Bright New Dawns and Bastard Children

2018 ◽  
Vol 15 (2) ◽  
pp. 252-270
Author(s):  
Amy Sargeant
Keyword(s):  
Interest Groups ◽  
Print Media ◽  
Commercial Television ◽  
Mutual Advantage ◽  
Production Strategies ◽  
The 1950S ◽  
Programme Content ◽  
Recurrent Theme ◽  
Trade Press

The article addresses debates around the introduction of commercial television in Britain, conducted in Parliament, lobby groups, the advertising trade press and broader cultural commentary. It notes that the boundaries between these interest groups were porous. The article refers to sample advertisements produced by agencies in anticipation of the 1955 launch of ITV in London and other regions thereafter, setting advertisers' initial caution against the bullishness subsequently checked by the 1962 report of the Pilkington Committee. ‘Americanisation’ is identified as a recurrent theme of anxiety, and advertising as a symptom of it, prompting complaints on both sides of the Atlantic. Many of the production strategies anticipated experimentally in the 1950s are with us still, as are concerns regarding differentiation of advertisements from programme content, advertisements' target audiences and commodities advertised on television. For legislators and advertisers alike, print media provided a model for imitation more often than did cinema. Competition between old and new platforms for advertisements – then as now – is identified as an opportunity for mutual advantage rather than displacement.

The Ennui of the Scroll

2021 ◽  
Vol 75 (2) ◽  
pp. 84-88
Author(s):  
Caetlin Benson-Allott
Keyword(s):  
Risk Taking ◽  
Late Stage ◽  
Print Media ◽  
Film Culture ◽  
The Subject ◽  
The 1950S ◽  
Contemporary Film ◽  
Genre Film

Inspired by her difficulty selecting a film as the subject for her column, Film Quarterly regular Caetlin Benson-Allott explores the concept of the “paradox of choice” in relation to contemporary film culture. A common feature of late-stage capitalism with its characteristic consumer abundance, the paradox of choice afflicts people with too many options, decreasing their happiness and increasing anxiety. In her column, Benson-Allott explores the paradox of choice as a condition of the current streaming era, while also historicizing television culture’s ideology of plenty. She traces this notion of superabundance, which undergirds digital cable and streaming culture today, back to the 1950s when print media such as TV Guide pioneered a print-heavy layout that stupefied the eye into an impression of excess. Arguing that browsing print program guides and its more recent corollary, channel surfing, are numbing experiences that discourage risk-taking, Benson-Allott ultimately finds relief from the ennui of the scroll in the pleasures—both expected and unexpected—of the genre film.

scholarly journals Evolution of the U.S. Assistance Program and the Soviet “Economic Offensive” Factor (1950s)

2021 ◽  
pp. 148-159
Author(s):  
Sergey Shenin ◽  
Keyword(s):  
United States ◽  
Interest Groups ◽  
Third World ◽  
New World ◽  
The United States ◽  
Foreign Assistance ◽  
Assistance Program ◽  
The Third ◽  
The 1950S ◽  
The Third World

Introduction. This article is devoted to studying the influence of the Soviet “economic offensive” factor in the 1950s on the formation of the New World Economic Order by the American by the American ruling elite in general and the use of such an important tool as foreign assistance in particular in the framework of this process. The reconstruction of this process makes it possible to clarify the specifics of the foreign policy decision-making mechanism in the United States, to identify the ideological approaches of main political interest groups to the goals and methods of building a new world order. Methods and materials. The study uses a group analysis approach as well as American executive and legislative documents, press material, speeches by key politicians, etc., to identify the reasons for the differences among representatives of the three leading interest groups in interpreting the nature of the Soviet “economic offensive” in the Third World countries. Analysis. These differences were primarily due to the possibility of using the factor of the Soviet “aggression” for conducting domestic propaganda campaigns as part of the interest groups struggle for control over the foreign assistance program. Thus, the representatives of the atlantists group claimed that the main threat from the Communist world remained in the military sphere; the globalist-oriented progressives insisted that the Soviet “economic offensive” was a critical danger to U.S. interests, while conservatives declared that the “myths” about the Soviet-communist threats to the United States in the Third World were invalid. Results. In the second half of the 1950s the group of progressives used the factor of the Soviet “economic offensive” more effectively in the framework of their campaigns (there were four of them), which allowed them to take control over the foreign assistance program and begin to reorient the American strategic course from the prevailing ideology of “mutual security” towards the global developmentalism.

The Uses and Gratifications of Rerun Viewing

1992 ◽  
Vol 69 (2) ◽  
pp. 362-372 ◽  
Author(s):  
Diane Furno-Lamude ◽  
James Anderson
Keyword(s):  
Uses And Gratifications ◽  
The Other ◽  
Television Programs ◽  
Commercial Television ◽  
The 1950S

Even from the earliest days of commercial television in the 1950s, viewers have been able to pick betweeen first-run or rerun television programs. One way or the other, about half of today's television menu involves rerun material. This survey of viewers finds a number of motivations associated with the viewing of each type of program. For many viewers, nostalgia or pure enjoyment is associated with viewing reruns more than with viewing first run programs. But those with time to kill are more likely to watch first run programs; rerun viewing seems to require more motivation.

scholarly journals Formiddagskino på 1950- og 1960-tallet: En glemt kinokultur fra husmoras glansdager

Nordlit ◽  
2019 ◽  
Author(s):  
Anne Marit Myrstad
Keyword(s):  
Marketing Strategy ◽  
Married Woman ◽  
Commercial Television ◽  
Cleaning Product ◽  
Direct Address ◽  
Washing Machines ◽  
The 1950S ◽  
Prepared Food ◽  
Main Consumer

Artikkelen omhandler det vi langt på vei kan betegne som en glemt kinokultur. Dette at husmødre som målgruppe på 1950- og 1960-tallet strømmet til kinoene over hele landet for å hygge seg med gratis, timelang reklamefinansiert opplysningsfilm laget spesielt med tanke på deres arbeidshverdag og ansvarsområde. Norske husmødre ble fra 1953 til og med 1972 ble invitert til disse filmvisningene som foregikk fortrinnsvis på dagtid. Husmorfilmene introduserte nye produkter som vaskemaskin og dampstrykejern, maling og bonevoks og viste steg for steg hvordan produktene skulle brukes. Nye matvarer og nye oppskrifter og etter hvert halvfabrikata ga innsikt i ulike bruksmåter og nye tips i det daglige matstellet. Produktpresentasjonene ble avløst av rent underholdende innslag hvor tidens mest kjente komikere og artister (Leif Juster, Henki Kolstad, Wenche Myhre, Elisabeth Grannemann m.fl.) henvendte seg til husmødrene med musikalske innslag og komikk som gjorde at latteren runget i salen. De kjente navn bidro også til, sammen med moteoppvisninger og konkurranser, å trekke husmødrene til disse kinovisningene. Husmorfilmene ble vist på kinoer over hele landet og skal i gjennomsnitt ha blitt sett av hver tredje eller fjerde husmor der de ble vist. De norske husmorfilmene var basert på en svensk markedsføringside, og de kan også forstås som en allmennfjernsynskulturs svar på de kommersielle TV-kanalenes formiddagsmagasiner rettet mot samtidas viktigste forbrukere, husmødrene. Artikkelen tar for seg hvordan husmorfilmproduksjonen ble etablert og gjennomført i Norge, legger vekt på hvordan filmene ble distribuert og vist og drøfter hvordan spredte kilder til husmødrenes opplevelser bidrar til å kaste lys over denne spesifikke kinokulturens betydning. This article concerns a largely forgotten cinema culture of the 1950s and 1960s in Norway. From 1953 to 1972, Norwegian housewives were invited to free day-time cinema screenings of ‘housewife films’ once or twice a year. The hour-long housewife film promoted goods and new housework technology, providing instructions for usage as well as demonstrating the benefits of electrical washing machines, modern kitchen design, pre-prepared food and other items for a modern household. These ‘slow’ commercials were combined with sequences where the most popular comedians, actors and musical talents of the time entertained the audience. The sequences contributed to the promotion of the screenings, as did fashion shows before the screening along with competitions offering valuable rewards, food and cleaning product samples. The films were screened throughout the country and were on average attended by every third or fourth married woman. The idea of this marketing strategy towards the households’ main consumer came from Sweden and can be seen as an alternative to the day-time consumer magazines developed within commercial television - both in regard to the financial basis as well as in content and direct address. The article examines how these films were produced, distributed and screened, and discusses existing sources to housewives’ experiences in and around these cinema screenings.

scholarly journals Jill Craigie, Post-war British Film Culture and the British Film Academy

2021 ◽  
Vol 18 (4) ◽  
pp. 404-422 ◽  
Author(s):  
Yvonne Tasker
Keyword(s):  
Print Media ◽  
Film History ◽  
Film Culture ◽  
Film And Television ◽  
Film Maker ◽  
The Status ◽  
Feminist Film ◽  
The 1950S ◽  
Post War ◽  
Management Council

This article seeks to locate the socialist feminist film-maker Jill Craigie in the British film culture of the post-war period. Long regarded in scholarly accounts as something of an outsider, a woman who was effectively shut out of the industry during the 1950s, this article seeks to position Craigie rather differently. While acknowledging the obstacles she undoubtedly faced, it details aspects of her achievements and her visibility in the British film culture of the immediate post-war period. Craigie's politically driven documentaries and realist film practice accorded with prevailing discourses of ‘quality’ and she acquired the status of what would today be termed a media personality who worked across film, radio, television and print media. Considering Craigie as a figure embedded in the British film establishment, this article gives particular emphasis to her role in the British Film Academy (BFA), arguing that the significance of this practitioner-led organisation has yet to be fully recognised in British film history. The argument draws on archives held at the British Academy of Film and Television Arts (BAFTA) to begin a discussion of how the BFA, and Craigie as the first woman to be elected to its Management Council, played its part in the development of British film culture.

4. Neo-functionalism

2016 ◽  
Author(s):  
Carsten Strøby Jensen
Keyword(s):  
Political Parties ◽  
Interest Groups ◽  
European Integration ◽  
Interest Group ◽  
Driving Force ◽  
Historical Development ◽  
Functionalist Theory ◽  
The 1950S ◽  
Supranational Institutions ◽  
Spillover Hypothesis

This chapter examines the main assumptions of neo-functionalism, especially with regards to European integration. The fundamental argument of neo-functionalists is that states are not the only important actors on the international scene. They claim that supranational institutions and non-state actors, such as interest groups and political parties, are the real driving force behind integration efforts. The chapter first provides an overview of the main features of neo-functionalist theory and its historical development since the 1950s before discussing three hypotheses advanced by neo-functionalists: the spillover hypothesis, the elite socialization hypothesis, and the supranational interest group hypothesis. After explaining the concepts of supranationalism and spillover, the chapter considers the main critiques of neo-functionalist theory. It concludes by describing the revival of interest in neo-functionalism and giving some examples that illustrate how today's neo-functionalists differ from those of the 1950s.

Sydney Tonight versus In Melbourne Tonight: Television, Taste and Identity

2008 ◽  
Vol 128 (1) ◽  
pp. 18-30
Author(s):  
Susan Bye
Keyword(s):  
Print Media ◽  
The 1950S ◽  
Local Nature ◽  
The Way

In this discussion, I focus on the varying fortunes of Sydney Tonight and In Melbourne Tonight (IMT) in order to explore the very local nature of television in Australia in the 1950s and early 1960s. As part of this process, I document the way that the success of IMT and the perceived failure of Sydney Tonight became the basis for a sustained discussion in both the Sydney and Melbourne print media about the respective discernment of each city's viewers. Buttressed by continuing public anxieties about the sophistication of the developing Australian television culture, the rejection of inferior locally produced programs became understood as a marker of discrimination and maturity.

Serving Consumers, Citizens, or Elites: Democratic Roles of Journalism in Chilean Newspapers and Television News

2017 ◽  
Vol 23 (1) ◽  
pp. 24-43 ◽  
Author(s):  
Daniel C. Hallin ◽  
Claudia Mellado
Keyword(s):  
Public Participation ◽  
Print Media ◽  
Television News ◽  
Democratic Citizenship ◽  
Democratic Politics ◽  
Professional Roles ◽  
Role Performance ◽  
Commercial Television ◽  
Print Journalism ◽  
Commercial Form

Print journalism has long been seen as a key institution of democratic politics, serving to enhance transparency, provide a forum for debate, and facilitate public participation. Instead, television journalism, particularly in its commercial form, has often been seen more negatively, as a form of infotainment that contributes little to the functions of journalism as an institution of democratic citizenship. Some scholars have questioned the dichotomy between infotainment and democratic roles, however, and the existing research comparing journalistic roles in print and television has produced mixed results. Focusing on the case of Chile and making use of a standardized news content-based index of journalistic roles, this study compares the prevalence of three professional roles by medium—newspapers and television—and also by audience orientation—popular and elite media across both print and television news. Our results show that commercial television in Chile is higher than print media in the performance of the watchdog and civic roles, and the infotainment role is positively, not negatively, correlated with these. We discuss the implication of these findings in light of the literature on infotainment and citizenship, as well as the emerging body of research on journalistic role performance.

The Privacy Codes

2016 ◽  
Author(s):  
Yuli Takatsuki ◽  
Nigel Abbas
Keyword(s):  
United Kingdom ◽  
Print Media ◽  
Legal Framework ◽  
Media Industry ◽  
Codes Of Practice ◽  
The United Kingdom ◽  
The Press ◽  
The Media ◽  
Programme Content ◽  
Radio Programme

Alongside the legal framework which regulates the media’s activities, a system of regulation operates to uphold standards of journalism and programme-making and to provide at least a partial remedy for those whose privacy has been invaded by the media. Different bodies currently regulate different branches of the media. Ofcom (the Office of Communications) regulates the content of all television and radio programmes in the United Kingdom except that the BBC retains sole jurisdiction in relation to certain matters broadcast on BBC channels funded by the licence fee. The Independent Press Standards Organisation (IPSO) has recently taken over as principal regulator of the newspaper and magazine industry (although a new body, the Independent Monitor for the Press (Impress), has also recently been formed). IPSO replaced the Press Complaints Commission (PCC) in September 2014, with which has now ceased to exist, having regulated the print media industry since 1991. These bodies adjudicate upon complaints with reference to codes of practice which media falling within their regulatory remit are required to comply. The Ofcom Broadcasting Code, drawn up and regularly reviewed and revised by Ofcom, is the primary broadcasting code relating to the broadcast of television and radio programme content in the United Kingdom.

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