularity. As broadcasting emerged as the primary means of
distributing information, print journalism redefined itself as a supplemental
medium in American mass communication. The newspapers and magazines that
survived the broadcasting era did so by focusing on in-depth analysis of
events, editorial opinion, and coverage of the arts and other “soft” news.
Other print publications thrived by imitating the brevity and flashy visual
style of television.
David Brinkley
American journalist David Brinkley
became involved in television broadcasting when the industry was in its
infancy, hosting such shows as “The Huntley-Brinkley Report,” “David Brinkley’s
Journal,” and “NBC Nightly News.” He later moved to ABC and hosted “This Week
with David Brinkley.”
Just as radio broadcasting
pushed the newspaper from its central position as the herald of public events,
television had the same general effect on radio. However, the rise of
television coincided with the explosion in popularity of the automobile and the
development of the suburbs, and this proved a crucial factor in the survival of
radio broadcasting. While Americans spent less time listening to their radios
for home entertainment, they spent more time listening to the radio in their
cars. Accordingly, the so-called drive time—7 to 9 am and 4 to 7 pm,
the most popular hours for commuters to travel to and from work—became radio's
equivalent of television prime time. Many radio stations introduced frequent
traffic bulletins, weather reports, and time checks; some stations adopted
news-only formats. This reflected the medium’s need to cultivate specialized
audiences as television held the attention of the majority. The success of
National Public Radio (NPR), which began network broadcast service in 1970, can
be tied to this phenomenon. Two of its most popular daily programs, Morning
Edition (1979- ) and All Things Considered (1971- ), were
developed to serve audiences that in an earlier era might have read newspapers
while commuting on public transportation.
Television Reporter
Reporters must gather the facts about a
story through research, interviews, and first-hand observation. In this
photograph, a television news reporter conducts an on-camera interview, which
may be aired live or taped and edited for broadcast at a later time.
Television offered little news
coverage during its early years. In the late 1940s, the networks put together
15-minute daily news summaries that offered a minimum of visual material. In
1956 NBC introduced The Huntley-Brinkley Report, a half-hour national
telecast presented in the early evening and featuring an increased number of
taped reports of the day's events. The other networks eventually followed this
format. With the invention of videotape (Video Recording), the cost of such
coverage dropped significantly, allowing individual stations to initiate and
expand local news coverage as well.
Television Newscast
There are many different jobs involved
in creating a television news broadcast. While the anchors, foreground, who
read the news are the major on-camera focus, numerous directors, producers, and
technical staff work behind the scenes to make the newscast come off smoothly.
International news reporting was
greatly enhanced in 1961 with the successful launching of Telstar, the first
communications satellite. Owned by AT&T and launched into Earth orbit by
the National Aeronautics and Space Administration (NASA) under a commercial
contract, Telstar enabled the networks to broadcast for the first time same-day
moving images of news events from around the world. Network and local news
programming, initially considered a nonprofit or barely profitable civic duty,
was soon commercially lucrative as broadcast news became an integral part of
viewers’ everyday lives. Television broadcasting quickly became society's most
popular source of news. Tens of millions of viewers tuned in during gripping national
events such as the assassination of President John F. Kennedy in 1963 or the
manned Moon landing in 1969.
Nixon-Kennedy Debate
Democratic presidential candidate John
F. Kennedy faced Republican candidate Richard Nixon in four nationally
televised debates during the 1960 United States presidential campaign. Kennedy
was widely regarded as the winner of the debates, which helped him win the
presidency.
In addition to daily news
coverage, the networks also developed weekly prime-time newsmagazine series,
such as 60 Minutes (1968- ) and 20/20 (1978- ).
Newsmagazine shows tend to consist of cultural reporting, investigative
reporting, and human-interest stories. They have proliferated in prime-time
broadcasting, while all-news cable channels have proved quicker in supplying
viewers with breaking news. Although network news divisions regularly produced
hour-long documentary programs during the 1950s, such as CBS Reports,
almost all in-depth American documentary programs are now produced by public
television stations and aired on the PBS network.
In the United States,
television has had a profound effect on electoral politics and public opinion.
For example, in 1960 presidential candidates Richard M. Nixon and John F.
Kennedy agreed to a series of debates, which were broadcast simultaneously on
television and radio. According to surveys, most radio listeners felt that
Nixon had won the debates, while television viewers picked the younger, more
photogenic Kennedy. Kennedy went on to win the general election that fall.
Especially influential was television coverage of the Vietnam War (1959-1975),
which helped change the rules of American politics. By the mid-1960s the Big
Three networks were broadcasting daily images of the war into virtually every
home in the United States. For many viewers, the horrors they saw on television
were more significant than the optimistic reports of impending victory issued
by government officials and repeated in print accounts. The lessons learned by
the American military in the Vietnam War were evident in the Persian Gulf War
of 1991, where great emphasis was placed on the orchestration of information
for television.
D
|
Commercialism in Broadcasting
|
Nielsen Rating Device
The black box of the A. C. Nielsen
Company, also known as the People Meter, is the principal device used to
determine what people in the United States are watching on television. The
People Meter sits on top of the TV set and is programmed with the age and
gender of each member of the household. When members of the household watch TV,
they enter their code into the People Meter, which records the time and the
channel being watched. Every evening at a specified time the People Meter sends
its recorded data to a central computer via a modem, and statistics are gathered
to determine what TV programs that day were the most popular.
In the United States advertising
agencies produced almost all network radio shows before the development of television,
and they produced much early television programming as well. Networks often
sold time periods to the ad agencies for purposes of full sponsorship of a
program. In this arrangement, the sponsor’s name was often placed right in a
show's title, as with Palmolive Beauty Box Theater (1927-1937) on radio
or Texaco Star Theater (1948-1953) on television. In the late 1950s the
networks began to take greater control of programming and full sponsorship was
replaced by the sale of spot advertising, in which clusters of ads by various
sponsors are presented during commercial breaks. Spot advertising eventually
became the dominant form of commercial sponsorship.
Modern Radio
Advertising finances most radio and
television stations, with the exception of those affiliated with National
Public Radio or the Public Broadcasting Service. Radio and television programs
are often punctuated by commercials from sponsoring companies. Sometimes on
modern radio stations, disc jockeys themselves promote the sponsors.
The ratings system used in
commercial broadcasting arose from the desire of sponsors to know how many
people they were reaching with their advertising. In 1929 Archibald M. Crossley
launched Crossley's Cooperative Analysis of Broadcasting, using telephone
surveys to project daily estimates of audience size for the national radio
networks. The A. C. Nielsen Company, which had been surveying audience size in
radio since the mid-1930s, emerged as the preeminent television ratings
service. Nielsen became identified with two information-gathering techniques,
both of which are still used: placing devices (so-called black boxes) on
television sets in the homes of selected viewers to record their program choices,
and asking sample viewers to keep written diaries of what they watch. The size
of a given program’s audience is then estimated based on the results. These
projections, or ratings, determine the price of advertisements during the show
and, ultimately, whether the show is profitable enough to stay on the air.
During the era when the
Big Three networks constituted the only choices available to most viewers, the
total number of viewers was the most important statistic in determining the
value of an audience. As the number of channels rapidly multiplied during the
cable television era, the demographic characteristics of a given audience
became more significant to advertisers. For example, a company advertising a
luxury automobile wants to know not only how many people are watching its
commercials, but also how many of these viewers can afford to buy the car and
are in the age range of the car’s typical buyers. The company then buys ads on
shows (or channels) that are most likely to reach its desired viewers.
E
|
Noncommercial Broadcasting
|
Carl Sagan on the Set of Cosmos
American astronomer Carl Sagan was best
known for his ability to bring science and astronomy to a general audience. He
wrote many books for the general public and hosted the television series Cosmos
in 1980.
Most public television stations
produce no more than a weekly interview show or a roundtable discussion of
local affairs; many do not produce any programs. A handful of public stations
in large cultural centers—such as WGBH-TV in Boston, Massachusetts, WNET-TV in
New York City, WETA-TV in Washington, D.C., and KQED-TV in San Francisco,
California—create and distribute the bulk of programming to all other PBS
affiliates (PBS has no owned-and-operated stations). The few daily programs
offered directly by PBS to its affiliates include a one-hour newscast, The
NewsHour with Jim Lehrer (1976- ), and several children’s programs,
including Sesame Street (1969- ) and Arthur (1996- ).
Public television and public
radio stations are typically licensed to educational institutions, such as
universities and local cultural foundations, and are financed by the donations
of individuals, corporations, and nonprofit foundations as well as government
sources. As in commercial broadcasting, public television stations tend to air
a wide variety of program types, while public radio stations are more narrowly
formatted. Public radio formats tend to feature less-popular forms of
entertainment, such as jazz or classical music. In recent years NPR has
expanded its network programming, adding a variety of eclectic music and talk
shows as well as foreign news programs from Canada and Europe. Several smaller
public radio networks also produce programming that stations can license for
broadcast.
F
|
The Regulation of Broadcasting
|
Democratic Debate on CNN
The Equal Time Rule requires
broadcasters to provide equivalent amounts of time for political advertising to
opposing candidates. Only nonbiased newscasting is exempt from this 1934 Act.
The rule has become increasingly important because of the development of
television as an effective campaign tool. During recent elections, candidates
for various offices have not only appeared in paid commercials for their own campaigns,
but have also appeared on various news programs to present their views to the
United States public. On February 16, 1992, the Cable News Network broadcast a
debate among the five United States Democratic presidential candidates, seen
here from left to right: Senator Tom Harkin, Governor Bill Clinton, Senator Bob
Kerrey, former Senator Paul Tsongas, and former Governor Jerry Brown with host
Bernard Shaw (back to camera).
Broadcasting has been subject to
regulation almost since its inception. Government involvement in the United
States, as in most countries, has always been at the national level, primarily
because the broadcasting signal moves through the air without regard to
political borders. Federal regulatory legislation for broadcasting originated
with the Wireless Act of 1910, in which the U.S. Congress required all American
ships to carry a radiotelegraph transmitter and a qualified operator while at
sea. Formal regulation of commercial broadcasting began with the Washington
Radio Conference of 1922, where rules concerning transmission power, use of
frequencies, station identification, and advertising were established as law.
The growing importance of broadcasting became evident in the Radio Act of 1927,
which transferred regulation from the Department of Commerce to a new
government agency set up especially for this purpose, the Federal Radio
Commission (FRC). The Communications Act of 1934 reorganized the FRC into the
Federal Communications Commission (FCC), which has retained oversight of
broadcasting ever since.
An independent government
agency, the FCC has five members (known as commissioners), including a
chairperson, who are appointed for five-year terms by the U.S. president with
the advice and consent of the Senate. FCC responsibilities include the
licensing and regulation of radio and television broadcasters and the oversight
of other communications technologies, including telephone systems, cable
television, and satellite transmission. All radio and television station
licenses are subject to periodic renewal by the FCC, as is the transfer of any
license from one owner to another by sale or merger. The commissioners
primarily concern themselves with broader policy issues, such as the defining
of mature subject matter in programming and the quality of children’s
television. Commissioners also have oversight of technical standards for the
introduction of industry advances, such as the FM band in the 1940s, color
television in the 1950s, stereo radio broadcasting in the 1960s, and
high-definition television (HDTV) at the beginning of the 21st century.
United States broadcasters are
less closely regulated than their counterparts in most countries, but the FCC
has occasionally involved itself in significant issues concerning the role of
broadcasting in politics. The Equal Time Rule is one example. Under Section 315
of the Communications Act of 1934, broadcasters who permit their facilities to
be used by a candidate for public office must provide an equivalent opportunity
to any opposing candidates who might request it. In the case of a paid
political advertisement, the broadcaster is only required to sell time to an
opponent at an equal cost. In the case of an unpaid broadcast appearance, free
broadcast time must be given to opponents. The rule is regularly suspended
during political elections to allow major-party candidates to engage in
broadcast debates without having to include minor-party candidates. Candidate
interviews with broadcast journalists are also exempted from the Equal Time
Rule so as not to interfere with freedom of the press.
The Fairness Doctrine provides a
rare example of the FCC’s actively seeking a role in regulating the character
of broadcasting. In 1949, with radio stations at their peak of popularity and
television on the horizon, the FCC issued a policy explicitly encouraging
stations to broadcast editorial opinions while also requiring them to actively
seek responsible opposing viewpoints for rebuttal. The policy was legally
challenged but was upheld by the U.S. Supreme Court in 1969 as consistent with
the free speech requirements of the First Amendment (see Constitution of
the United States: Amendment 1). Despite its apparent intent of bringing
more political diversity and debate to broadcasting, the Fairness Doctrine
seemed to have the opposite effect. Many station owners simply avoided taking
controversial positions on the air, thus relieving themselves of any obligation
to seek out political opponents for the purpose of giving them free airtime.
Modifications to the policy were attempted, but it was discontinued in 1987.
The FCC has been significantly
altered since the early 1980s, in accordance with federal government policy
favoring deregulation (removal of governmental restrictions) of industries. The
number of FCC commissioners was reduced from seven to five. The
Telecommunications Act of 1996 set a period of up to eight years between
renewal reviews for radio- and television-station licenses, though a
significant complaint or violation can bring quicker action. A long-standing
policy of reviewing a station’s application for license renewal based on the
station’s public service efforts was abandoned, allowing programmers to minimize
the time given to low-rated news and public-affairs programming. Some radio
stations with music formats dropped news coverage completely. A lottery system
was instituted for assigning newly available frequencies, replacing the
previous policy of reviewing licensee credentials or statements of purpose.
Restrictions on the number of advertising minutes allowable per hour were also
dropped.
The 1996 Telecommunications Act
cancelled previous limits on the exact number of AM, FM, and TV stations a
single company or individual licensee could own. In their place the act set up
less restrictive limits, based on a complex formula that takes into account
factors such as the percentage of population reached by stations owned by a
single company and the cross-ownership of electronic and print media. The
effect has been to radically reduce the number of licensed broadcasters. Since
the law’s enactment, the number of owners of commercial radio stations has
dropped by about 25 percent, from 5,100 to 3,800. Many local owners of
television stations have sold them to the networks, which now own and operate
more stations than ever before. In 2003 the FCC voted to further ease ownership
restrictions. The ruling allowed one company to own television stations that
reach up to 45 percent of U.S. households and also ended the ban on one person
or company owning a newspaper and a broadcast station in the same city.
The 1996 act also responded
to concerns of parents’ groups over explicit broadcasting, requiring that
television manufacturers install a computer chip, popularly known as the
v-chip, in all sets. This device allows owners of television sets to filter out
violent or sexually suggestive programming, which is flagged by a rating system
developed by the FCC. With the exception of the v-chip requirement and rating
system, regulation of broadcasting has generally lessened since the 1980s.
IV
|
CURRENT TRENDS
|
From the early 1920s through
the early 1980s, broadcasting was the only effective means of delivering
television and radio programming to the general public. However, functions once
exclusive to broadcasting are now shared in industrially advanced societies by
two other means of mass communication: (1) cable television and radio systems,
such as commercial cable services, pay-per-view channels, and modem-accessible
databases, which transmit sounds and images to paid subscribers rather than to
the general public; and (2) self-programmable systems, such as the
videocassette recorder (VCR), digital video disc (DVD), video game, and digital
recording technology, which allow the user more control over content and
scheduling. Despite these innovations, in the first years of the 21st century
broadcasting remained the single most important component of mass
communication, even in countries where the newer systems are available and
growing.
It is estimated that about
1.8 billion radios and 800 million television sets are in use worldwide, with
more than half concentrated in North America, the European Union countries, and
Japan. In developing societies such as China, India, Brazil, and Egypt, nearly
all citizens own or have access to a radio; television, on the other hand,
remains the privilege of a smaller but expanding class of people.
New broadcast delivery systems
continue to be developed. In the increasing number of homes equipped with
digital cable systems, broadcast radio stations must now compete against scores
of commercial-free digital music channels, each offering round-the-clock
delivery of a single style or genre of music. Direct Broadcast Satellite (DBS)
provides television viewers with a personal satellite dish antenna capable of
capturing signals without the help of a local cable provider. Subscription fees
are charged by DBS providers to unscramble the channels, making the cable and
satellite delivery methods competitive. DBS remains at a distinct disadvantage
because the antennas cannot capture the signals of local broadcasting stations
in most areas, requiring the viewer to put up a separate rooftop or set-top
antenna to receive these channels.
The years during which
radio and television broadcasting dominated mass communication as the principal
means of signal delivery—approximately the 1920s to the 1990s—can be thought of
as the broadcast era in American communications. This era will be remembered as
a period when vast national populations shared witness to a wide variety of
political and cultural events, such as the address of a leader, the performance
of an actor or singer, or a sporting event. It is fair to say that this was
perhaps the only time in history when so wide a range of economic and social
classes constituted a single audience. Although still technically possible, the
assembly of enormous, heterogeneous audiences—a common daily occurrence of the
broadcasting era—is becoming increasingly rare, as the number of
nonbroadcasting alternatives increases and target audiences become narrower.
Its reduced role notwithstanding,
broadcasting remains a significant method of mass communication. At any given
time, a plurality—if no longer a huge majority—of the audience for television
and radio continues to consume entertainment and information conveyed by
broadcasting. During times of crisis, such as the September 11 attacks by
terrorists against the United States in 2001, a majority of citizens continue
to turn to broadcast services as the best way to follow an issue of singular
importance.
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