lecturehandouts10 - Advertising Development of Television 2...

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1. Program makers are supposed to devise and produce shows that will attract mass audiences without unduly offending these audiences or too deeply moving them emotionally. Such ruffling, it is thought, will interfere with their ability to receive, recall, and respond to the commercial message. This programming reality is the unwritten, unspoken gemeinschaft of all professional members of the television fraternity. (Bob Shanks) 2. Yet beginning in 1955, the anthology series were abruptly jettisoned in favor of episodic series, and virtually passed out of existence. The reasons for this transition tell us a great deal about commercial sponsorship and its possible social impact. (Barnouw) 3. Meanwhile there were other irritations. Social and psychological problems seldom have neat, clean-cut solutions. The commercials featured products that solved problems of business and pleasure in a minute or less. To a writer like Chayefsky these same problems had complex social and psychological ramifications. These might be fascinating, but they often made the commercials seem fraudulent. 4. The sponsors preferred beautiful people in mouth-watering decor, to convey what it meant to climb the socio-economic ladder. The commercials looked out of place in Bronx settings. Again the drama undermined the message.
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5. Network has terms for what we do as writers – to describe little hooks to use of their terms. For instance, topspin – a great network work. There’s not enough topspin.
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lecturehandouts10 - Advertising Development of Television 2...

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