Study CAMS Quiz 2 Flash Cards
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CAMS Quiz 2
CAMS Quiz 2
| "Jiggle" TV |
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--ex: Charlie's Angels --retreat from relevance --centered around bawdy humor and sexual gratification |
| "Quality Audience" |
| --young adults for network O & O's |
| Affiliates |
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--owned by a company, not by a network --local broadcaster that carries some or all of the programming of a certain network --often buy programming from other sources, like syndicates |
| O & O's |
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--Owned and operated stations --these are owned by the network with which it is associated |
| Off-Network Syndication |
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--go through networks and get sales rights after 5 years --networks hogged increasing percentage of syndication profits |
| First run syndication |
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--bypass networks, sell directly to individual stations --limited outlets in major markekts where the networks dominate |
| UHF |
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--Dates back to 50's --more station slots, but fewer listeners --reception problems because of limited range --all sets required to have UHF antenna by '64 |
| Fin/Syn (1971) |
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--Financial Interest and Syndication Rules --limited net shares of syndication profits --boom to independent companies: Tandem (Lear), MTM enterprises (Mary Tyler Moore and Grant Tinker) |
| PTAR (1970) |
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--Prime Time Access Rule --limited number of hours of network programming (3 hrs between 7 and 11) --opened primetime to independent producers, but mostly game shows |
| Live-On-Tape Production |
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--Late 50's, early 60's --3 camera film system: higher cost, faster, limited style palette, have to shoot in studio --single camera: higher cost, slower, expanded style palette, remote shooting |
| Newton Minnow |
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--called TV a "vast wasteland" --chairman of the FCC |
| "Turn toward relevance" |
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--in 1970's, there was concern about O + O's, as well as the 18-49 year old demographic --needed to pull in young adults for network owned and operated stations --brought in new producers like Lear, MTM, and Smother's Brothers --mix of entertainment and social consciousness --spoke to oppositional concerns |
| Payola Scandal |
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--record companies would pay off DJ's to play certain music, presented without acknowledgment of this payment --led to increase in format radio (top 40) |
| Postwar Radio DJ's |
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--Alan Freed, Wolfman Jack --direct audience address --"Hard sell" advertising --African American vernacular |
| Transistor Radio |
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--led to more mobile listeners --led to more listening alone (Breakout) |
| Examples of exploitation cinema |
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--Youth: Rebel without a cause --Women: Faster Pussycat, Kill! Kill! --African Americans: Blacula --Gays: Boys in the Band |
| Exploitation Cinema |
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--cheap --sensational content: sex, nudity, drugs, violence, gore --marketed at narrower audiences (exploited a particular demographic) |
| Social Problem Films |
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--social persecution (Three Brave Men) --Wounded Veterans (Bad Day at Black Rock) --Abortion (Blue Denim) --Drug Addiction (Hatful of Rain) |
| Widescreen Cinema |
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--called cinemascope --response to TV, which had become cheap and easy --clip: Will Success spoil Rock Hunter? |
| Red Scare Films |
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--The Red Menace (anti communism) --Invasion of the Body Snatchers (scifi us vs. them) --Johnny Guitar (subversive) |
| Paramount Decision (1948) |
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--existing distribution scene in violation of antitrust laws --companies/studios could no longer own theaters --ends vertical integration |
| HUAC Hearings |
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--Persecution of Hollywood directors during the red scare --the "Big Ten" refused to testify --threats of censorship, boycotts --studio blacklists --led to changes in content: anti communism loss-leaders, scifi "us" vs. "them", Subversive "witch hunt" films |
| Classic Network Era |
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--spot/magazine advertising --Hollywood (use of external producers with desire for syndication) --Filmed (Telefilm productions) --Cooperation/Competition between TV and Cinema |
| Quiz Show Scandal |
| --revelation that the game shows were rigged, contestants given answers by producers |
| Kinescope |
| --recording a television program by filming the picture from a video monitor |
| Live Television Programming |
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--news and sporting events --comedy variety shows (Milton Berle) --Quiz Shows --Anthology Dramas: new play each week, changing cast and writers, prestige programming, adaptations, production challenges with live switching ("Marty" clip) |
| Electronic Television |
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--RCA, The Story of Television --RCA, Black and White --Limited Relsease in late 30's --Postwar rollout --color delayed until 1960's --VHF band (limited channels) --liscensing priority went to network stations |
| Mechanical Television |
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--Nipkow disc Drawbacks --image quality: limited resolution, picture blurring --prone to malfunction --limited support from federal regulators |
| War-themed Radio Programming |
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--war related themes in domestic programming (Superman vs. the Nazis) --government produced programming (Treasury Star Parade)--war stamps albums. "This is our enemy" --Voice of America (foreign propaganda) --Armed Forces Radio Service for US troops (jubilee) |
| War Films |
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--Combat America (1943, Clark Gable): soldiers from different backgrounds (European) fighting for same thing --Why We Fight (1942): Frank Capra, "Prelude to War", US army signal corps --Private Buckaroo (1942): Universal Pictures, musical comedy makes it look exciting to enlist |
| Office of War Information |
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--headed by Elmer Davis --facilitate creation of an informed and intellignt understanding of the war effort --made suggested, coordinated industry to ensure that public gets a similar message --Branches: Radio Bureau, Motion Pictures Bureau, News Bureau, Press Bureau, Domestic Branch --concerned with American image in films going overseas |
| Radio News Reporting |
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--Edward Murrow, live shortwave broadcasts from London --makes the war tangible, brings it home |
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