Industrial, Educational, and Instructional Television and Video

For as long as television has been a darling of the commercial entertainment industries, it has been an object of interest for educators and businesses. The same can’t be said for media studies, which has long focused on the former mode—the domestic medium and the popular art—at the expense of the latter. This article corrals sources written in the 2010s from within the field, as well as research from scholars in education, sociology, management, and training. It begins with analyses of nontheatrical film used to train workers, educate students, promote capitalism, complete work processes, and other applications that television would take up beginning in the 1940s. It then addresses resources that would be equally helpful to scholars of educational and industrial television: useful television theory, archives, and trade publications. The remainder divides industrial and educational television into their own sections to allow for a more granular look at the key debates and practices articulated to each. Industrial television (ITV) comprises a wide range of uses. In the postwar era, goods producers used closed-circuit television (CCTV) to extend workers’ oversight of expanding manufacturing operations. Around the same time, larger corporations began experimenting with theater television for shareholder meetings and special training events. Videotape (1956) made television financially accessible for more companies that used the open-reel format for taped self-observation. The watershed moment for ITV was the introduction of the videocassette (the U-matic became available in 1971), which dramatically expanded both users and uses of the medium and supported an ITV-programming publishing industry. Eventually ITV—in the form of business satellite television (BTV, mid-1980s–1990s)—would provide national and international employers the capability to beam morale-boosting and informational messages to its employees in a period of globalization and worsening working conditions. Educators took advantage of many of these same televisual affordances, although to different ends. Resources here focus on educators’ experiments with novel modes of audiovisual pedagogy, as well as their attempts to bend CCTV, videotape, and broadcast to fulfill instructional needs and address crises in American public education, from teacher shortages to racialized inequalities. One of the major narrative arcs of educational television (ETV) is the battle for dedicated broadcast frequencies and the founding of American public broadcasting. Not only did these victories establish a foothold for educators within broadcasting (who continued to use the medium for direct instruction, though these applications were overwhelmed in the turn to broad cultural-uplift programming and funding shortages), they provoked debates over the capacity of commercial television to inform and educate. While PBS is well covered elsewhere, included here are sources that illustrate the contours of discussions that sought to define the meaning of “educational” television.

Television at Work

This book explores how work, television, and waged labor come to have meaning in our everyday lives. However, it is not an analysis of workplace sitcoms or quality dramas. Instead, it explores the forgotten history of how American private sector workplaces used television in the twentieth century. It traces how, at the hands of employers, television physically and psychically managed workers and attempted to make work meaningful under the sign of capitalism. It also shows how the so-called domestic medium helped businesses shape labor relations and information architectures foundational to the twinned rise of the technologically mediated corporation and a globalizing information economy. Among other things, business and industry built extensive private television networks to distribute live and taped programming, leased satellite time for global “meetings” and program distribution, created complex closed-circuit television (CCTV) data search and retrieval systems, encouraged the use of videotape for worker self-evaluation, used videocassettes for training distributed workforces, and wired cantinas for employee entertainment. Television at work describes the myriad ways the medium served business’ attempts to shape employees’ relationships to their labor and the workplace in order to secure industrial efficiency, support corporate expansion, and inculcate preferred ideological orientations. By uncovering industrial television as a prolific sphere of media practice—one that continually sought to reshape the technology’s cultural meanings, affordances, and uses—Television at Work positions the medium at the heart of Post-Fordist experiments into reconfiguring the American workplace and advancing understandings of labor that increasingly revolved around dehumanized technological systems and information flows.

To Extend Vision Beyond the Horizon, to See the Unseen: Industrial Television in the Post-War Era

“Industrial television” (closed-circuit television referred to as ITV) was the first initiative to recognize the potential of television tailored specifically to the needs of industry. This chapter shows how ITV was positioned as a mechanism to extend bodies, adapting workers to match increased physical demands of post-war (1940s–1950s) industrial and informational architectures. ITV as prosthesis made working bodies stronger, bigger, and more tightly bound into automated information systems. Faster than a speeding assembly line, more powerful than a six-story furnace, able to retrieve dispersed data with a single command, these supermen appealed to industries seeking production and workforce efficiencies. In the mediated office, television transformed humans into nodes within complex human-machine hybrid information networks that anticipated networked computing. This chapter (keyword: flow) contributes to studies of how “work systems” produce people, socializing them to the conditions and expectations of capitalism.

Introduction

The introduction describes television’s use as an instrument of orientation engaged in cultural and logistical management in three interrelated senses: (1) shaping viewers’ understanding of their world and their place within it, (2) enabling action in space, and (3) offering a site for groups and institutions to engage the “problem” of electronic workplace communication. Arguing that industrial television sought to acclimate workers to the conditions of post-Fordism, it describes this transition in the US, focusing on one vector of the move to post-Fordism that was a favored target of television: the diminishing boundaries between work and nonwork. It also provides an overview of three bodies of literature: (1) media studies understandings of the conjuncture between labor and audiences (e.g., the audience commodity), (2) the cultural and political interventions of useful cinema, nontheatrical film, and institutional media research, and (3) methodologies for historical studies of emergent technologies. It ends with a chapter overview.

Analisis Struktur Pasar Industrial Pertelivisian Di Indonesia

This research is aimed to analyze the television industrial media market structure in Indonesia. The perspective qualitative description `is used to collect data by applying the in-depth interview with some key figures in the television media industry, and relevant references. By using The Industrial Organizational Model Prespective in the economic media theoretical framework, this research is to analyze the aspect of market structure, regulations, economic and political system that influence the television media market in Indonesia. The result shows that the market is oligopoly high competition occurs with has caused the taken over and merger which followed by domination of ownerships in some of the industrial television media market structure. TVRI, state owned television, had dominated during the New Era. Regulations have changed during the Reformation Era wherein the Government has given permission for private television companies to operate. RCTI was the first private television company, then followed by other television companies such as SCTV, Metro TV, TPI, ANTV, JakTV, Elshinta TV and MNC.

New Television Narratives: Entertainment, Telling, Citizenship, Experimental

Broadcasting and industrial television is a trip back to the past, to a space devoid of meaning, and to the boredom resulting from its moral conservatism, lack of creativity, thought and entertainment. But television’s monopoly over public screening is over; now, anyone can be a producer, an audiovisual narrator with his or her own screen. New television and other screens are daring to change the way stories are told: a more subjective, testimonial and imagebased journalism; a hyperrealist soap opera that dares to bring melodrama to comedy, documentary and local cultures; a bottom-up media with people in charge of breaking with the thematic and political homogeneity of the media, market and development machines. This essay will argue in favor of television as a space for expression by unstable identities, narrative experiments and unknown possibilities for audiovisual creation…only if «it takes the form» of women, indigenous peoples, African races, the environment, other sexualities…and plays on YouTube and new screens that are community-based and cellular. The most important thing is for television to move away from an obsession with content towards aesthetic and narrative explorations of other identities and into narratives that are more «collaboractive», with the possibility that they become the stories we want them to be.La televisión generalista e industrial es un viaje al pasado, al vacío de sentido y al aburrimiento por su conservadurismo moral, su pereza creativa, su ausencia de pensamiento y su pobre modo de entender el entretenimiento. Pero el monopolio televisivo de la pantalla pública se acabó, pues ahora todo ciudadano puede ser un productor, narrador audiovisual y tener pantalla. Así aparecen nuevas televisiones y otras pantallas que se atreven a contar distinto: un periodismo más subjetivo, testimonial y pensado desde las imágenes; una telenovela hiperrealista que se atreve a intervenir el melodrama desde la comedia, el documental y las culturas locales; unos medios de abajo y con la gente que se hacen para romper con la homogeneidad temática y política de las máquinas mediática, del mercado y del desarrollo. En este ensayo se argumenta a favor de la televisión como lugar de expresión de identidades inestables, experimentos narrativos y posibilidades inéditas para la creación audiovisual… solo si «toma la forma» de mujer, de lo indígena, afro, medio ambiental, otras sexualidades… y juega en nuevas pantallas como Youtube, lo comunitario y el celular. Lo más urgente es que la televisión pase de la obsesión por los contenidos a las exploraciones estéticas y narrativas desde las identidades otras y en narrativas más «colaboractivas» porque existe la posibilidad de ser los relatos que queremos ser.

Evaluasi dan Rekomendasi Strategi Bisnis pada Divisi LPP-TVRI

TVRI represent of the first television station in Indonesia. In this time TVRI not yet able to serve any event enthused by people. In the effort improving returning competitiveness of TVRI station in industrial television sector, needed business strategy which capable to accommodate and anticipate change of technological growth that happened quickly and the economic globalization. Research was done to give suggestion at the development of division and broadcast. The purpose of this research is to evaluate business strategy which have been done and propose business strategy which can improve company competitiveness. Analysis techniques which used were Internal External matrix, SWOT matrix, matrix of Grand Strategy, and QSPM matrix. Result of research by evaluate internal condition of company and analyzing of factor external which related, business strategy which appropriate for LPP TVRI is product development strategy. Expected, LPP TVRI will increase new events that more innovative and creative so that able to become pre-eminent event program for TV beholder/audience.