Structural Approaches to the Problem of Television Network Economic Dominance
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The Rise and Fall of the FCC's Financial Interest and Syndication Rules
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Villanova University School of Law: Digital Repository Volume 1 Issue 1 Article 5 1994 The Rise and Fall of the FCC's Financial Interest and Syndication Rules Christopher J. Pepe Follow this and additional works at: https://digitalcommons.law.villanova.edu/mslj Part of the Communications Law Commons, and the Entertainment, Arts, and Sports Law Commons Recommended Citation Christopher J. Pepe, The Rise and Fall of the FCC's Financial Interest and Syndication Rules, 1 Jeffrey S. Moorad Sports L.J. 67 (1994). Available at: https://digitalcommons.law.villanova.edu/mslj/vol1/iss1/5 This Comment is brought to you for free and open access by Villanova University Charles Widger School of Law Digital Repository. It has been accepted for inclusion in Jeffrey S. Moorad Sports Law Journal by an authorized editor of Villanova University Charles Widger School of Law Digital Repository. Pepe: The Rise and Fall of the FCC's Financial Interest and Syndication Comment THE RISE AND FALL OF THE FCC'S FINANCIAL INTEREST AND SYNDICATION RULES I. INTRODUCTION Historically, three major broadcast television networks (net- works)1 dominated the television industry. The networks main- tained their dominance into the 1970s by developing an extensive communications system of network owned and operated television stations and independently owned stations affiliated with the net- works.2 The networks' market dominance enabled them to com- 1. In 1992, the Code of Federal Regulations defined a network as: any person, entity, or corporation providing on a regular basis more than fifteen (15) hours of prime time programming per week.., to intercon- nected affiliates that reach, in aggregate, at least of seventy-five (75) per- cent of television households nationwide; and/or any person, entity, or corporation controlling, controlled by, or under common control with such person, entity, or corporation. -
Introduction to the Complete Directory to Prime Time Network and Cable TV Shows
Broo_9780345497734_2p_fm_r1.qxp 7/31/07 10:32 AM Page ix INTRODUCTION In the following pages we present, in a sin- eral headings. For example, newscasts are gle volume, a lifetime (or several lifetimes) of summarized under News, movie series under television series, from the brash new medium Movies and sports coverage under Football, of the 1940s to the explosion of choice in the Boxing, Wrestling, etc. All other series are 2000s. More than 6,500 series can be found arranged by title in alphabetical order. There here, from I Love Lucy to Everybody Loves is a comprehensive index at the back to every Raymond, The Arthur Murray [Dance] Party cast member, plus appendixes showing an- to Dancing with the Stars, E/R to ER (both nual network schedules at a glance, the top with George Clooney!), Lost in Space to Lost 30 rated series each season, Emmy Awards on Earth to Lost Civilizations to simply Lost. and other information. Since the listings are alphabetical, Milton Network series are defined as those fed out Berle and The Mind of Mencia are next-door by broadcast or cable networks and seen si- neighbors, as are Gilligan’s Island and The multaneously across most of the country. Gilmore Girls. There’s also proof that good Broadcast networks covered are ABC, CBS, ideas don’t fade away, they just keep coming NBC, Fox, CW, MyNetworkTV, ION (for- back in new duds. American Idol, meet merly PAX) and the dear, departed DuMont, Arthur Godfrey’s Talent Scouts. UPN and WB. We both work, or have worked, in the TV Original cable series are listed in two dif- industry, care about its history, and have ferent ways. -
University Microfiims 300 North Zeeb Road Ann Artwr
INFORMATION TO USERS This dissertation was produced from a microfilm copy of the original document. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the original submitted. The following explanation of techniques is provided to help you understand markings or patterns which may appear on this reproduction. 1. The sign or “target" for pages apparently lacking from the document photographed is "Missing Page(s)". If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting thru an image and duplicating adjacent pages to insure you complete continuity. 2. When an image on the film is obliterated with a large round black mark, it is an indication that the photographer suspected that the copy may have moved during exposure and thus cause a blurred image. You will find a good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., was part of the material being photographed the photographer followed a definite method in "sectioning" the material. It is customary to begin photoing at the upper left hand corner of a large sheet and to continue photoing from left to right in equal sections with a small overlap. If necessary, sectioning is continued again — beginning below the first row and continuing on until complete. 4. The majority of users indicate that the textual content is of greatest value, however, a somewhat higher quality reproduction could be made from "photographs" if essential to the understanding of the dissertation. -
American Broadcasting Company from Wikipedia, the Free Encyclopedia Jump To: Navigation, Search for the Australian TV Network, See Australian Broadcasting Corporation
Scholarship applications are invited for Wiki Conference India being held from 18- <="" 20 November, 2011 in Mumbai. Apply here. Last date for application is August 15, > 2011. American Broadcasting Company From Wikipedia, the free encyclopedia Jump to: navigation, search For the Australian TV network, see Australian Broadcasting Corporation. For the Philippine TV network, see Associated Broadcasting Company. For the former British ITV contractor, see Associated British Corporation. American Broadcasting Company (ABC) Radio Network Type Television Network "America's Branding Broadcasting Company" Country United States Availability National Slogan Start Here Owner Independent (divested from NBC, 1943–1953) United Paramount Theatres (1953– 1965) Independent (1965–1985) Capital Cities Communications (1985–1996) The Walt Disney Company (1997– present) Edward Noble Robert Iger Anne Sweeney Key people David Westin Paul Lee George Bodenheimer October 12, 1943 (Radio) Launch date April 19, 1948 (Television) Former NBC Blue names Network Picture 480i (16:9 SDTV) format 720p (HDTV) Official abc.go.com Website The American Broadcasting Company (ABC) is an American commercial broadcasting television network. Created in 1943 from the former NBC Blue radio network, ABC is owned by The Walt Disney Company and is part of Disney-ABC Television Group. Its first broadcast on television was in 1948. As one of the Big Three television networks, its programming has contributed to American popular culture. Corporate headquarters is in the Upper West Side of Manhattan in New York City,[1] while programming offices are in Burbank, California adjacent to the Walt Disney Studios and the corporate headquarters of The Walt Disney Company. The formal name of the operation is American Broadcasting Companies, Inc., and that name appears on copyright notices for its in-house network productions and on all official documents of the company, including paychecks and contracts. -
Fox Television”), Rehearing Granted, 293 F 3D 537 (D C Cir 2002) (“Fox Television Re-Hearing”) (Addressing the National TV Ownership Rule) Sinclolr Broodcasf Group
Federal Communications Commission FCC 03-127 Before the Federal Communications Commission Washington, D.C. 20554 In the Matter of ) c.. rc: ) L 2002 Biennial Regulatoxy Review - Review of the ) MB Docket 02-277 Commission’s Broadcast Ownership Rules and ) Other Rules Adopted Pursuant to Section 202 of ) the Telecommunications Act of 1996 ) ) Cross-Ownership of Broadcast Stations and ) MM Docket 01-235 Newspapers ) Ci: 1 IbJ Rules and Policies Concerning Multiple ) MM Docket 01-317 Ownership of Radio Broadcast Stations in Local ) Markets ) ) Definition of Radio Markets ) MM Docket 00-244 ) ) Definition of Radio Markets for Areas Not ) MB Docket 03-130 Located in an Arbitron Survey Area ) REPORT AND ORDER AND NOTICE OF PROPOSED RULEMAKING Adopted: June 2,2003 Released: July 2, 2003 Comments due: 30 days after publication in the Federal Register Reply Comments due: 45 days after publication in the Federal Register By the Commission: Chairman Powell, Commissioners Abernathy and Martin issuing separate statements; Commissioners Copps and Adelstein dissenting and issuing separate statements. TABLE OF CONTENTS Paragraph I. INTRODUCTION ........................................... 11. LEGAL FRAMEWORK. I11 POLICYGOALS .. ..................................... .................................. B. Competition. ............................................. ............................ 53 C. Localism .................................. .................... 80 A Introduction - The Evolution of Media ........................... ....................... -
Television Programming for Children: a Report of 'The Children's Televisiontask'fbrce
A ED 183 133 IR* 0Q8 034 AUTHOR GreenWle Susan And Others .TITLE TelevAsion Programming for Children: A Report:of the ChilOenfs Tc4evision Task'FOrce. .'eINSTITUTION. ,PeOral Communications CoMmissicn, 4tsh1ngton, PU 8 DAT h Ot79 NOTE 194p. .4 EDRS PRICE ! ME01/PCOB Plus Póstage. DESCRIPTOR& ^*Broadcast \Industry; nhildens Television; *Compliance (legal): *Educational Policy; Educational Television: *FefUral Regulation: Marketing; Rrograming (BroAdcast); Television Commercials: - Televislon Pel,earch IDENTrFIgRS *Federal Commun,ications,Comm ssion ABSTRACT These two volumes cf a 5-volume.repert cm commerAal* broadcaster complance with thy Federal COmmunications Commission (FCC) 1974 policies on programminil and advertising' to,chilffren provide an overall analysis of ctildrenos television, as well as a detailed analysis of'broadcas, industry compliance. The first volume reviews the social, cognItive, and.economic factors 'that affect t,he, amount, types, and scheduling of childrer0-s programs, and drscuses policy optionz open to 'the FCC with staff recommendationsl The ana14sis of broadcaster compliance dn the second volume il based on a A, series of studies examining the.policy impact on the overalla ount , ofProgramming designed for children 12 years_and under, the afnount sof educatIlertal programming, program SCheduling, and olbvercommerci&lizatibn on children's televisi6nind related advertising issues. The effectiveness of the preent license renewal form as a method of assessing crpliance is also examined. (CMV) 13 , f a. .. , *********************************************1*********************4*** * Repfilductio4S supplied-by EDPS Rre the best that can be made '* . 41% from the original documqnt. , 1 v 0. 1 U.S 'IMPARTMENT OF hEALTH. EDUCATION & WELFARE NATIONAL INSTITUTE OF EDUCATION e THIS. DOCUMENT HAS 'BEENRePRO. 04 DUCED EXACTIO, AA RECEIVED FROM THE PERSON OR ORGANIZATION ORIGIN. -
Trying to Promote Network Entry: from the Chain Broadcasting Rules to the Channel Occupancy Rule and Beyond
Trying to Promote Network Entry: From the Chain Broadcasting Rules to the Channel Occupancy Rule and Beyond Stanley M. Besen Review of Industrial Organization An International Journal Published for the Industrial Organization Society ISSN 0889-938X Volume 45 Number 3 Rev Ind Organ (2014) 45:275-293 DOI 10.1007/s11151-014-9424-1 1 23 Your article is protected by copyright and all rights are held exclusively by Springer Science +Business Media New York. This e-offprint is for personal use only and shall not be self- archived in electronic repositories. If you wish to self-archive your article, please use the accepted manuscript version for posting on your own website. You may further deposit the accepted manuscript version in any repository, provided it is only made publicly available 12 months after official publication or later and provided acknowledgement is given to the original source of publication and a link is inserted to the published article on Springer's website. The link must be accompanied by the following text: "The final publication is available at link.springer.com”. 1 23 Author's personal copy Rev Ind Organ (2014) 45:275–293 DOI 10.1007/s11151-014-9424-1 Trying to Promote Network Entry: From the Chain Broadcasting Rules to the Channel Occupancy Rule and Beyond Stanley M. Besen Published online: 25 June 2014 © Springer Science+Business Media New York 2014 Abstract This article traces the efforts by the U.S. Federal Communications Com- mission to promote the entry of new networks, starting from its regulation of radio networks under the Chain Broadcasting Rules, through its regulation of broadcast television networks under its Financial Interest and Syndication Rules and its Prime Time Access Rule, and finally to its regulation of cable television networks under its Channel Occupancy and Leased Access Rules and its National Ownership Cap. -
High Cost, Prime Time, Syndicated Programming" As a Condition of the Video Program Marketplace Requiring Correction
high cost, prime time, syndicated programming" as a condition of the video program marketplace requiring correction. The market circumstances that the Commission identified as "propelling [it] to action" in 1970 have now been entirely reversed. From 1975 to 1990 the number of independent commercial stations in the United states more than tripled, reaching a total of 380. 83 / This growth reflected a new vitality for the UHF band. As UHF independent stations became serious competitors in market after market, the number of UHF stations nearly tripled also, reaching a total of 546. 84 / Today, roughly 35 percent of all commercial television stations are independents. As a result, by 1990, 93.9 percent of television households received five or more television stations over the air, and more than half were able to receive ten or more stations. Television homes in the top 50 markets are almost always served by at least one, and often by several, independent stations. 85/ 83/ opp Working Paper at 15. 84/ La. at 15-16. 85/ Id. at 16. 0593i - 70 - The proliferation of independent stations, combined with the non-network time traditionally available on network-affiliated stations, has resulted in an exponential growth in the amount or air time open to all syndicated programming. The contribution of the PTAR rule has been modest. In 1980, ten years into the rule's existence, annual revenues for the syndication market totalled only $50 million. During the 1980's, as the number of independent stations mushroomed, a corresponding growth occurred In syndication revenues, reaching $1.2 billion annually by 1990. -
0813122023.Pdf
Engulfed Page ii Blank ? Engulfed The Death of Paramount Pictures and the Birth of Corporate Hollywood BERNARD F. DICK THE UNIVERSITY PRESS OF KENTUCKY Publication of this volume was made possible in part by a grant from the National Endowment for the Humanities. Copyright © 2001 by The University Press of Kentucky Scholarly publisher for the Commonwealth, serving Bellarmine University, Berea College, Centre College of Kentucky, Eastern Kentucky University, The Filson Historical Society, Georgetown College, Kentucky Historical Society, Kentucky State University, Morehead State University, Murray State University, Northern Kentucky University, Transylvania University, University of Kentucky, University of Louisville, and Western Kentucky University. All rights reserved. Editorial and Sales Offices: The University Press of Kentucky 663 South Limestone Street, Lexington, Kentucky 40508–4008 05 04 03 02 01 5 4 3 2 1 Library of Congress Cataloging-in-Publication Data Dick, Bernard F. Engulfed: the death of Paramount Pictures and the birth of corporate Hollywood / Bernard F. Dick. p. cm. Includes bibliographical references and index. ISBN 0-8131-2202-3 (cloth : acid-free paper) 1. Paramount Pictures Corporation–History. 2. Title. PN1999.P3 D53 2001 384'.8’06579494 00012276 This book is printed on acid-free recycled paper meeting the requirements of the American National Standard for Permanence in Paper for Printed Library Materials. Manufactured in the United States of America. Contents Preface ix 1 Mountain Glory 1 2 Mountain Gloom 44 3 Barbarians at the Spanish Gate 85 4 Charlie’s Boys 109 5 The Italian Connection 126 6 The Diller Days 149 7 Goodbye, Charlie 189 8 Sumner at the Summit 206 Epilogue 242 End Titles 245 Notes 247 Index 259 Photo insert follows page 125 Page vi Blank For Katherine Page viii Blank Preface In Mel Brooks’s Silent Movie (1977), Sid Caesar nearly has a heart attack when he learns that a megaconglomerate called “Engulf and Devour” has designs on his little studio. -
FTC Staff Comment Before the Federal Communications
UNITED STATES OF AMERICA FEDERAL TRADE COMMISSION WASHINGTON, D.C. 20580 Before the FEDERAL COMMUNICATIONS COMMISSION Washington, D.C. In re Review of the Prime Time Access Rule, Section 73.658(k) of the Commission's Rules MM Docket No. 94-123 Comments of the Staff of the Bureau of Economics of the Federal Trade Commission(1) March 7, 1995 I. Introduction The staff of the Bureau of Economics of the Federal Trade Commission is pleased to respond to this Notice of Proposed Rulemaking (“NPRM”) through which the Federal Communications Commission (FCC) seeks comments on proposals to relax or eliminate the Prime Time Access Rule (“PTAR”).(2) The PTAR was adopted in 1970, in conjunction with the Financial Interest and Syndication (“Fin-Syn”) rules.(3) The PTAR basically prohibits network- affiliated television stations in the top 50 television markets from broadcasting more than three hours of network or “off-network” (i.e., rerun) programs during the four prime time viewing hours. This comment provides observations about possible economic costs and benefits from relaxing or eliminating the rule and presents both current and historical data that may help the FCC assess the rule's present and past competitive consequences. This comment concludes that, when assessed under a “public interest” standard which seeks to promote consumer welfare, justification for continuing this rule is questionable. II. Expertise of the Staff of the Federal Trade Commission The FTC is an independent regulatory agency responsible for preventing unfair methods of competition and unfair or deceptive acts or practices.(4) In response to requests by federal, state, and local government bodies, the staff of the FTC often analyzes regulatory or legislative proposals that may affect competition or the efficiency of the economy. -
Broadcasting May 14
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The Hollywood Cinema Industry's Coming of Digital Age: The
The Hollywood Cinema Industry’s Coming of Digital Age: the Digitisation of Visual Effects, 1977-1999 Volume I Rama Venkatasawmy BA (Hons) Murdoch This thesis is presented for the degree of Doctor of Philosophy of Murdoch University 2010 I declare that this thesis is my own account of my research and contains as its main content work which has not previously been submitted for a degree at any tertiary education institution. -------------------------------- Rama Venkatasawmy Abstract By 1902, Georges Méliès’s Le Voyage Dans La Lune had already articulated a pivotal function for visual effects or VFX in the cinema. It enabled the visual realisation of concepts and ideas that would otherwise have been, in practical and logistical terms, too risky, expensive or plain impossible to capture, re-present and reproduce on film according to so-called “conventional” motion-picture recording techniques and devices. Since then, VFX – in conjunction with their respective techno-visual means of re-production – have gradually become utterly indispensable to the array of practices, techniques and tools commonly used in filmmaking as such. For the Hollywood cinema industry, comprehensive VFX applications have not only motivated the expansion of commercial filmmaking praxis. They have also influenced the evolution of viewing pleasures and spectatorship experiences. Following the digitisation of their associated technologies, VFX have been responsible for multiplying the strategies of re-presentation and story-telling as well as extending the range of stories that can potentially be told on screen. By the same token, the visual standards of the Hollywood film’s production and exhibition have been growing in sophistication.