| 71-27,584
I WILLIAMS, Jr., Dwight Archibald, 1940- | MASS MEDIA PREFERENCE PATTERNS: A CROSS MEDIA STUDY.
The-Ohio State University, Ph.D., 1971 "Mas s- Communications
University Microfilms, A XEROX Company, Ann Arbor, Michigan
©Copyright by
Dwight Archibald Williams, Jr.
1971
THIS DISSERTATION HAS BEEN MICROFILMED EXACTLY AS RECEIVED MASS MEDIA PREFERENCE PATTERNS:
A CROSS-MEDIA STUDY
DISSERTATION
Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of the Ohio State University
By
Dwight Archibald Williams, Jr., B.A., M.A.
The Ohio State University 1970
Approved by
Adviser Department of Speech PLEASE MOTE:
Some pages have indistinct print. Filmed as received.
UNIVERSITY MICROFILMS. ACKNOWLEDGMENTS
I am especially grateful to Professor Robert R.
Monaghan who served as adviser for this dissertation.
More than that, he has been my guide on an intellectual
journey which began in the Pall of 1964* I atn grateful
to others who shared that journey with me and helped
make it an exciting adventure, especially Joseph Plummer,
David Rarick, and David Erickson. We knew the comraderie
of those who venture into the unknov/n together. This
dissertation is one of several that rose from the intel
lectual ferment along the way. I am grateful to all
these colleagues for their many helpful suggestions in
the planning of this study.
I want to thank David Rarick and Betty Pflummer for
helping with the interviewing. I am grateful for the
suggestions made by the members of my reading committee,
Professor James Golden, Professor Wallace Potheringham,
and Professor Pranklin Knower. I also appreciate the
editorial assistance of Mr. Michael Kruger.
Pinally, I want to thank ray parents, Dwight Archi
bald and Ruth Seals Williams, and my wife, Mary Lee
Wegner Williams, for their support, encouragement, and
patience. It has been a long trip, and I could not have
made it without them.
ii VITA
Dec’ember 5, 1940 Born--St. Louis, Missouri
1962 ...... B.A., Memphis State University, Memphis, Tennessee
1964 ...... M.A., Washington University, St. Louis, Missouri
1964 ...... Salesman, Procter & Gamble, Inc. St. Louis, Missouri
1965-1967. . . . Teaching Assistant, Assistant Debate Coach, Department of Speech, The Ohio State University, Columbus, Ohio
1966 ...... Research Assistant to Professor Robert Monaghan on program development project for MGM- Television
1968 ...... Accepted position as Assistant Professor of Speech, University of Missouri-St. Louis
FIELDS OP STUDY
Major Field: Speech Communication
Studies in Communications Theory and Research. Professors Robert R. Monaghan, Franklin H. Knower, and Wallace C. Fotheringham
Studies in Rhetoric. Professors James L. Golden, Harold Harding, and Gordon Hostettler
Studies in Broadcasting. Professors James E. Lynch and Richard M. Mall
iii CONTENTS
Page ACKNOWLEDGMENTS ...... ii
VITA ...... iii
LIST OE TABLES ...... vii
LIST OP ILLUSTRATIONS ...... x
Chapter I. THE PROBLEM ...... 1
Statement of the Problem ...... 1 Need and Specifications for the Study 3 Questions ...... 5 Review of Literature ...... 5
II. THE DESIGN ...... 30
Selection of the Methodology .... 30 Theoretical Rationale ...... 33 Procedures in Conducting the Study. . 39 Development of the Instruments. . . 39 The People I Interviewed ...... 44 The Interviews ...... 48 Processing the D a t a ...... 50 Drawing Inferences ...... 53
III. MEDIA PREEERENCE PATTERNS ...... 56
The Six Basic Preference Types . . . 56 The Information Seelcer ...... 57 The Entertainment Seeker ...... 59 The Youth-Oriented T y p e ...... 59 The Sophisticate ...... 60 The Human-Interest T y p e ...... 61 The Successful Adjustment to Life T y p e ...... 61 Television Viewer Eactors ...... 62 The Younger Information Seeker . . 62 The Older Information Seeker ... 70 The Entertainment S e e k e r ...... 80
iv Chapter Page The Youth-Oriented T y p e ...... 87 The Sophisticate ...... 95 Radio listener Factors ...... 101 The Sophisticate ...... 102 The Entertainment Seeker ...... 112 Two Information Seekers ...... 118 The C r i t i c ...... 121 The Sports F a n ...... 129 Movie Y/atcher F a c t o r s ...... 135 The Information Seeker ...... 136 Two People-Oriented Types ...... 147 The Human Interest T y p e ...... 149 The Successful Adjustment to life Type ...... 157 Magazine Reader Factors ...... 164 The Information Seeker ...... 164 The Entertainment Seeker ...... 170 The Youth-Oriented T y p e ...... 176 Toothpaste Commercial Viewer Factors. 186 The Entertainment S e e k e r ...... 186 The Information Seeker ...... 195 Political Message Viewer Factors . . 202 The Information Seeker ...... 203 The Entertainment Seeker ...... 212 The Youth-Oriented T y p e ...... 221
IV. INDIVIDUAL PREFERENCE PATTERNS .... 229
The Single-Case Study ...... 229 Some Examples ...... 234 Mary Goodwin ...... 234 John O l s o n ...... 242 Pat B a k e r ...... 248 Jack Hathaway ...... 254
V. CONCLUSION ...... 263
S u m m a r y ...... 263 Suggestions for Further Research . . 272
APPENDIXES
A. Definitions of Construct Elements of Style and Content ...... 277 B. Coding of Construct Elements in Items . 286 C. The Six Media Instruments ...... 287 D. Interview Schedule and Questionnaire . 337
v APPENDIXES Page E. Correlation Matrixes for the Six Q - S o r t s ...... 347 P. Fractional Contributions of Rotated Q P a c t o r s ...... 354 ^ G. Correlation Matrixes for Case Studies . 361 * H. Fractional Contributions of Rotated Q F a c t o r s ...... 366
BIBLIOGRAPHY ...... 369
vi LIST OP TABLES
Table Page
1. Distribution of Persons by A g e ...... 45
2. Relationships of Preference Types Across the M e d i a ...... 58
3. Data Array, Television Factor I: The Younger Information Seeker ...... 64
4. Data Array, Television Factor II: The Older Information Seeker ...... 73
5. Data Array, Television Factor III: The Entertainment S e e k e r ...... 83
6 . Data Array, Television Factor IV: The Youth-Oriented T y p e ...... 89
7. Data Array, Television Factor V: The Sophisticate ...... 97
8 . Data Array, Radio Factor I: The Sophisticate ...... 103
9. Data Array, Radio Factor.II: The Entertainment Seeker ...... 114
10. Data Array, Radio Factor III: The C r i t i c ...... 123
11; Data Array, Radio Factor IV: The Sports F a n ...... 130
12. Data Array, Movie Factor I: The Information Seeker ...... 137
13- Data Array, Movie Factor II: The Human Interest T y p e ...... 150
14. Data Array, Movie Factor III: The Successful Adjustment to Life Type . 157
vii Table Page
15. Data Array, Magazine Factor I: The Information Seeker ...... 166
16. Data Array, Magazine Factor II: The Entertainment S e e k e r ...... 172
17- Data Array, Magazine Factor III: The Youth-Oriented T y p e ...... 178
18. Data Array, Toothpaste Commercial Factor I: The Entertainment Seeker ...... 187
19* Data Array, Toothpaste Commercial Factor II: The Information Seeker ...... 196
20. Data Array, Political Message Factor I: The Information S e e k e r ...... 204
21. Data Array, Political Message Factor II: The Entertainment Seeker ...... 214
22. Data Array, Political Message Factor III: The Youth-Oriented T y p e ...... 223
23. Data Array, Mary Goodwin Factor I: Radio and Toothpaste Commercials .... 237
24. Data Array, Mary Goodwin Factor II: T e l e v i s i o n ...... 238
25. Data Array, Mary Goodwin Factor III: M o v i e s ...... 239
26. Data Array, Mary Goodwin Factor IV: Political Messages ...... 240
27. Data Array, John Olson Factor I: Radio and Toothpaste Commercials .... 243
28. Data Array, John Olson Factor II: M a g a z i n e s ...... 244
29. Data Array, John Olson Factor III: M o v i e s ...... 245
30. Data Array, John Olson Factor IV: Political-Messages ...... ,...... 246
viii Table Page
31. Data Array, Pat Baker Pactor I: Radio and M o v i e s ...... 249
32. Data Array, Pat Baker Factor II: Political Messages ...... 250
33. Data Array, Pat Baker Factor III: Magazines ...... 251
34. Data Array, Pat Baker Factor IV: Toothpaste Commercials ...... 252
35. Data Array, Jack Hathaway Factor I: M a g a z i n e s ...... 256
36. Data Array, Jack Hathaway Factor II: M o v i e s ...... 257
37. Data Array, Jack Hathaway Factor III: Political Messages ...... 258
38. Data Array, Jack Hathaway Factor IV: T e l e v i s i o n ...... 259
39. Data Array, Jack Hathaway Factor V: Toothpaste Commercials ...... 260 LIST OF ILLUSTRATIONS
Chart Page
1. Balanced-Block Resign of Elements of Style and Content Used in Instruments ...... 41
Graph
1. Construct System, Television Factor I: The Younger Information Seeker ...... 70
2. Construct System, Television Factor II: The Older Information Seeker ...... 80
3. Construct System, Television Factor III: The Entertainment Seeker ...... 86
4. Construct System, Television Factor IV: The Youth-Oriented T y p e ...... 94
5. Construct System, Television Factor V: The Sophisticate ...... 100
6 . Construct System, Radio Factor I: The Sophisticate ...... H I
7. Construct System, Radio Factor II: The Entertainment Seeker ...... 117
8. Construct System, Radio Factor III: The C r i t i c ...... 128
9. Construct System, Radio Factor IV: The Sports F a n ...... 134
10. Construct System, Movie Factor I: The Information Seeker ...... 146
11. Construct System, Movie Factor II: The Human Interest T y p e ...... 156
12. Construct System, Movie Factor III: The Successful Adjustment to Life Type . 163
x Graph Page
13* Construct System, Magazine Factor I: The Information Seeker ...... 169
14. Construct System, Magazine Factor II: The Entertainment Seeker ...... 175
15. Construct System, Magazine Factor III: The Youth-Oriented T y p e ...... 185
16. Construct System, Toothpaste Commercial Factor I: The Entertainment Seeker . . . 194
17. Construct System, Toothpaste Commercial Factor II: The Information Seeker . . . 201
18. Construct System, Political Message Factor I: The Information Seeker .... 211
19. Construct System, Political Message Factor II: The Entertainment Seeker . . 220
20. Construct System, Political Message Factor III: The Youth-Oriented Type . . 228
21. Construct System, Mary G o o d w i n ...... 241
22. Construct System, John Olson ...... 247
23- Construct System, Pat B a k e r ...... 253
24. Construct System, Jack Hathaway ...... 261
xi CHAPTER I
THE PROBLEM
Statement of the Problem
In the last few years a growing number of communi cation researchers have concerned themselves with the patterns and determinants of audience preferences in the mass media. Generally their concern has been for preferences within a particular medium, such as tele vision or newspapers. Apparently very little research has been conducted to compare audience preferences in one medium with that in others.
This project really began several years ago with a curiosity about the practices which some major adver tisers follow in matching their commercial messages with their sponsored programs. It seemed curiously odd, somehow, that a highly fanciful, entertaining commercial for an automobile tire would appear in the middle of a serious, informative network "news special".
It seemed j\ist as strange that an informative commercial demonstrating the workings of a new paper diaper would appear in the middle of a late-night comedy movie. I wondered if it was possible- that a viewer who preferred an entertaining television program would also prefer an entertaining commercial, and if a viewer who preferred informative programs would also prefer informative com mercials.
As time went on, this curiosity about the consis tency of the audience's preferences in media messages extended to the other mass media. Would a person who prefers informative television programs also prefer in formative movies or magazines? Would a person who prefers entertaining movies also prefer entertaining television or radio programs? Would a person prefer the same elements in a political message that he prefers in a product commercial?
This research project, then, grew out of a curiosity about the consistency of people's preference patterns across the mass media. Almost no research has been re ported, however, which studies the problem of consistency of viewer preferences across the media. This project was designed to study that problem. Are people consis tent in their preferences across the media?
What follows in this report is a detailed explana tion of the methodology and findings of the project.
This chapter expands on the nature of the problem, including a discussion of the need for this research, a list of some questions to be examined, and a review of some relevant research literature. Chapter 2 provides details of the design. It discusses the theoretical
rationale for the choice of methodology used in the
study. It also explains how the instruments were de
veloped, and provides details of the sample, the inter
view procedures, and the processing of the data. Chapter
3 analyzes the Q data. It gives a full description of
each of the preference types found in each of the six media studied. It also makes a comparison of these preference types from medium to medium, and discusses the six "‘basic preference types" which cut across the media. Chapter 4 takes a closer look at the preference patterns of certain people in the sample. It assesses these person's consistency in preference from medium to medium. Finally, Chapter 5 provides a summary of the project and some suggestions for further research on the problem.
Heed and Specifications for the Study
A review of the literature turns up almost no re ported study of a comparison of people's preferences across the media. Herein lies the need for this study.
The need was well expressed in a 1966 study entitled
Television Drama Preference Choice by Heil Y/illiam
Macdonald. His study includes a lengthy review of literature relevant to preference theory in mass media.
In the following quoted passage, Macdonald notes the absence of any cross-media preference studies.
Examination of the literature reveals the unrelated nature of the vast majority of studies concerning preference choice. There has just been no integration of material. Data concerning viewer characteris tics haven't been relaied to data concerning content characteristics. Data dealing with aspects of the various media whether traits of readers, listeners, or viewers or content ingredients of books, comic strips, movies, radio or tv programs— -have all remained relatively isolated.3-
These observations by Macdonald, and my own review of the literature, point up the need for a cross-media preference study. In additd on, they suggest some specifications for conducting such a study. The follow ing four seemed especially important and were used as guidelines in designing this study.
(1) Define messages in terms of the constructs people use in deciding their preferences among messages.
(2) Use the same set of constructs for messages in all of the media in order to provide a common framework within which to make comparisons across the media.
(3) Define people in terms of their preferences among messages.
(4) Compare people's preferences in one medium with their preferences in other media.
Neil William Macdonald , Television Drama Prefer- ence Choice, University of M Innesota, Minneapolis, June, l9bb, P* 2. (Mimeogra p h e d .) Questions
The study was designed to gain insight into the following questions. * (1) Y/hat constructs do people use in deciding their preferences in each medium?
(2) Y/hat preference types can be found in each medium?
(3) Are there similarities in preference types from medium to medium, or across the media?
(4) Are people generally consistent in their prefer ences across the media?
Review of Literature
A number of studies of audience media preferences have been reported in recent years. Some of these are especially relevant to this study, either for their sub stantive findings or for their methodological development, or for both. These studies also come close to meeting the specifications I established for this study. These studies can be usefully classified in one of the follow ing three ways. (1) Those studies which report how people look at television and decide their preferences among programs. (2) Those studies which apply prefer ence theory to the process of creating television programs in order to maximize audience enjoyment.
(3) Those studies which apply preference theory to media other than television.
Earlier in this chapter we quoted from Neil Mac donald's 1966 study entitled Television Drama Preference
Choice. His is a lengthy study with an ambitious goal.
Essentially, he wanted to develop a comprehensive theory of preference choice and an accompanying content analy tical model, and then develop a valid, reliable paper-and- pencil test for discovering, individual preferences. An important part of his project was his extensive review of the literature, from which he hoped to abstract the basic principles for a comprehensive theory of preference choice. Ilis review included the work of both aesthetics and communications research. It was as a result of his review of the literature that he observed that there were no cross-media studies.
Another conclusion from Macdonald's study is especially relevant to this study. Macdonald abstracted from the literature a set of content elements which might be operating in a person's preference choices.
The set of elements he abstracted are very similar to the set of elements ultimately used in building the six media instruments for this study.
Review of the literature suggested the possible relevance of 5 major variants to preference choice development. These were: nonaction . . . action; informative . . . noninformative; realistic . . . unrealistic; unpredictability . . . predictability; emotional detachment . . . emotional identification.2
Macdonald made his extensive review of literature in order to develop a comprehensive preference theory and a comprehensive content analytical framework within which to study television preference choice. It is unfortunate that, after having discovered the need for cross-media preference studies, he limited the scope of his own experiment to television drama. He excluded all media except television, then excluded all television programs other than drama, and limited his sample of per sons to students from grade 7 through college. His experiment leaves still unanswered the problem of cross media preference.
Nevertheless, his study does make some important contributions within the limits, of television drama preference choice. He developed a comprehensive theory of preference which he applied to television. He es tablished some workable categories for analyzing content.
And he developed a paper-and-pencil test of television preference which encodes content variables within des criptions of hypothetical television programs.
Robert Monaghan asked many of the same questions in his dissertation, (Television Preference and Viewing
2Neil Macdonald, Ibid., p. 356. Behavior in 1964. He states that the "primary purpose of this thesis is to determine patterns of viewing and preference for various types of persons in terms of % content and style facets of television programs". His dissertation represents some important methodological advances in the development of preference theory. First, he developed a set of facet elements which he coded into an instrument containing descriptions of real television programs. His scheme of facet elements included the following dimensions: (A) moral . . . moral-sentimental
. . . amoral; (B) Comedy . . . non-comedy; (C) male
. . . mixed . . . female; (d) high complexity . . . low complexity; (E) factual . . , fictional-representational
. . . fictional non-representational; (F) high aggres sion . . . low aggression; (G) semi-scripted . . . fully scripted; (H) genteel . . . non-genteel; (I) high variability . . . low variability.
Monaghan's research was prompted in part by a curiosity as to why people say they prefer one program, yet actually watch another. Using Q-raethodology, he investigated this problem by asking people to sort his coded television instrument under two conditions, one for their personal preference, and one for their actual
’K ^Robert R. Monaghan, "Television Preference and Viewing Behavior" (unpublished Ph.D. dissertation, Michigan State University, 1964), p. 14. viewing. He developed a total of six types of viewers: three personal preference types, and three actual viewing types. The programs were sorted under other conditions, and a "general orientation" statements in strument was also used. The special significance of
Monaghan*s dissertation for this project lies in his development of a set of facet elements for coding his program instrument, and in his application of Q-methodol- ogy to develop types of viewers.
David Rarick wanted to incorporate the visual aspects of television programs into a theory of prefer ence in viewing. He also wanted to know how consistent people's preferences were over time, and from instrument to instrument. So for his Master's thesis^ in 1966 he developed two picture instruments, both based on the same set of facet elements. His scheme of elements included four dimensions: (a) factual-informational
. . . fictional-representational . . . fictional non- representational; (B) affection . . . conflict;
(0) physical-active . . . verbal-passive; (D) comedy
. . . serious. He asked people to sort his first pic ture instrument on one occasion. Then, several weeks later, he asked the same people to sort his first
^David Rarick, "Predicting Viewer Preferences for Visual Appeals in Television Programs," (unpublished M.A. thesis, Ohio State University, Columbus, 1967.) 10 instrument again, and his second instrument for the first
(and only) time. From these sortings, he found that people's preferences remain fairly consistent over time.
He also found that he could predict preferences on the second instrument from known preferences on the first instrument. In addition, Rarick used McQuitty's ele mentary linkage analysis to develop six visual preference types.^ The McQuitty method is "based on correlation, and yields results similar to factor analysis.
In 1964, William R. Hazard and his associates at the Journalism Research Bureau at the University of Texas set out to create a "Hontopical System of TV Program
Categories". They wanted to establish a system for analyzing programs which would by-pass the usual format or "topical" approach (such as "westerns", "crime",
"adventure", etc.) They did this by establishing a set of twelve scales, six for form analysis, and six for content analysis. The six form analysis categories included the following dimensions: (A) Fact . . .
^Louis L. McQuitty, "Elementary linkage Analysis for Isolating Orthogonal and Oblique Types and Typal Relevancies," Educational and Psychological Measurement, XVII (2) (Summer, 1957), 209-29.
^William R. Hazard, J. David Moriaty, Victoria 0. Timmons, "A Nontopical System of TV Program Categories," Audio Visual Communication Review, 12 (2) (Summer, I964)', 146-63 • Fantasy; (B) Drama . . . Nondrama; (C) Characterization;
(D) N o Entertainment . . . Solely Entertainment;
(E) Verbal . . . Action; (F) Physically Relaxed . . .
Physical Violence. The six content analysis categories included these dimensions: (A) Goals Deviance (Socially
Taboo Goals . . . Idealistic Goals); (B) Means Deviance
(Socially Taboo Means . . . Idealistic Means); (C)
Psychologically Relaxed . . . Psychologically Violent;
(D) Stereotyped Simplicity . . . Sophisticated Complexi ty; (E) Self-Response, Interaction; (F) No or Extraneous
Information . . . Instructional Information. Ten of the twelve scales were found to be reliable. These are (1)
Fact-Fantasy, (2) Drama-Nondraraa, (3) Entertainment,
(4) Verbal-Action, (5) Physicai-Violence, (6) Means
Deviance, (7) Goals Deviance, (8) Psychological Conflict,
(9) Siraplicity-Complexity, and.(10) Information.
One question which has intrigued researchers is whether children and adults look at television in the same way. Do they use the same decision-making elements to determine their preferences among programs? Bradley
Greenberg from the Department of Communications at
Michigan State University reported the results of his investigation of this problem in an article published in 1965 and entitled. "Television for Children: Dimensions 12 7 of Communicator and Audience Perceptions1'. Essentially, he administered a set of semantic differential scales to the producers of a children’s television program, and to ‘seventh-grade children who were part of the audience for the program. Then, following traditional R design, he factor-analysed the scales for each group. He wanted to see if the adult producers and the children were using similar dimensions. He found that they were not.
The adult producers of the program tended to think in terms of the professional production dimensions they used in thinking about any television program. The children, on the other hand, tended to think in fairly simple terms. The adult professional production staff developed two strong factors of scales: (1) a stylistic dimension, composed of style, pacing, complexity, and scope; and (2) an interest dimension, composed of novelty, general interest, receptivity, and importance. The seventh-grade children, on the other hand, developed two different factors of scales: (1) a general evalua tive dimension (good-had, interesting-dull, etc.) and
(2) a difficulty dimension. Greenberg concluded, there fore, that children and adults do not look at the same program in the same v/ay.
7 'Bradley S. Greenberg, "Television for Children: Dimensions of Communicator and Audience Perceptions," Audio Visual Communications Review, 13 (4) (1965) 385- 96. : Lawrence Schneider also used factor analysis in his investigation of this problem for his dissertation at the University of Iowa in 1967, entitled Television
Q in the Lives of Teenagers and Their Parents. Instead of using R-methodology to cluster scales, however,
Schneider used Q-methodology to cluster people, according to their orientation to television. His instrument consisted of fifty statements of orientation toward . television. His sample consisted of twelve families, and both parents and their teenage children sorted the instrument. Then, the sortings of all the parents were correlated and factor analyzed, and the sortings of all the teenagers were correlated and factor analysed.
Sorting was under several different conditions, but the one of principle interest to me was the sort in which each person expressed his own orientation to television.
Both the parents as a group, and the teenagers as a group, developed essentially the same set of three types: the Social, the Entertainment, and the Educational.
Schneider briefly describes these in his abstract.
The Social type had an orientation toward television as a medium for supply ing conversation, popularity within a group, and entertainment. The Entertainment type was primarily interested in the pleasure
D Lawrence Schneider, "Television in the Lives of Teenagers and Their Parents," (unpublished Ph.D. dis sertation, University of Iowa, 1967). See abstract. 14
aspects of television, and the Education type in the learning aspect.9
One interesting finding was that the teenage children tended to "belong to the same orientation type that their * parents belonged to. In any event, the special signifi cance of the Schneider study for my own project was in his use of Q-methodology to develop types of television viewers, based on their orientations to the medium.
1. Erwin Atwood investigated the same problem, also using Q-methodology, in a study which he reported in the
Pall, 1968 issue of the Journal of Broadcasting."^
Atwood's instrument was a Q-sort consisting of the names of 78 real television programs. Both teenagers and their parents sorted the program titles. The teenagers sorted under three conditions: (1) their own preferences,
(2) perception of their mother's preferences, and (3) their perception of their father's preferences. Parents sorted under two conditions: (1) their own preferences, and (2) their perception of their teenage children's preferences. Using Q-methodology, Atwood defined two preference types for the teenagers, three preference types for fathers, and three preference typeB for mothers.
^Ibid.. Abstract.
^ 1 . Erwin Atwood, "Perception of Television Program Preferences Among Teenagers and Their Parents," Journal of Broadcasting, XII (4) Pall, 1968), 377-88. 15
Unfortunately, Atwood does not provide any clear des cription of these preference types. He is more interested in other aspects of the problem. He does note, however, that "There appears to he little relationship between the stated program preference patterns of the teenagers 11 and their parents."
In 1969 James Flynn conducted a study of audience 12 perceptions of television stations. He wanted to know what elements are involved in the audience's perceptions of the "images" of stations, and how the images of real stations compare with the images of the Ideal station and the Average station. His instrument consisted of forty-eight statements about station programming prac tices. The instrument was designed to include elements based.on source credibility studies and other preliminary studies of station images. Twenty-nine residents of
Columbus, Ohio sorted the statements. Each person sorted the statements five times, once for each of the three commercial stations in town, and once each for the
Average and the Ideal station. Using Q-methodology,
Flynn then factor-analyzed the sortings five times, once for each condition of sorting. The factor analysis
11Ibid., p. 385. 12 James Henry Flynn, "Television Station Image: A Q-Methodology Study" (unpublished M.A. thesis, Ohio State University, 1969). 16
developed a set of factors, or "types: of viewers, for
each of the stations and for the Average and Ideal
station.
. Flynn described these types in terms of the qualities
the people in each type associated with the station's
programming. Thus, for example, Channel 4 developed two
types, one of which saw the station's programming as
Professional Excitement, and the other which saw the
station's programming as Repetitious Escapism. Two types
of viewers emerged for Channel 6, (1) Unprofessionalism,
and (2) Escapism. Channel 10 produced six types of view
ers: (l) Good Taste, (2) liberal Good Taste, (5) Whole
some Entertainment, (4) Violence, (5) Consistency, and
(6) Tell it hike it Is. There were seven types of
viewers describing the Average station: (1) Reflection
of Reality, (2) Physical Conflict, (3) Entertainment,
(4) Professionalism, (5) Dull, (6) Escapism, and (7)
Evaluative. The Ideal station produced eight types of
viewers: (1) Tell it Like it Is, (2) Excitement,
(3) Constructive, (4) Professionalism, (5) Good Taste,
(6) Pun, (7) Interesting, and (8) Escapism. Plynn then made some cross-image comparisons, in order to compare
the images of each station with the images of the
Average and the Ideal Stations. What especially inter
ested me about Plynn's study is his design, which is very much like the design I used in this study. 17
A second group of studies which interested me is a group of studies which stated that part of their purpose was to find ways of applying preference theory to the process of creating new television programs. The studies vary in the degree to which they actually inte grate the findings of audience preferences into the buildings of new programs, but all of them make some attempt to deal with the problem of maximizing viewer enjoyment.
One such study was Tom Harries' M.A. thesis in
1966.^ Harries used two instruments and developed three sets of typologies. His first instrument was, a
56-item Q-sort consisting of descriptions of hypothetical television programs. He asked people to sort this in strument twice, once according to their own personal preferences in programs, and once according to which programs they felt were in the best public interest.
Harries' second instrument included seventy-six state ments about television viewing which he asked people to sort according to their own orientation to television.
Harries then applied Q-methodology and developed a set of types for each sorting of the instruments.
The six personal preference types he reports are of
15 'Tom Harries, "The Systematic Creation of a New Television Program," (unpublished M.A. thesis, Ohio State University, 1966). 18 especial value to this study. Although these are types of people (viewers), he labels them according to the elements which best describe the programs each type most prefers. These six types, and Harries1 labels for them, are (1) constructive reality, (2) imaginative reality,
(3) realistic conflict, (4) light fiction, (5) big
"guffaw", and (6) high fantasy.
Harries' project did not include an experiment in which he actually created a program for a target audience, but he does discuss developing a model for the systematic creation of a program. Clearly, the first step in such a systematic approach would need to be an understanding of the target audience's preferences. His paper contri buted toward developing such a model.
In April, I960, Malcolm Maclean and Edgar Crane issued a "progress report" on an exhaustive study they were conducting for national Educational Television.^
The study investigated many questions and employed a wide range of methodology, but its main purpose was to help educational television do a better job of programming by better understanding its audience. The title of the report, Rating Scales, Program Types, and Audience
■^Malcolm Maclean and Edgar Crane, Rating Scales, Program Types and Audience Segments, Michigan State University," April, i960. (Mimeographed.) Segments, suggests some or the features of the study,
The authors, for example, used linkage analysis to group
semantic differential scales into various dimensions.
Thife was part of the continuing search for the elements
in television programs which are most important to people
in determining their preferences among programs. The
authors also used factor analysis to group programs
together based upon viewers' preferences for these pro
grams. This was part of the effort to find more meaning
ful ways to group programs than the traditional format
or subject classifications provide. In addition, the authors used linkage analysis to develop types of viewers.
Finally, the authors developed "program packages", or
combinations of programs, to help the station program
director prepare a schedule. The program packages were based on audience types, and. offered the programmer a
choice in audience strategies. One package showed how t to program a station in order to attract the maximum number of viewers of one type. The other package showed how to program a station in order to attract the largest possible number of viewers, including a wide range of
types of viewers.
In the Spring of 1966, MGM-Television faced a
decision in audience strategies somewhat like the choice
just mentioned. The studio decided to capitalize on the success of its popular Man from U.N.C.L.E. series by developing a new series entitled Girl from U.N.O.L.E.
The.choice was between appealing to exactly the same
type of viewer who liked Man from U.R.C.L.E., or develop
ing* a new audience for the new Girl series by appealing
to additional types of viewers. A research team at Ohio
State University was asked to conduct a study of the 15 audience and make some recommendations. ^ After some
initial focused interviews with viewers, three Q-sort
instruments were developed. The first, known as the
"Spy-Girl" instrument, consisted of statements about
spy shows generally, including the role of women in spy
shows. The second instrument, called the "New TV Program
Ideas" sort, included coded descriptions of hypothetical
television programs. The third, or "Photo" instrument,
tested for visual preferences with a set of coded pictures
of scenes from motion pictures. The coding in these last
two instruments was of elements of style and content which were believed to be important to viewers in deter mining their preferences among programs.
All three instruments were sorted by sixty-four
people. Pactor analysis of these sortings, following
Q-methodology, yielded three sets of types of viewers.
15 ^Robert Monaghan, Joseph Plummer, David Rarick, and Dwight Williams, Recommended Target Audience and Appeal Elements for the Girl from U.K.C.L.E., Columbus, September, 1966. (Mimeogra phe d .) 21
The "Spy-Girl" statement instrument produced one strong factor, or type of viewer, which accounted for most of the variance. This type preferred "realistic intrigue" in spy shows. One interesting finding was that this factor rejected the concept of a girl as the central fig ure, or heroine, of a spy series. The "Few TV Program
Ideas" instrument produced two strong types of viewers.
One showed a preference for nostalgic human interest, light humor, and realistic science. The other type showed a preference for reality-oriented adventure programs containing a dramatic conflict between good and evil. The second type liked, and the first type rejected, an item v/hich contained a description of the new spy show. The "Photo" sort yielded three strong types. The first preferred reality-oriented, affectionate, humorous photos. The second preferred reality-oriented, serious pictures showing warm, dynamic interactions between people. The third type of viev/er preferred photos show ing very active conflict between people, and ridiculous comedy. Recommendations were made to MGM based on these findings. The study showed the possibilities of using preference theory to solve a very real problem in tele vision programming.
It remained, however, for Joseph Plummer to illus trate fully the potential for using preference theory in 22 16 a systematic way for creating a television program.
The research findings from his dissertation study were used to help develop a new television program series for
WOSU-TV, the educational television station in Columbus,
Ohio. He began by dividing the creative process for developing a new television show into six stages, or steps. Then, he set up appropriate audience research techniques to correspond with each stage of development.
In this manner, audience research accompanied creative production on each step of the journey from idea to finished product.
The six steps which Plummer isolated for the development of a new program series are: (l) Basic concept development, (2) Development of the format,
(3) Generation of treatments and execution alternatives,
(4) Selection of treatments and execution, (5) Develop ment of script and visual execution, and (6) Production of the pilot or program. Generally speaking, the audience research began by briefly interviewing a large number of people, and proceeded to interview fewer people in greater depth in succeeding steps as the definition of target audiences became clearer. In the final step, a large number of people were asked to react
16 Joseph T. Plummer, "A Systematic Research Approach to Television Program Development" (unpublished Ph.D. dissertation, Ohio State University, 1967). 23
"briefly to the finished pilot, and more in-depth reac tions to the pilot were gathered from a sample of the program's intended target audience.
* A wide range of research techniques were used, from focused interviews and telephone interviews to factor analysis and linkage analysis. Of special interest here
is his use of Q-methodology in step II, Development of the Format. At this point, Plummer wanted to define the existing preference types and select the type viewer which would make the best target audience for the new program. He administered two 36-item Q-sorts consisting of descriptions of hypothetical television programs.
The sortings of thirty-eight viewers were correlated and factor-analyzed, yielding*three types of viewers.
These three types he labeled: (l) "Mr. Problem Solver",
(2) "Mrs. Art Buff", and (3) "The Involvement Viewer", who preferred programs featuring a "portrayal of human relations". A more complete summary of the project is available in an article in the June, 1968 issue of 17 Educational Broadcasting Review. '
A third group of studies which especially interested me is a group which applied the emerging methodology of preference theory to media other than television. In
17 'Joseph T. Plummer, "Audience Research in Televi sion Program Development," -Educational Broadcasting Review, II (3) (June, 1968)7 £'3-30. 24
some cases, these studies deal with only one medium,
such as radio or magazines. In other cases, preference
theory is used to discover the best media vehicle for a
persuasive message.
One of the earliest of these studies was Joseph 1 R Plummer's Master's thesis in 1965- He was looking for
the preference patterns which exist in radio listening.
He began with thirty-five focused interviews of radio
listeners. Then he built four Q-sort statement instru ments, one each for (1) Music (accompanied by taped
examples of kinds of music found on radio), (2) Hews,
(3) Orientation to Radio, and (4) Self Concepts. Twenty people sorted each of these instruments on the basis of their personal preference, or self-description. After the sortings were correlated, Plummer used McQuitty's linkage analysis to develop a set of types for each in strument. The Music instrument produced four types, the
Hews instrument five types, the Radio Attitudes instru ment four types, and the Self Concept instrument four types.
The differences among the Hews types were the clearest and help illustrate the method. The Hews sort produced the following five types, labeled according to
1 Q Joseph T. Plummer, "Q-Methodology in Radio Audience Research and the Analysis of Pormula Radio," (unpublished M.A. thesis, Ohio State University, 1965)- 25
* preference in kinds of news: (1) national and war news,
(2) local events and war news, (5) sports and national
disaster news, (4 ) political nev/s, and (5) sports news.
The1 four Self Concept types also are quite interesting.
Type I tended to be introverted and "knows what people
think". Type II appears "optimistic" about things and
enjoys other people. Type III appears more autonomous
and "happy-go-lucky" than Type II. Type IV is outgoing,
organised, and dominant in behavior.
A study which applied the methodology of preference
theory to magasine readers was conducted by Robert
Monaghan and Campbell Titchener in 1969.^ The study
was conducted to discover the preference patterns among
readers of Educational Broadcasting Review. The authors
first made an extensive search for statements which might
represent the widest possible range of reactions to EBR.
Finally, forty-four statements were selected, and a ran
dom sampling of the subscribers to EBR were asked to
indicate their degree of agreement with each statement
on an 11 point scale. The readers were correlated with
each other, and factor analysis was used to define two
main types of readers, following Q-methodology. The two
types of readers are (1) the Humanistic Behavioral
iq ^Robert Monaghan and Campbell Titchener, "EBR Readership Profile Analysis;" Educational Broad casting Review, III (5) (June, 1969), 51-42. 26
Scientist, and (2) the Media Practitioner.
William Stephenson, who has contributed most heavily to the development of Q-methodology, published 20 his'book The Play Theory of Mass Communication in 1967.
Here he develops the idea that people use the mass media as a means of socialization, giving them something to talk about. For many media consumers, the experience with the mass media is one of "play". He illustrates this theory, and Q-methodology, in a series of chapters describing various research projects. Most of these projects deal with essentially political experiences.
In Chapter 11, however, he discusses research conducted on newsreading. He cites a number of different studieB which have developed types of nev/s readers. He notes that basically the same three factors, or types, keep reappearing. He labels these, M, N, and P.
M are mature newsreaders; they give high saliency to ludenic items in their Q-sort descriptions of their own newsreading. News- reading for them is thoroughly habituated, absorbing, enjoyable, an interlude in the day, self-enhancing. The individuals are apt to be wide-ranging in their .interests, with a "mix" of community, national, and international news. Newsreading is not mere ly entertaining for them. N are non-pleasure readers, sometimes essentially non-readers, who have no aware ness of newsreading as absorbing, enjoyable,
20 William Stephenson, The Play Theory of Mass Com munication (Chicago: University of Chicago Press, ' I96Y)". 27
or the like. Rather, it is purely utilitarian (for sales, etc.)> or regarded as sinful, wasteful, and so on. P are pleasure readers, who are apt to think of newsreading as entertainment, "to pass the time", and so on. Their newsread- • ing is "pure play"-:— whereas that for M is a "game" in theoretical respects.21
David Erickson's doctoral dissertation in 1969 pro
vides an interesting example of the use of preference
theory to help determine the best media vehicle for a 22 persuasive message. Essentially, Erickson wanted to
find a way to persuade the public to adopt proper wild
life conservation practices. The problem was two-fold.
First, he must determine the existing attitudes toward
wildlife. Second, he must find the best way to reach
the public through the mass media. He developed two in
struments. One was a Q-sort consisting of eighty state
ments about wildlife and its management. The other was
a Q-sort containing descriptions of thirty-six hypothe
tical television programs, coded for elements of style
and content. Eifty-four people sorted both instruments.
Eollowing Q-methodology, two sets of factors, or types, were developed, one for each instrument.
The wildlife attitude instrument developed three
strong types. Erickson labeled these according to their
21Ibid., p. 157. 22 David D. Erickson, "Attitudes About Wildlife and Preferences in Television Programs: A communication Study," (unpublished Ph.D. dissertation, Ohio State University, 1969). 28 attitudes: (l) Protectionist, (2) Reductionist, ana
(3) Balance of Nature. The Protectionist primarily is » concerned about protecting the vanishing species. The
Reductionist is in favor of reducing the population of those species which threaten his crops or livestock.
The Balance of Nature type is in favor of saving threatened species, but is willing to allow hunting of other species in order to maintain nature's balance.
Sorting of the Television programs instrument pro duced four strong types. Erickson labeled these according to the elements of style and content operating most strongly in each type's preferences. The four types of viewers include: (1) Believable---Moral Intellectual,
(2) Believable Conflict, (3) Unbelievable Fiction, and
(4) Believable Fiction Low Complexity.
Erickson next made a comparison of the membership in the wildlife attitude types with the membership of the television program preference types. He found that the
Protectionist attitude type was most related to the
Believable Fiction---Low Complexity program preference type. He also found a slight relationship betv/een the
Reductionist attitude type and the Believable Conflict program preference type. On the basis of this kind of analysis, he was able to make recommendations for de veloping television programs which are most likely to reach the needed attitudinal types. 29
Thus, an examination o±* the literature of prefer ence theory points up the need for cross-media studies.
It also suggests some specific questions to be investi gated in this study and several methodological speci fications . A review of some more recent studies shows how preference theory methodology has developed.
Special emphasis has been given to preference in viewing television programs. Some researchers have applied this methodology to the creative processes involved in build ing new television programs. Still others have applied the methodology to other of the mass media and to the problems associated with the use of the media as a vehicle for persuasive messages.
In the next chapter, I will turn my attention to building on this foundation of methodological develop ment. I will extend the methodology across several mass media in a search for preference patterns. At the same time, I will hope to add to the development of methodo logy in studying preference theory. CHAPTER XX
THE DESIGN
Selection of the Methodology
The selection of a methodology for this study was governed hy the specifications I established for it during the review of literature. I wanted a methodology which would enable me to: (1) Define messages in terms of the constructs people use in deciding their prefer ences among messages. (2) Use the same set of constructs for messages in all of the media in order to provide a common framework within which to make comparisons across the media. (3) Define people in terms of their prefer ences among messages. (4) Compare people's preferences in one medium with their preferences in other media.
The first chapter discussed a number of research projects which studied the patterns of audience prefer ence within a single medium. Most of this research has been concerned with television viewing. One important contribution of this body of research has been the steady development of methodology.
Essentially what I did in this research project
30 31 was to extend the methodology horizontally across several related but distinct mass media message categories. I began by using a set of elements of style and content whifch was developed for television programs. This same set of elements was used to build six media message instruments, one each for television, radio, movies, magazines, brand commercials, and political messages.
Then, a sample of thirty-five people sorted each of the six instruments according to personal preference.
The data v/as analyzed by looking at the results both vertically and horizontally. Vertically, a set of preference types was defined for each medium. Hori zontally, these types were compared across the media. I looked to see if there were similarities in these types from one medium to the next. Then I looked to see if people generally were consistent in the kinds of prefer ence types they belonged to from medium to medium.
As a final check, I selected out of the original sample a number of persons who were most representative of their types and who showed promise for further analysis. Each of these person's individual preference patterns were analyzed from medium to medium.
Technically .speaking, I have considered the elements of style and content to be "constructs" which people use in making media preference .decisions, according to the personality theory of George Kelly. These elements, or bi-polar constructs, were coded into each of the in
struments . The coding for one instrument is the same
as for all the other instruments. Each instrument
toolc the form of a "Q-sort", consisting of thirty-six
descriptions of hypothetical selections available within
that medium. Each person sorted the items on a modified
normal-curve distribution. The preference types for each
medium were defined by using factor analysis on a corre
lation matrix of persons to persons, as in William
Stephenson's "Q-Methodology". Einally, Cattell's
"0-Design", or Stephenson's "single case Q-design", was
used to study the media preferences of individual per
sons. Eor each person, a matrix correlating the sorting
of each medium with every other medium was factor-
analyzed. This developed clusters of media for each
person.
These methods are explained in greater detail in the
following pages. Also, the theoretical rationale for
the selection of methodology is presented. Einally,
there is an explanation of the procedures followed in i conducting the research, including building the instru ments, chosing the sample of persons, conducting the
interviews, processing the data, and drawing inferences
from the data. 33 theoretical Rationale
The best single statement of the theoretical rationale for my selection of methodology is found in an article entitled "Creative Strategies in Audience
Analysis" written by Robert Monaghan for the April, 1968 issue of Educational Broadcasting Review . ^ The rationale articulated there has influenced much of the recent research work studying media preferences, especially television program preferences. This study extends the rationale to cover other media at the same time that it extends the methodology.
Various researchers have developed personality theories and methodologies which are especially useful in studying media preferences and which are consistent with this rationale. What Monaghan and his colleagues have done is borrown from each theory and methodology and combine these contributions into a methodology de signed to give us new insights into media preference patterns.
We wanted, for example, to begin preference study by "seeing the world through the other man's eyes".
The "focused interview" method developed by Robert K.
Merton and others is especially useful for this
23 ^Robert R. Monaghan, "Creative Strategies in Audience Analysis," Educational Broadcasting Review, II (2) (April, 1968), 29-37. 34 24. purpose. ^ The method is oblique, non-intrusive, and
non-directive. It has been used in many studies as a
preliminary step for culling statements and concepts
from the viewer.
George Kelly*s personality theory and methods are
especially helpful in understanding the viev/er's deci
sion-making processes. Kelly states as the fundamental
postulate of his theory that "a person's processes are
psychologically channelised by the ways in which he anticipates events." ^ Decision-making is a process of
anticipation, prediction, and validation. Monaghan
explains how this postulate applies to a person's media
decision-making.
As a viewer he will make his choices on the basis of what he expects as a conse quence of his decision. He lives, literally, in anticipation. Human communication is anticipatory, not merely a reaction. Before he selects a program the viewer has a sense of anticipation of what will happen. If it happens, his expectation is confirmed and he is more likely to venture that way again. If it does not he is less sure next time and will begin looking for the next order (to him) of alternatives. As researchers we need to know the consequences that he (not we) expect from his selection.
Robert K. Merton, Marjorie Fiske, and Patricia 1. Kendall, The Focused Interview (New York: The Pree Press, 19*5b). 25 ^George A. Kelly, A Theory of Personality: The Psychology of Personal Constructs (New York: W . W. Norton, 1953}» p. 4b. 26 Monaghan, "Creative Strategies," p. 33. 55
Kelly tells how a man uses his "construct system" for anticipating and predicting. "We can say next that man develops his way of anticipating events by construing, by ‘scratching out his channels of thought. Thus he builds his own maze. His runways are the constructs he forms, each a two-way street, each essentially a pair of 27 alternatives between which he can choose." An example
of a construct which a viewer might use in approaching a choice among television programs is " H u m o r o u s _____
S e rious" .
The point to be emphasized here i3 that the viewer uses his bi-polar constructs as a way of distinguishing among television programs and. deciding which one he most prefers to watch. The qualities which distinguish any program are not innate properties of the program, but instead are given to the program by the viewer as he perceives the program. Thus, "humorousness" or "serious ness" is not a quality of the program. It is a construct used by the viev/er to distinguish among programs. The same program may seem humorous to one viewer and serious to another. Similarly, the writer may see his program as being humorous, while the viewer may see it as being
27 'George A. Kelly, "Man's Construction of his Alternatives," in Personality: Readings in Theory and Research, ed. by Eugene A. Southwell and Michael Merbaum (Belmont, California: Wadsworth Publishing Company, Inc., 1964), p. 555. 36
serious.
The first specification for this study was to
"define messages in terms of the constructs people use
in -deciding their preferences among messages." Fortunate ly, Kelly provides a research method for discovering the constructs people use in decision-making. His
"Repertory Grid Test" has been adapted for use in
communications research and has been used many times in no studying television program preferences. After admin istering a large number of these tests, it has been possible to observe which constructs are most widely used by viewers. Another useful feature of the test is that the results can be presented in graphic form, show ing the relationships among constructs in an individual's system.
William Stephenson's "Q-Methodology" has a number
.of advantages for the communication researcher studying media preference.2^ In the first place, the use of his
"balanced-bloclc design" for structuring a sample of items in an instrument can provide a wider range of
J)Q Robert R. Monaghan, "Repertory Grid Method for Communication Research," (paper delivered at the annual conference of the Speech Association of America, Chicago, December 29, 1966).
2^William Stephenson, The Study of Behavior (Chicago: University of Chicago Press, 1953). ' ‘ 37
possible choices for the viewer than are actually avail
able in the media. Second, Stephenson's methodology has
an advantage in that it deals with small samples of
persons. Third, Stephenson's methodology has an ad
vantage in that it can closely approximate the actual
process of decision-making among media choices. Finally,
Stephenson's methodology enables us to discover the
existence of preference "types".
The types, of course, are defined according to the
preferences which their members share in common. Once
the type has been discovered by factor analysis, it is
possible to determine what preferences the type members
share in common by looking back at their sorting of the
programs. This is done by building a "data array" which
shows the relative preference by that type for programs
at each end of the distribution. The data array is an
average of preferences by the members of that type, with greater weight given to the preferences of those
people who load highest, or are most representative of
that type. Once a type’s preferences are arrayed before
the researcher, he is in a position to make inferences
about the preference patterns of that type of person.
It was through the use of this feature of Q-methodology
that we were able to meet the third specification for
our study, which was to "define people in terms of their
preferences among messages." 38
Raymond B. Cattell has extended the factor-analytic designs from the better-known R and Q to include 0, P, S, 30 and I. MalcoXm Maclean shows how these can be used 31 profitably in communications research. Of special interest here is the 0 design, which Maclean says is much like Stephenson's "single-case Q analysis."
Essentially, 0 analysis concentrates on the decision making processes of one person and clusters the various conditions under which he makes decisions.
In the proceeding pages I have tried to present the rationale for designing the study as I did. Des cribed are the theories and methodologies of such men as George Kelly, V/illiam Stephenson, Raymond Cattell, and others. I have discussed how communications research ers such as Robert Monaghan and Malcolm Maclean have adapted these theories and methods and have used various combinations of them in developing new approaches to the study of media preferences and decision-making. Phis study extends this basic rationale to cover a number of different media. In the following pages I will describe
-^Raymond B. Cattell, Handbook of Multivariate Experimental Psychology (Chicago: Rand McNally"1966).
31 ^ Malcolm S. Maclean, "Some Multivariate Designs for Communications Research," Journalism Quarterly, 42 (Autumn, 1965), 614-22. 39 the specific procedures followed in conducting the study.
Procedures in Conducting the Study
The research for this study was conducted in several stages. First was the development of the six media instruments. Next came the interviews. Finally came the processing of the data and the drawing of inferences from the data.
Development of the Instruments. There were several steps involved in developing the instruments. First, I chose a set of construct elements for use in all six instruments and structured them into a balanced-bloclc design. Then, from the structured sample of elements X wrote items for each of the six media I wanted to study. Then I checked to see how closely the items reflected the combination of elements intended for each item.
The search for the important decision-making constructs in media preference goes hack several years.
I refer here to the kind of studies mentioned in the first chapter, and especially to the studies by Maclean and Crane in 1960^2 and Monaghan in 1964.^ By 1 9 6 6 a workable set of construct elements was developed for
32 Maclean and Crane, Rating Scales.
•^Monaghan, "Television Preferences". 40 studying television program preferences in the MGM ■34. study, and was used hy Plummer in his study in
1967. ^ I chose to start with "basically the same set of constructs and the same balanced-block design used in those studies. Some minor revisions were made in the names of the constructs, and in the examples used to illustrate them. Sometimes also it was necessary to make some changes in the explanations of the constructs in order to apply them to different media.
Pour constructs were used in the balanced-block design: (A) Reality, (B) Moral Value, (C) Complexity, and (D) Seriousness. These constructs were divided in the following way: Al, Believable Pacts; A2, Believable
Piction; A3, Unbelievable Fiction or Fantasy; Bl, Moral
Intellectual; B2, Moral Sentimental; B3, No Moral;
Cl, High Complexity; C2, Bow Complexity; Bl, Comedy; and B2, Serious. A complete description of each of these elements is in the appendixes.
Chart I shows how these construct elements were combined in the balanced-block design. The design is essentially the one used by Stephenson. A total of thirty-six possible combinations of the elements is
•x A -^Monaghan and others, Recommended Target Audience.
^Plummer, "A Systematic Research Approach."
■^Stephenson, Play Theory, Chap. 2. CHART I
BALANCED-BLOCK DESIGN OF ELEMENTS OP STYLE AND CONTENT USED IN INSTRUMENTS
CONSTRUCTS . ELEMENTS OP STYLE AND CONTENT
A 1 A 2 A 3 UNBELIEVABLE REALITY BELIEVABLE BELIEVABLE FICTION, FACTS FICTION • FANTASY
B 1 B 2 B 3
MORAL VALUE MORAL MORAL NO MORAL INTELLECTUAL SENTIMENTAL
C 1 ' C 2
COMPLEXITY HIGH COMPLEXITY LOW COMPLEXITY
D 1 D 2
SERIOUSNESS COMEDY SERIOUS 42
derived from the design. Thus, for example, item number
one combined Believable facts, Moral Intellectual, High
Complexity, and Comedy. Item number thirty-six, by
contrast, combines fantasy, No Moral, low Complexity,
and Seriousness.
I used these thirty-six combinations of construct
elements as the basis for writing the six media instru ments. In all cases, the items are hypothetical versions
of the selections available to a person in each medium.
The television items are short descriptions of hypothe
tical television programs. These are similar in form to
the descriptions which might appear in TV Guide. The
Radio instrument items are descriptions of hypothetical
radio programs. The Movies instrument describes hypo
thetical movies. The Magazine instrument items describe
either hypothetical articles or hypothetical magazines.
To study brand "commercial" preferences, I created a hypothetical brand of toothpaste, which I called
Shield, and described hypothetical television "commer
cials" for this brand. Similarly, I created a mythical
candidate for President, Senator John Phillips, and wrote a series of "political messages" for him as a way
of.studying personal preferences in the presentation of
Presidential candidates. The messages described range
all the way from the short "spot commercials" to the
longer movies and personal interviews. 43
This procedure produced six instruments of thirty-
six- items each. Each of the six media instruments is
based on the same set of elements and the same coding of
the* items. Thus, for example, item number one in tele
vision contains the same combination of elements as
item number one in radio, movies, magazines, toothpaste
commercials, and political messages.
I checked to see if the items reflected the elements
I coded into them. An inter-judge panel agreement
procedure was used to help refine the instruments.
Each instrument was sorted four times by six people.
In a typical session, one person was given definitions
of the three elements in the Reality construct and was asked to sort the thirty-six items of one instrument
into three piles, one pile for each element. The
thirty-six items were also sorted for the three elements
of the Moral construct, the two elements of the Complexi
ty construct, and the two elements of the Serious construct.
I noted which items the person saw as representing
an element different than the one I intended when I wrote the item. A tally was kept of the number of times
an element waB seen differently than intended. I also
noted which elements the person felt the items repre
sented. On the basis of these One hundred-forty-four
sortings and the resultant notes, I was able to 44 determine which items need further rewriting. Most
items were left alone, some were slightly changed, some
required major rewriting, and a few were discarded
altogether and new items were substituted. In this way
the six media instruments were refined. The end result
of this procedure was six media instruments, each of
v/hich represents the same set of combinations of elements
of style and content.
The People We Interviewed. The decisions regarding
who I would interview were governed mostly by the ob
jectives of the study. I wanted to discover a wide
range of preference types within the media, and to see
how consistent individuals are in their preferences
across the media. This objective did not call for
rigid sampling procedures, as would be necessary if I
were conducting a survey of audience siae for various
programs in Columbus. But I did want a wide range of
persons in terms of their possible preferences. Un
fortunately, people's media preferences are not as
apparent as sex or race, and not as easily ascertainable
as age or income.
I decided to build the sample of persons around households. With help, I found a wide range of house
holds. These in turn produced a good sampling in terms
of such demographic variables as sex, age, race, income,
education, and so forth. Perhaps more important, it 45 covered a wide range of life styles.
The sample of persons shows the following demographic
characteristics. There was an almost even split between
the'sexes, with eighteen males and seventeen females.
There was also a fairly good spread in terms of age.
Table 1 shows the number of persons by category. I also had a good representation of Black people. Eight of
our thirty-five people, or slightly more than one-fourth,
are Black.
Table 1
DISTRIBUTION OP PERSONS BY AGE
Age Number Category
6 - 1 2 3 Pre-Teen
15 - 17 9 Teen:* Junior and Senior High School
18 - 40 9 College and Young Adult
41-65 11 Adult and Older Adult
66 + 3 Retired
Altogether, thirty-five people were interviewed.
All but two of these people were associated with one of
seven households. The other two were a graduate student
in history, and a retired businessman in his seventies. 46
The names in the following descriptions have been
changed.
The Olson family lives in an upper-middle-class
suburb. The father is a Ph.D. who works in industry.
He and his wife are in their mid-fifties. Their two
teenage sons are in high school, are college-bound, and hold part-time jobs after school. It is an interest
ing coincidence that the Nielsen Company chose the Olson
family to be part of its rating-service sample just two weeks after my interview. I don't ascribe any particular
significance to this fact, but it does make me feel
confident that my source of opinion on media prefer
ences is at least as good as the Nielsen rating service's.
The Smith family also lives in an upper-middle-
class suburb. The father is a Ph.D. and a university professor. Mrs. Smith is a busy homemaker and is active
in her church and in other pursuits. The Smiths have three sons, ages 11, 12, and 15- The oldest son intro duced me to three of his teenage friends; two girls and a boy, who also were interviewed. Mrs. Smith introduced me to five of her friends, whom we interviewed. They are all in their late 30's and early 40's, all college educated, and all wives of professional men or business men.
Mr. and Mrs. Alton are in their 70's and live in a middle-class neighborhood. Mr. Alton is a retired 47 businessman who now teaches part-time in a local business school. Both are college graduates and are active in volunteer service organizations.
* Mr. and Mrs. Benton are a young couple in their mid-twenties v/ho live in a new, middle-class suburb.
He is an aero-space engineer. She is working on a graduate degree.
The Hall family was probably the most interesting
I interviewed. Mr. and Mrs. Hall are in their 50’s and live in a low-middle class area. He is a mechanic who is temporarily unemployed. Their nineteen-year-old daughter is the unwed mother of recently-born twins.
Mrs. Hall helps look after the babies. Also in the household is a close family friend, Mr. Eldon, a bachelor in his 50's whose ex-wife was recently murdered in
Florida. Mr. Eldon is a cook at a local country-club, and rooms and boards with the Hall family. The tele vision is on constantly in the Hall household.
The Humphrey family was one of the two Black families I interviewed. The Humphreys own their own home in a middle-class Black neighborhood. Mr. Humphrey is an auto-mechanic, in his early 40's, and attended college for one year. Mrs. Humphrey is in her late 30fs and has a high-school education. Both are active in their church, the HAACP, and the PTA. Although they list the size of their family as 11, besides the parents 48
I met and interviewed only one daughter, a 15 year-old girl. She is active in her church and school music groups, and in sports.
The other Black household I interviewed was the
Baker family. Mrs. Baker is a grandmother in her early
50*3 who lives in a public housing project in the city. I did not meet a father in this household. I was impressed by the great care and pride the family showed in its home. Besides Mrs. Baker, I interviewed her
16-year-old daughter and a 14-year-old grandson. I also interviewed two of the grandson's friends, boys ages 12 and 14.
These, then, are the people I interviewed. I felt that the procedure of interviewing members of divergent kinds of households would provide a sample of media preferences which would meet the objectives of the study and be consistent with the theoretical rationale.
Certainly, I met people who represented a wide range of life styles. In the pages ahead are described the procedures followed in interviewing these people.
The Interviews. The thirty-five interviews were conducted in the Spring of 1968. All interviews were held in the homes of the families described above. In most cases, the interviews lasted from 2 to 2 ^2 hours.
Usually more than one person was being interviewed during 49 a family session. The members of the household v/ere
■V V separated into different rooms, Initial instructions were given, and I circulated among the people so as to elicit comments and help with any sorting problems.
Mr. David Rarick, Mr. David Erickson, and Miss Betty
Pflummer helped with various interview sessions.
A complete copy of the Interview Schedule is in the Appendix. The opening statements stressed the importance of personal preference. The instructions preceding the sorting of each instrument stressed the
"actual" setting for that medium. The instructions for the sorting were intended to re-emphasize the importance of personal preference.
The procedure for sorting each instrument was fairly simple. I asked people first to look through the items, quickly sorting into three piles as they read, one pile for their "likes", another for their "dislikes", and a middle "neutral" pile. Then, I asked people to sort the items further, this time according to a normal- curve distribution. I provided "pile cards" to' make the job easier. These pile cards showed the number of the pile and the number of items to be placed in each item.
The distribution was as follows. 50
Most Prefer least Prefer
Pile 123456789
Number 234585432 of Items ______
After a person had completed sorting all the items,
I copied the number of the items into blanks on a pre pared form. As a final probe into the. person's preference decision-making, I asked him to comment on the two items at each end of the distribution. Then, I picked up ana reshuffled the item cards, handed the person the next set of items, and repeated the process for the next medium. I proceeded through all six media in this fashion. The very last step in the interview was to gather some demographic data on a questionnaire form.
This, then, is how I conducted the interviews. The next few pages tell what we did with the data gathered from these interviews.
Processing the Data. The data gathered from the interviews made it possible to proceed with both Q analysis and 0 analysis. The correlation matrices for both the Q analysis and the 0 analysis were based on
Pearons r computations. For the Q analysis, computations were made among all thirty-five people for one instrument. 51
For the 0 analysis, computations were made among all six instruments for one person.
For the Q design I correlated the sorting of all thirty-five people on one medium, such as television.
Then, I factored the correlation matrix of persons.
The factor analysis clustered together those people who share similar preference patterns in that one medium.
These clusters are the "types" of television viewers.
The process was repeated six times, once for each of the media. In the end, I had a set of "types" of per sons for each medium I studied.
For the 0 design, I correlated one person's sorting of the six media instruments. Then I factored the corre lation matrix of media for that one person. This clustered the media, telling which media "go together" in that person's decision-making. The process was repeated thirty-five times, once for each of the people
I interviewed.
The same factor analytic procedure was used on both kinds of correlation matrices. I used a computer program which employed the Principal Axes method of factor analysis. The resulting factors were rotated according to the ICaiser Varimax method. All computations were performed on an IBM computer at the Ohio State
University Computer Center. 52
I analyzed those rotated factors which accounted for seven percent or more of the variance. X reported these in order of the percent of variance the factor contributed. Factor I, for example, accounts for more variance than Factor II.
These, then, are the procedures I followed in processing the data from the interviews. In the next few pages are described the procedures for drawing inferences from this data.
Drawing Inferences. All of the inferences were drawn from factor arrays, or "data arrays". Essential ly, these array the items for a factor from "Most Prefer" to "least Prefer". The items are arrayed according to the average score they received from the persons who loaded highest, or were most representative of the factor. Assume, for example, that two people load high on a factor. If both people placed item number 21 in the first pile, the item received a score of 1. If one person placed item number 32 in the first pile, and the other person placed the same item in the second pile, the item received a score of 1.5* If both people placed item number 10 in the second pile, the item received a score of 2. The. newer Quanal computer program for Q studies automatically assigns a score to each item and prepares a data array for the factor. At the time 53
I conducted this study, however, the state of the art was such that I performed this task by hand.
In preparing the data arrays, I used only people who loaded .70 or higher on a factor. In no case were there more than four people loading that high on a factor. In some cases, there was only one such person.
It should be remembered that the strength of a factor is not determined by the number of people who load high on it, but instead by the percent of variance the factor accounts for. The people who load high on a factor are merely the most representative of that type. For that reason, it is their original sortings v/hich are referred back to in preparing the data array for a factor.
The process of inference used here is the one
Stephenson calls "abduction". Stephenson says, in part,
"Abduction is what one does in guessing or inventing, or proposing a theory or explanation or hypothesis: it is the initial proposition to explain facts . . ., the emphasis is on the discovery of hypotheses, not their •5J7 deduction from postulates. ' The 1955 edition of the
Dictionary of Philosophy gives this definition of abduction. "In Pierce: type of inference yielding an explanatory hypothesis (q.v.), rather than a result
^William Stephenson, "Scientific Creed--196l," The Philosophical Record, 11 (1) (January, 1961), 1-25. 54 of deductive application of a 'rule* to a 'case' or 38 establishment of a rule by induction."^
Here is an example of how a person might use ab duction to make inferences from a television factor's data array. Assume that the "Most Preferred" items included the following programs: (1) "Peanuts", a cartoon comedy show based on the comic strip; (2) "Mer lin the Magician", a series based on the Arthurian legends, but treating the stories in a humorous manner; and (3) "Ghost Writer", a comedy series about a former newspaper editor who comes back to continue his .crusade against corruption in City Hall. Assume also that the
"Least Preferred" items included the following programs:
(1) "The War Years", showing films of actual battles of
World War II; (2) "Today's Weather", telling stories of unusual weather conditions around the world and how man has responded to these; and (3) "The Professional Chef", which each week features a different famous chef pre paring his specialty.
A person would infer from such an array of programs that this type of viewer prefers programs which are humorous and which grow out of fantasy. This type of viewer rejects programs which present factual information
^Dagobert P. Runes, ed., Dictionary of Philosophy (Ames, Iowa: Littlefield, Adams & Co., 1955)» P* TlT 55 in a serious or documentary form. In essence, this type of viewer prefers "pure entertainment" in his programs.
We might call this type of person the "Entertainment
S e e k e r " .
The procedure is essentially the same in 0 design.
The factor analysis tells which media "go together" in a person's decision making. In addition, we can make data arrays for those factors. By comparing the factors for each person, we can make inferences about the con sistency of his preferences across the media, and about the differences he may see in the various media.
This, then, is how I drew inferences from the data. First I built data arrays for each factor. Then
I used abduction to make inferences from the data arrays.
In this chapter I have presented the design of the study. First I gave the broad .outlines of the design.
Then I explained the theoretical rationale for the choice of a design. Finally, I have described the procedures followed in conducting the study.
In the next two chapters are presented the findings of the study. Chapter III analyzes the Q factors for each medium and discusses the six "Basic Preference
Types" which appear to cut across the media. Chapter IV examines the cross-media preferences of individual persons. CHAPTER III
MEDIA PREFERENCE PATTERNS
Sorting of the six media Q instruments produced six basic preference types. These six basic preference types cut across the several media. Not all six basic preference types cut across all six media. Each type, instead, was represented in a different number of media.
The six basic preference types are (1) the Information
Seeker; (2) the Entertainment Seeker; (3) the Youth-
Oriented type; (4) the Sophisticate; (5) the Human
Interest type; and (6) the Successful-Adjustment-to-
Dife type. This chapter will first briefly show the distribution of the six basic preference types across the six media; second, briefly describe each of the six basic preference types; and third, fully, describe each type within the context of each medium.
The Information Seeker type cut across all six of the media. In fact, two of the media, television and radio, each produced two kinds of Information Seeker.
Five of the media (television, radio, magazines, tooth paste commercials, and political messages) each produced
56 57
an Entertainment Seeker type. (The Youth-Oriented type
is found in three of the media: television, magazines,
and political messages. The Sophisticate type can be
found either watching television or listening to radio.
The Human Interest type and the Successful Adjustment to
Life type were found only in the movies. Table 2 shows
the distribution, relationship, and factor number of
each type, according to medium.
The most pervasive of the six basic preference
types is the Information Seeker. He is a person who
turns to the medium for information. He prefers "facts" about the "real world" presented to him in a "believable" manner. He rejects as "unbelievable" messages about any "unreal" world presented in the form of "fantasy".
He generally prefers that there be no moral conflict present in his messages, or when present, that the moral
conflict be an intellectual one. He rejects the "good guys versus bad guys" simplicity of the sentimental moral conflict. The complexity dimension is not so
important to him as the reality and conflict dimension.
He is more likely, however, to prefer those messages which are highly complex to those which are low in complexity. He appears to have no clear-cut preferences for either serious or humorous messages. The Information
Seeker, then, emerges as a person who is seeking informa tion about the "real world" around him, presented in a • 58 Table 2
1 M I O H S H I P OP TYPES ACROSS MEDIA
Television Programs Radio Programs Movies
Information Seeker Information Seeker Information Seeker
Inctor I (Younger) factor III (Critic factor I and and factor II (Older) factor 17(Sports fan)
Entertainment Entertainment Seeker Seeker
factor III factor II
Youth-Oriented
factor 17
The Sophisticate The Sophisticate
Factor 7 factor I
Human Interest
■ factor II
Successful Adjustment to life
factor III 58
Toothpaste Political Iovies Commercials Messages
tion Seeker Information Seeker Information Seeker Information Seel
:tor I Pactor IPactor II Pactor I
Enterta inment Enterta inment Entertainmei Seeker Seeker Seeker
Pactor II
Youth-Oriented ! Youth-Orienti 1 Pactor III I Pactor III
m Interest
ijcessful uent to life
tor III 59
‘believable form.
The next most pervasive basic preference type is
the Entertainment Seeker. Humor is the most important
element for the Entertainment Seeker. Unlike the
Information Seeker, who can enjoy both humor and seri
ousness, the Entertainment Seeker almost always prefers
that his messages contain an element of humor, or "the
light touch". He almost always rejects messages which are serious in presentation, A second element dimension which appears to be important to him is the reality
dimension. He generally prefers fantasy to reality.
He, in fact, often prefers that his messages be unbe
lievable, and often rejects those which are believable.
The moral conflict and complexity element dimensions are not so important to him. The Entertainment Seeker, then, emerges as a person who turns to the media in search of
"fun". He prefers a world of humor and fantasy to a real, believable, serious world. Such, then, is the preference of the Entertainment Seeker.
The Youth-Oriented type appeared in three of the media: television, magazines, and political messages.
The preference for various elements is not so clear.
There does appear, however, to be a tendency to prefer messages which are believable, moral-sentimental, and difficult to predict; while, rejecting messages v/hich are 60 too serious and too easily predicted. These factors are described as the Youth-Oriented type because the themes of the programs appear to be of interest to young people and because young people most often load very high on these factors. The division of the elements was less helpful here. A more detailed examination of the preferred themes and the membership of this type follows later in this chapter. This more detailed examination will help to clarify the definition of the Youth-
Oi'iented type.
The Sophisticate, or "thinking man" type can be found either watching television or listening to radio.
He is invariably certain to prefer believability, intellectual morality, high complexity, and seriousness in his programs. He is sure to reject fantasy and the sentimentally moral in programs. His favorite programs are most likely to be educational television, public- affairs programs on commercial channels, good-music
PM radio, or. perhaps the "talk" shows on AM radio. I have chosen to call this devotee of "thinking man's" broadcasting the Sophisticate type.
The medium of the movies produced two types which have much in common, yet are distinguishable in im portant respects. The first of these two types I call the "Human Interest" type because he is distinguished 61 by his preference for movies which are about people and their problems. He rejects movies which are about abstract things. He prefers stories which are believable, highly complex, and serious; while rejecting those which feature fantasy and "shades of gray" intellectual moral conflict. This person is concerned about people and the problems they encounter living in this real world. The heroes of his preferred stories are not always life's big "winner's". This is the "Human Inter est" type.
A second type unique to the movies medium is the one I call the "Successfiil Adjustment to life" type.
He also prefers stories which are believable and serious, and rejects messages which feature fantasy and humor.
But he is distinguished by his preference for stories about people who successfully make a personal adjustment to life. The heroes of his preferred stories are life's
"winners". He rejects stories about people who fail to adjust successfully to life, who eventually "escape".
He also rejects stories which inject science into our personal lives. This type prefers stories about persons who make a Successful Adjustment to life.
These, then, are the six basic preference types, spread across the six media: the Information Seeker; the Entertainment Seeker; the Youth-Oriented type; the
Sophisticate; the "Human Interest" type; and the 62
"Successful Adjustment to Life" type. The rest of this
chapter fully discusses each one of these types. The
presentation is organized according to each of the six
media. Under each medium heading is presented each of
the basic preference types which the medium's Q sort
produced. Each type is examined according to the coded
elements and the themes of the messages at each end of
the data array. Sometimes,, v/here helpful, mention is made of the persons who loaded highest on that factor.
Television Program Factors
Sorting of the Television Program Ideas Instrument
produced five main factors. Factors I and II are both
of the Information Seeker type. The difference between
them is one of interests due to age. Factor III is an
Entertainment Seeker type. Factor IV can be classified as a Youth-Oriented type. Factor V could best be called
the "Sophisticate" type. These, then are the five
factors and the four basic types which sorting of the
Television Program Ideas Instrument produced. Each fac
tor will now be more fully described.
Factor I; The Younger Information Seeker. The
image of Television Factor I emerges as that of a
younger Information Seeker type. He uses a strong
Fact Fantasy construct in determining his preferences
among television programs. The subjects of his 63 preferred programs are clearly based on fact and provide information on subjects of interest to him. These are subjects of interest to young people, such as crime and violence, war and peace, sports, and variety pro grams. He has little interest in programs which grow out of fantasy, especially when these are given a seri ous treatment. Most of the programs he rejects are those which are space and s.cience fiction fantasies or are of the educational and cultural category.
The clear Fact Fantasy construct seems to be the most important element in defining Factor I as an In formation Seeking Type. While the themes of the programs cover quite a range of subjects of interest to young people, this particular young viewer seems to be saying
"I want to know", or "Tell me", or "Give me the facts" about the world around me. Six of the eight programs he likes most are coded Believable Fact. The terms
"true story" or "documentary" frequently appear in these items. Humber 2, The War Years, for example, tells
"Stories of actual battles of World War II . . . ."
Humber 7, These Also Tried, tells "True stories ....
Criminals represent themselves ..." Humber 8, The
Tumult and the Shouting, is "A documentary-type sports program". Number 1, Baez and Ballads, is "A simi- interview, semi-documentary program". Humber 6 offers 64
Table 5
TELEVISION FACTOR I: THE YOUNGER INFORMATION SEEKER
Item Code Title Score
2. B.Fact MI HCS The War Years 1
7. B.Fact MS LCC These Also Tried 1
35. U.Fict NM LCC Peanuts 1
8. B.Fact MS LCS The Tumult and the 1.5 Shouting
1. B.Fact MI HCC Baez and Ballads 2
6. B.Fact MS IIC S Night Cry 2
11. B.Fact NM LC C The Weird Teams 2
14. B.Fict MIHCS The Negotiator 2
12. B.Fact NM LC S The Professional Chef 8
15. B.Fict MI LC 0 The Folk Hour 8
30. U.Fict MS HC S Project Universe 8
31. U.Fict MS LCC Grimm's Fairy Tales 8
36. U.Fict NM LCS How About That! 8
26. U.Fict MI HC S Commitment: Destiny 9
32. U.Fict MS LC S The Mystery Man 9
34. U.Fict NM HC S Outside the World 9 '•True Stories" and " 'live' coverage" of policemen on the night beat. Number 11, The Weird Teams, is a live- action sportscast of unusual sports events such as the
Harlem Globe Trotters. Even nxtraber 14, The Negotiator, has an informational quality despite the fact that it is coded Believable Fiction.
The Negotiator. A program about a man who goes all around the world by order of the President of the U. S., to negotiate a treaty or peace terms. Tonight, he goes to Egypt to negotiate peace between Egypt and Isrea'l.
Given his strong Eact-Eantasy construct, it is quite likely that Factor I sees this program as concerned with real situations. Certainly, there appears to be a strong Eact-Eantasy construct operating in his prefer ence for programs.
A look at the themes of Eactor I's most preferred programs gives a clearer image of him as a Younger In formation Seeker type. The themes of the programs appear to break down into four major categories: (1) war and peace, (2) crime and violence, (3) sports, and (4) variety. Good examples of the war and peace theme are items number 2, The War Years, and number 14, The
Negotiator, which deal with the military and political aspects of war and peace. The crime and violence theme is present in number 7, These Also Tried. "Criminals represent themselves each week in an episode showing 66 another of the many ways people try to break the law and fail." Similarly, Night Gry illustrates this theme.
"True stories of policemen during their night shift in a large city. Tonight we go to New York City and ride with car 757 for 'live1 coverage of its night b e at."
Sports is the subject of The Tumult and the Shout ing. "Each week film clips and narration feature the career of a different sports hero, showing how he over came hardships and succeeded in a sports career."
Similarly, The Yfeird Teams has a sports theme. "This week's program features the Harlem Globe Trotters in a basketball game with the Boston Bullets."
Variety is the theme in Baez and Ballads, which
"Features the singing and sayings of Joan Baez . . .
She sings a few humorous folk s.ongs and is backed up by some dancers." Similarly, in Peanuts, "Good old
Charlie Brown and his friends come to weekly television."
In contrast to his preference for Factual material in his television programs, the Younger Information
Seeker rejects programs which have an Unbelievable
Fiction or Fantasy element. As Table 3 indicates, the bottom six of M b eight least preferred items are all coded Unbelievable Fiction. Project Universe, for example, is "A space adventure program . . . on an uncharted planet . . . adventure with the new and the 67 unknown." Program item number 31 brings to television all the fantasy of Grimm's Fairy Pales.
Seven of the eight most strongly rejected items are also coded SeriouB. These items include; The
Professional Chef; The Polk Hour; Project Universe; How
About That!; Commitment: Destiny; The Mystery Man; and
Outside the World.
The themes of the rejected items appear to fall into two major categories: (1) space and science fic tion, and (2) cultural and educational. Science fiction is the theme of Commitment; Destiny, v/hich tells "Tales of the world beyond. Tonight Jim Baker's robot is in volved in a serious question of morality with another robot whose programmed brain is not in alignment."
Space is the theme of Project Universe where "Tonight our characters land their space ship on an unchartered planet and then begins the adventure with the new and the unknown." Similarly, in number 34, "Kal, an American space explorer, travels throughout the solar system ‘ * * . . .11 Science fiction is the theme of The Mystery
Man, which tells stories of "a mysterious man with super-human powers."
How About That is a good example of the cultural and educational theme present in these programs which
Type I rejected. This item, combines both the Fantasy and Serious elements. 68
How About That! A program that shows some aspect of the natural sciences through an animated cartoon story. Tonight, flowers come to life and we learn about how they live and grow.
In Grimm's Fairy Tales, "Those tales which children love and adults know and love come to life on the television screen through the portrayal of actors and actresses." During The Folk Hour, "Each program in this series enacts some piece of American or European folk literature . . . A narrator-host provides some explanation and background to help us understand it."
For those with culinary interests, The Professional Chef provides an education as "Each week a different famous professional chef serves as host and prepares some of his specialties". The Younger Information Seeker, it appears, is not one of those with culinary interests.
Television Eactors I and II share a preference for many of the same elements. Both, for example, prefer television programs which are Believable, and especial ly ones which are based on Factual material. Some of the other elements differ slightly. But it is mainly the themes of the preferred programs which makes these two factors similar, yet distinct types. The best explana tion for the difference appears to be that Factor I is a younger viewer who seeks information on subjects of interest to younger people, while Factor II is a more 69 mature viev/er who seelcs information on subjects of in
terest to older viewers.
There is also a difference between Factor I (the
Younger Information Seeker type) and Factor IV, (The
Youth-Oriented type). Both of these factors represent
young viewers with youthful interests. Yet Factor I
appears much more information-oriented. There is, for
example, a clear Fact Fantasy construct operating in
Factor I ’s preferences. There is no such clear division
or construction of the elements in Factor IV's preference pattern. While Factor I is a young viewer with youth
ful interest, he is principally an Information Seeker who prefers Believable and Factual material. He shares much in common with his more mature counter-part,
Factor II, the Older Information Seeker. Factor IV, on the other hand, is a youthful viewer with youthful
interests who enjoys entertainment programs as much as
informational ones.
Television Factor I, therefore, can best be called the Younger Information Seeker. He has a strong Fact---
Fantasy construct. He prefers programs which provide him with information about subjects of interest to him.
The subjects which interest him are subjects v/hich are
identified with youth today. This preference for pro
grams dealing with subjects of interest to young people
is the main thing that distinguishes him from Television 70
Graph I
TELEVISION FACTOR Is THE YOUNGER INFORMATION SEEKER
Fact +
Youth
*
Serious . + Informative
- Boring / Interesting + to Young People / to Young People
Uninformative
Fantasy 71
Factor II, the Older Information Seeker. His prefer ence for information, and the presence of a strong Fact
Fantasy construct is what distinguishes him from
Television Factor IV, the Youth-Oriented type. He is, indeed, the Younger Information Seeker.
Graph I shows what the Younger Information Seeker's construct system might look like.
Factor lit The Older Information Seeker. Factor II emerges as the image or the Older Information Seeker type. He has a strong Fact Fantasy construct which operates in determining his preferences. In addition, he has fairly strong low Complexity High Complexity and Serious Comedy constructs at work in helping him choose M g most preferred items. Comhining this element construct analysis with an analysis of the themes of his most and least preferred program items suggests that he is an Information Seeker. Yet Factor
II seems to differ somewhat from Factor I, also an
Information Seeker with whom he shares many preferred elements and themes, in that he seeks information about subjects of greater interest to more mature viewers.
In the next few pages I will try to clarify the image of the Older Information Seeker and distinguish him from the Younger Information Seeker. The difference in ages between the persons who loaded highest on the 72
two Information Seeker factors appears to account for
much of the difference in their interests. This dif
ference in interests may have made a slight but notice
able difference in some of the elements each chose. I
will first compare and contrast the themes and elements
of the programs which these types preferred. Then I
will compare and contrast the themes and elements of
the television programs they rejected.
Part of the difference in viewpoint of these two
types may be explained by a quick look at the persons who loaded highest on the two factors. The two persons who loaded highest on Factor I are sub-teenage brothers
from a middle-class suburban home. They are ages 11
and 12 years old. The person who loaded highest on
Factor II, hov/ever, is a 76 year old retired business
man. He is a college-educated former executive who
lives in a middle-class suburban neighborhood. All
three of these viewers share a preference for programs which provide information, but the age difference appears
to account for some of the difference in the kind of
information they are looking for.
A good illustration of this similarity and differ
ence in the interests of these Younger and Older types
is provided by the two items which Older ranked highest,
in his number 1 pile. The first item is of interest
only to Older. 73
Table 4
TELEVISION FACTOR II: THE OLDER INFORMATION SEEKER
Item Code Title Score
4- B.Fact MI LC S The Executive 1
8. B.Fact MS LC S The Tumult and the Shouting 1
6. B.Fact MS HC S Night Cry 2
11. B.Fact NM LC C The Weird Teams 2
22. B.Fict NM HC S Great Scientists 2
5. B.Fact MI LC C Man to Man Answers ** 3
7. B.Fact MS LC C These Also Tried 3
14. B.Fict MI HC S The Negotiator ■ 3
16 B.Fict MI LC S The Classics for Discussion 3
13. B.Fict MI HC C Red Tape 7
25. U.Fict MI HC C Merlin the Magician 7
30. U.Fict MS HC S Project Universe 7
32. U.Fict MS LC S The Mystery Man 7
9. B.Fact NM HC C It's New 8
21. B.Fict NM HC C The Pantomime Game 8
26. U.Fict MI HC S Commitment: Destiny 8
23. B.Fict NM LC C The Blue Thumb 9
27. U.Fict MILCC The Animal Kingdom 9 74
The Executive. In this weekly documen tary , the camera "follows a high ranking executive on a typical working day. Each week the program shows life in the business world and another of the hard and sometimes controversial decisions which must be made.
The second item, however, is ranked high by both Younger and Older Information seekers.
The Dhimult and the Shouting. A docu mentary-type sports program based on the lives of the great atheletes. Each week film clips and narration feature the career of a different sports hero, showing how he overcame hardships and succeeded in a sports career.
Other program items which both types liked include
Night Cry; The Weird Team; These Also Tried; and The
Negotiator.
There are, however, several programs which Older liked but which Younger did not like. Besides The
Executive, there are Great Scientists; Man to Man Ans wers ; and The Classics for Discussion. Similarly, three programs which Younger liked were not included among
Older*s favorites. These items include The War Years;
Peanuts; and Baez and Ballads. Interestingly, none of the items which was ranked high by either one of the two types was ranked low by the other. But the differ ences between the Younger and the Older Information
Seeker lies in the differences in preferences.
Breaking these items down into theme categories also helps clarify the image of Older and draw the distinction to Younger. The themes of the programs which
Older most prefers could be placed in four main categories
(1) Sports, (2) Crime and Violence, (3) "Man Under Pres sure", and (4) Cultural and Educational. The sports category would include The Tumult and the Shouting and
The Weird Teams. The crime and violence category includes
Night Cry and These Also Tried.
A good example of the "Man Under Pressure" category would be The Executive; Han to Man Answers, where "the questions of various people on the street are put 'man to man' to an authority in some field"; and The Negotia tor. who "goes all around the world . . . to negotiate a treaty or peace terras."
A good example of a program in the cultural and educational category is number 16.
The Classics for Discussion. Each week an excerpt from one of the great classics is adapted for television. Those parts which stimulate the most thought are presented. At the end of each program the host gives a short analysis and asks questions designed to stimulate the most discussion.
Similarly, Great Scientists has an educational theme.
"Each week an actor portrays a different scientist of the past explaining his scientific law or achievement and how it came to be."
Themes from the categories of Sports, and Crime and Violence ranked high in the preferences of both 76
Younger and Older. But Older did not share Younger's enthusiasm for the War or for Variety themes. He replaced these with the "Man Under Pressure" and the
Cultural and Educational categories, which Younger rejected.
The slight shift in preferred themes from the younger War and Variety categories to the more mature
"Man Under Pressure" and Cultural and Educational cate gories may have accounted for a slight shift in the coding of the elements. Older's preference for reality is similar to Younger's. All nine of the most preferred items in Older*s data array are coded Believable, and six of these nine are coded Believable Eact. Eight of the nine rejected items in his data array are coded
Eiction, and five of these eight are coded Unbelievable
Fiction or Fantasy. Thus the Fact---Fantasy construct appears to be operating strongly in Older*s preferences as well as in Younger's.
In addition, however, Older shows a'Low Complexity
High Complexity construct also operating in his preferences, which was not noticeable in Younger's preferences. Six of the top nine items are coded Low
Complexity, and six of the bottom nine are coded High
Complexity. The complexity element usually refers to the degree of predictability of the outcome of the program. Older seems to be saying that he prefers programs which are easier to predict, and dislikes programs which are difficult to predict. Combined with his Pact Pantasy construct, this appears to mean that he prefers a program which he knows will provide him with the kind of information for which he' is looking.
The format of the program is predictable. He can count on getting his information each time he turns on the program. But those Pantasy. programs are, well . . . just too unpredictable. You can't follow them so easily.
You never know what they're going to do. It's all too unbelievable.
Older's Serious— Comedy construct also is more clearly defined in his preferences than was the case in
Younger's. Older clearly prefers the Serious element in his programs and clearly rejects the Comedy. Six of the top nine items are coded Serious and six of the bottom nine items are coded Comedy. This is almost, but not quite, the opposite of Younger. Younger clearly rejected the Serious element, v/hich was coded into six of the bottom eight items. Younger's preferences, however, are not quite so clear on this point. Pour of his eight most liked items are Comedy; but the other four are Serious. It seems likely that Younger sees the
Unbelievable as Serious, and therefore adult and a little boring at this stage of life. Older perhaps finds the Unbelievable funny in a ridiculous sort of 78 way, and therefore juvenile and not appealing to his more mature interests.
These, then, are the element constructs which determine Older's preferences. They include a strong
Fact Fantasy construct, and fairly strong low
Complexity---High Complexity and Serious Comedy con structs. Let us now more clearly examine the items which Older rejects.
A closer look at the items which Older rejected helps clarify his image. The themes of the programs he rejected could be classified in four major categories:
(1) Space and Science Fiction; (2) Super-Human Men,
(3) Satire, and (4) Domestic Fun. The Space and Science
Fiction category would include Project Universe and
Commitment: Destiny. The Super-Human Men category would include The Mystery Man, and Merlin the Magician, which features the character from the Arthurian Legends.
Younger also rejected both of these categories.
Older also rejected themes from the'Satire category, such as Red Tape. In this program "satirical sketches
. . . constructively poke fun at our complex institu tions such as education, government, etc." Similarly,
The Animal Kingdom "makes observations on and pokes gentle fun at the weaknesses of our human institutions
tf • • •
Older, moreover, did not like programs with a 79
"Boraestic Fun" kind of theme. Such a program is The
Pantomime Game, described as "a fast-moving game show in which famous personalities act out various humorous scenes." The domestic fun theme is present in The
Blue Thumb, which is "a fictionalized account of an
'all thumbs' bumbler's life in the 'do it yourself world." It's New describes "The crazy things that people and the world of industry invest in . . most of which are unusual home appliances.
Finally, it's worth noting that among many of the program items which Older rejected there is a certain kind of humor, a "funny in a ridiculous sort of way" quality of humor. In number 25, for example, Merlin the Magician "turns all the swords to rubber in the middle of a fight between two knights who are both loyal to King Arthur." "This week," It's New "features an automatic dish washer washer, a television without a picture tube, and an airplane you can take with you."
The Blue Thumb is described as "The handyman's equivalent of the 'green thumb' except that this character's thumb is blue because he has hit it so many times with his hammer." The Animal Kingdom achieves its satirical effect "by giving animals human-like qualities, yet having them remain in their natural habitat. Thus, a nest or a cave is 'home', hunting food is a 'job', etc." 80
Graph II
TELEVISION FACTOR II: THE OLDER INFORMATION SEEKER
Fact
+
Informative . Adult
+ Low Complexity
Comedy Serious +
High Complexity
Fantasy 81 These excerpts suggest that Older rejects a particular
kind of humor, a "funny in a ridiculous sort of way"
kind of humor.
This, then, is the image of the Older Information
Seeker. His preferences among television programs
appear to be guided by a strong l<*act Fantasy construct,
and by fairly strong Low Complexity High Complexity and Serious Comedy constructs. His ideal program would combine Believable Fact, Low Complexity, and
Seriousness. He is a person who turns to the medium
of television in search of information. He is distin
guished from his younger counter-part mainly by the
kinds of subject which interest him and by the kind of
information which is most important to him. The themes
of the programs he most prefers could be placed in four main categories: (1) Sports, (2) Crime and Violence,
(3) "Man Under Pressure", and (4) Cultural and Educa
tional. The themes of the programs he rejected could
be classified in four main categories: (1) Space and
Science Fiction; (2) Super-Human Men, (3) Satire, and
(4) Domestic Fun.
The following graph illustrates the possible con
struct system of the Older Information Seeker.
Factor III: The Entertainment Seeker Type. By
his sorting of the program items, Factor III appears to
be defining himself as the Entertainment-Seeking type. 82
The strongest operating construct is a Comedy-Serious one. The No Moral Conflict Moral Intellectual Con flict construct also appears to he operating in determining his preferences. The Reality and Complexity dimensions seem to he fairly well divided among the preferred and rejected items. There does not appear to he any clear pattern of preferences among the themes of the programs in the data array. Essentially, Factor
III chooses to watch programs which provide the most entertainment. He is the Entertainment Seeker,
In the next few pages I will attempt to bring this
Entertainment Seeker's image into clearer focus. First,
I will examine both ends of the Comedy Serious con struct. Then I will look closely at the No Moral
Conflict Moral Intellectual Conflict construct.
Finally, I will discuss the distribution of themes of the preferred and rejected programs.
The strongest operating construct for the Enter tainment Seeker is the Comedy— -Serious one. Six of the nine program items which he liked the most are coded
Comedy. In The Weird Teams, for example, "Teams that are exceptionally different from the usual are featured each week .... A sportscaster with a light touch adds to the humor of the situation." In Pardon My Foot,
"our most celebrated heroes in society are embarrassed 85 Table 5
TELEVISION FACTOR III: THE ENTERTAINMENT SEEKER
Item Code Title Score
6. B.Fact MS HC S Night Cry 1
11. B.Fact NMLCC The Weird Teams 1
12. B.Fact NM LC S The Professional Chef 1
15- B.Fict MI LC C The Folk Hour 1
5. B.Fact MS HC C Pardon My Foot 2
21. B.Fict NM HC C The Pantomime Game 2
23. B.Fict NM LC C The Blue Thumb 2
29. U.Fict MS HC C Ghost Writer 2
55. U.Fict NM LC C Peanuts 2
1. B.Fact MI HC C Baez and Ballads 8
4. B.Fact MI .LC S The Executive 8
16. B.Fict MI LC S The Classics for Discussion 8
17. B.Fict MI HC C The Iroquois 8
28. U.Fict MI LC S Our Universe 8
34. U.Fict NM HC S Outside the World 8
2. B.Fact MI HCS The War Years 9
8. B.Fact MS LC S The Tumult and the Shouting 9
20. B.Fict MS LC S Prince Toby 9
33. U.Fict NMHCC The Insiders 9 84
by and the victim of their own foibles." The Pantomime
Game "is a fast-moving game show in which famous per sonalities act out various humorous scenes." The Blue
Thumb "is a fictionalized account of an 'all thumbs' bumbler's life in the 'do it y o u r s e l f world."
"Humorous and unpredictable situations arise," in
Ghost Writer. In Peanuts, "Good old Charlie Brown and his friends come to weekly .television." Thus, the
Entertainment Seeker shows a preference for the Comedy element in his television programs.
The other half of this Comedy Serious construct shows up in the programs the Entertainment Seeker re jects. Seven of the ten programs he likes least are coded Serious. The programs include: The Executive;
The Classics for Discussion; Our Universe; Outside the
World; The War Years; The Tumult and the Shouting; and
Prince Toby.
The presence of another construct, one based on a Ho-Moral Moral Intellectual element polarity, is suggested by the fact that six of the ten items the
Entertainment Seeker rejects are coded Moral Intellec tual. The Moral Intellectual coding as used in this study generally refers to a "shades of gray" struggle between good and evil. The line between good and evil is not so clear in these programs and is, therefore, presumably more intellectual. The Executive, for example, shows "the hard and sometimes controversial decisions which must be made." The Classics for Dis cussion presents excerpts from the great classics and
"Those parts which stimulate the most thought are presented. At the end of each program the host gives a short analysis and asks questions designed to stimu late the most discussion." The astronaut in Our Universe comes into contact with other civilizations and "On each program he tries to compare their life with ours here on Earth." Program number 2 provides one of the best examples of this "shades of gray" intellectual morality.
The War Years. Stories of actual battles of World V/ar II, with emphasis given to showing both the Allied and the German view-- points of the battle.
The preferred end of this moral struggle dimension is not quite so clear as the rejected end. Yet there is enough repetition of the No Moral element among the preferred items to suggest the presence of a No Moral
Moral Intellectual construct operating in The Enter tainment Seeker’s preferences. Five of the top nine items are coded No Moral. This coding generally means that the struggle between good and evil is not present in the program. The most obvious examples are game shows, "How to . . ." shows, sports shows, etc. All of these are represented in the programs the Entertainment
Seeker likes most. The titles of the items coded No 86
Graph III
TELEVISION FACTOR III: THE ENTERTAINMENT SEEKER
Comedy
+
Entertaining
Intellectual No Moral - Moral Struggle Struggle +
Serious 87 Moral will suggest this. Among the programs coded No
Moral are: The Weird Teams (sports); The Professional
Chef ("How to"); and Peanuts, the comic strip which
defies categorization. Thus, there appears to be a
No Moral— Moral Intellectual construct operating in
the Entertainment Seeker's preferences.
The programs at each end of the Entertainment
Seeker's data array do not seem to fall into a few
broad categories according to themes. The themes at
both ends cover a wide range of categories,..with little
repetition. Many of the themes, such as sports, folk
music, and cartoons, are found at both the preferred
and rejected ends. This suggests that the elements are
operating strongly in determining the difference between what the Entertainment Seeker likes and doesn't like.
He seems to like programs which are humorous and not
burdened with a moral struggle. He rejects programs
which are serious and which deal with an intellectual moral struggle. In short, the programs he likes are
entertaining. Eactor III is an Entertainment Seeking
type.
A graphic representation of his construct system might look something like Graph III.
Eactor IV: The Youth-Oriented Type. Through his
sorting of the program items, Eactor IV defines himself as a Youth-Oriented type. Generally speaking, this
Youth-Oriented type prefers action, adventure, and vio lence programs which pit good and evil against each other in a clear-cut, moral sentimental struggle. He also seeks honest information about the adult world, and appreciates programs which reflect some of his own skepticism about the adult world. He rejects as boring those programs which treat .domestic arts, mundane infor mation, the business world, or even outer space in a serious, easily predictable way. He is a combination of idealism and skepticism, searching for an honest dialogue and meaningful communication with the adult world. The best clues to his identity as a Youth-
Oriented type are the themes of his liked and disliked items, the elements coded into the items, and the persons who loaded highest on the factor. In the next few pages
I will closely examine these clues.
He differs importantly from Factor I, the Younger
Information Seeker, in that Factor I had a strong
Fact Fantasy construct working in his preferences, while no such construct is apparent from the coding of
Factor IV's items. The Youth-Oriented type seems to be interested in both information and entertainment, rather than predominantly one or the other. Some of the pro grams and themes are shared by both the Younger Informa tion Seeker type and the Youth-Oriented type. The Table 6
TELEVISION EACTOR IV: THE YOUTH-ORIENTED TYPE
Item Code Title Score
7. B.Pact MSLCC These Also Tried 1
32. U.Pict MSLCS The Mystery Man 1
6 . B.Pact MSHC S Night Cry 1.5
a. B.Pact MI HCS The War Years 2
3. B.Pact MI LC C Man to Man Answers 2
5. B.Pact MSHCC Pardon My Poot 2
19. B.Pict MS LCC Gold Rush 2
30 U.Pict MS HCS Project Universe 2
. 4. B.Pact MI LC S The Executive 8
8. B.Pact MS LCS The Tumult and the Shouting 8
10. B.Pact NM HC S Today's Weather 8
25. U.Pict MI HCC Merlin the Magician 8
28. U.Pict MI LC S Our Universe 8
34. U.Pict m HC S Outside the World 8.5
12. B.Pact NM LCS The Professional Chef 9
31. U.Pict MS LC 0 Grimm's Pairy Tales 9 90 different constructs and orientations, however, sug gests that they perceived the program items differently.
It is probably most helpful to begin by looking at the themes of the items the Youth-Oriented type most preferred. Six of the eight program items he most preferred might be classified as Adventure and Violence.
In These Also {Dried, for example, "Criminals represent themselves each week in an episode showing another of the many ways people try to break the law and fail."
The Mystery Man tells "Stories of how a mysterious man with super-human pov/ers fights crime in the big city."
Fight Cry tells "True stories of policemen during their night shift in a large city." The War Years brings
"Stories of actual battles of World War II." In Gold
Rush "Two never-do-wells go north to Alaska in search of a fortune." Finally, Project Universe is described as "A space adventure program . . . They must rely on their courage, imagination, and group cooperation in their struggle v/ith the unknown."
In addition to these "Adventure and Violence" themes there are two programs which could be considered of the information-seeking category. In Man to Man
Answers, for example, "On each program the questions of various people in the street are put 'man to man* to an 91
authority in some field." Similarly, Pardon My Foot
tells "True stories about famous personalities of our
time."
The strongest element to appear among these most
preferred items is Moral Sentimental. This coding
generally means that there is a clearly recognizable
difference between the "good guys" and the "bad guys"
and these two forces are locked in combat. This would
seem to be an appropriate element to accompany Adventure
and Violence themes. The programs coded Moral Sentimental
include: These Also Tried; The Mystery Man; Night Cry;
Pardon My Foot; Gold Hush; and Project Universe. Thus,
the Youth-Oriented type prefers 'programs in which the
clearly distinguished forces of good and evil are pitted
against each other in an action and violence-packed * adventure.
It seems likely that a young person who prefers
action-packed adventures would find programs about the
weather, cooking, fairy tales, and executive decision
making rather boring. A closer look at the themes of the
items the Youth-Oriented type rejected suggests that
that was the case.
Consider, for example, such programs as The Execu
tive ; Today*s Weather; The Professional Chef; Grimm1s
Fairy Tales; and Merlin the Magician. Also rejected was Outside the World, which "tells us v/hat is known or 92
theorized about [the solar system]". In Our Universe,
the astronaut "On each program . . . tries to compare
their life with ours on earth." The greatest potential for adventure and violence might be in The Tumult and
the Shouting, which is "A documentary-type sports program based on the lives of the great atheletes." Even this, however, lacks the sheer excitement and violence of a good crime or wai* story.
Considering the nature of the programs which the
Youth-Oriented type rejects, it is not surprising to find that most of these are coded Serious. In fact, as Table 6 shows, six of the eight rejected program items are coded Serious.
YThile the Serious element is a strong element among those programs he rejects, the coding is not so clear among those programs he prefers. The items he prefers are evenly divided between Comedy and Serious. Y/hat he seems to be saying is that those programs which he doesn't like, which do not appeal to his youthful interests, he finds are usually serious in nature.
Altogether, then, it appears that our Youth-Oriented type viewer prefers programs in .which action-packed adventure and violence show. Generally these stories are built on crime and war themes, but may even be set on the frontier or in outer space. In addition, the
Youth-Oriented type seeks information about the world around him. But he wants his elders, the "authorities",
to talk straight to him, to "tell it like it is", in a
Han to Man fashion. Once in awhile he even likes to
see his elders shov/n up to he less than perfect, as in the case of Pardon My Boot, which tells "True stories ahout famous personalities of our time . . . our most
celebrated heroes in society are embarrassed by and the victims of their own foibles." To the extent that young people are- interested in action, adventure, and the vio lence which surrounds them, and are looking for a "man to man" dialogue with the authority figures of our time, and share a suspicion that the most celebrated heroes of our time are really subject to human weakness after all, then Factor IV can properly be called a Youth-
Oriented type. It is not surprising that this youthful viewer is disinterested, even bored, with domestic con cerns, business executive decision-making, or fairy tales from "once upon a time" or the future of outer space.
Moreover, he finds these programs serious and too pre dictable.
It is perhaps not surprising that the two persons who loaded highest on Factor IV are both sophomores in high school. Perhaps it should be no more surprising that one is a Black girl from an economically upward- mobile family and the other is a White boy from a middle- 94 Graph IV
TELEVISION FACTOR IV: THE YOUTH-ORIENTED TYPE
Action Adventure Violence +
Sentimental Moral Struggle
*
- Adult Youth +
•
, Predictable
. Serious
Passive Routine Boring 95 class home. The interests and preferences of young people appear to he fairly widespread and commonly shared.
Graph IV shows what the Youth-Oriented type's construct system might look like.
Factor V: The Sophisticate. Factor V makes quite clear his preference for a certain combination of elements in his favorite television programs. The pro grams he placed in the "like most" pile combine the elements of Believability, Intellectual Morality, and
Seriousness. I call this viewer the "sophisticate" or "thinking man" type. Certainly the kind of programs which he prefers are the kind most likely to appear on the schedule of a truly dynamic, imaginative ETV or
"Public Broadcasting" Television station. In some cases, the commercial broadcasters have offered similar kinds of programs. The Sophisticate's preferred programs are the kind which are likely to appear on the Television
Information Office's monthly list of programs sent to
"community leaders."
The Sophisticate showed a strong preference for * Believability in his favorite programs. Red Tape, for example, "presents satirical sketches that con structively poke fun at our complex institutions such . as education, government, etc." In The Classics for
Discussion "Each week an excerpt from one of the great *
• • 96
classics is adapted for television." The War Years brings "Stories of actual battles of World War II".
In Great Scientists, "Each weelt an actor portrays a
different scientist of the past ..." "The story line,"
of Those Ear Away Places, "Is designed to show us the place, the people,- and the w ay of life." Baez and
Ballads is "A semi-interview, semi-documentary program about the singer ..." Night Cry brings "True stories of policemen during their night shift in a large city."'
In The Folk Hour, "Each program in the series enacts some piece of American or European folk literature."
Thus, the Sophisticate seems to prefer programs which are Believable.
Six of his top nine items are coded Moral Intel lectual. In its purest form, this coding is intended to mean that the struggle between .good and bad is a "shades of gray" struggle. There are "two sides to every ques tion" with "some truth on each side." Where the struggle between good and bad is not so obvious, the coding has a tendency to mean that the subject matter is treated in an intellectual way. The satirical sketches in Red
Tape, for example, "focus on a basic conflict which is most difficult to resolve." The Classics for Discussion presents "those parts which stimulate the most thought", and "asks questions designed to stimulate the most 97
Table 7
TELEVISION PACTOR V: THE SOPHISTICATE
Item Code Title Score
13. B.Piet MIHCC Red. Tape 1
16. B.Pict MI LCS The Classics for Discussion 1
2. B.Pact MI HC S The War Years 2
22. B.Piet NMHCS Great Scientists 2
24. B.Piet NM LCS Those Par Away Places 2
1. B.Pact MI HCC Baez and Ballads 3
6 . B.Pact MS HC S Night Cry 3 15. B.Piet MI LCC The Polk Hour 3 25. U.Pict MIHCC Merlin the Magician 3
12. B.Pact NMLCS The Professional Chef 7
21. B.Pict NM HCC The Pantomime Game 7 29. U.Pict MS IIC C Ghost Writer 7 33- U.Pict NM HC C The Insiders 7 3. B.Pact MI LC C Man to Man Answers 8 26. U.Pict MIHC s Commitment: Destiny 8
32. U.Pict MS LC s The Mystery Man 8 17. B.Pict MS HC c The Iroquois 9 20. B.Pict MSLC s Prince Toby 9 discussion." The War Years tells stories of World War II battles "with emphasis given to showing both the Allied and the German viewpoints of the battle". Baez and
Ballads talks about "the singer and her relationship to folk singing as an art." The Folk Hour enacts pieces of great folk literature, and "The narrator-host provides some explanation and background to help us understand it."
In tonight’s episode of Merlin the Magician, "he turns all the swords to rubber in the middle of a fight between two knights who are both loyal to King Arthur." It’s interesting to note in passing that an item'which the
Older Information Seeker rejected as being ridiculously funny, is here among the Sophisticate's preferred items as an intellectually satisfying form of moral struggle.
Thus, the Sophisticate appears to prefer programs which contain the Moral Intellectual element.
The Sophisticate also preferB programs which are
Serious in treatment. Six of the top nine programs are coded Serious. These items include: The Classics for
Discussion; The War Years; Great Scientists; Those Bar
Away Places; flight Cry; and The folk Hour.
While the coding of elements in his preferred program items clearly indicates what elements he likes, there is no such clear coding of any of the elements in his least liked items. There is, moreover, no possibil ity for a clear and easy classification of themes. 99
About the most that can he said of the items he rejected are that these are program items which a "sophisticate" or "thinking man" probably would not care for. This observation in turn strengthens the image of Factor V as a Sophisticate or Thinking Man type.
Consider, for example, rejected item number 12,
The Professional Chef. "Each week a different famous professional chef . . . prepares some of his special ties." Or The Pantomime Game, which is described as
"a fast-moving game show ..." In Ghost Writer "The ghost of a former editor of a small town newspaper comes back to continue his newspaper's crusade to clean up city hall." The Insiders is a "Cartoon story of what happens inside people." In Man to Man Answers, "The questions and answers range from very serious to rather humorous." In tonight's episode of Commitment: Destiny,
"Jim Baker's robot is involved in a serious question of morality with another robot ..." The Mystery Kan tells "Stories of how a mysterious man with super-human powers fights crime in the big city." The Iroquois tells "The often humorous and unpredictable stories of how the Iroquois Indians fared in their struggle with the early settlers of this country." Finally, in number 20, "Young Prince Toby runs a kingdom about the size of Rhode Island. He is a kind boy ..." Thus, 100
Graph V
TELEVISION PACTOR V: THE SOPHISTICATE
Believable +
Sophisticated
+ Moral Intellectual
High Complexity
Comedy Serious +
Moral - Sentimental
Unbelievable 101 it appears that the programs Type V does not like are those which have themes which are flippant or not intellectually involving.
Altogether, Factor V emerges as the image of the
Sophisticate or the "thinking man". He likes television programs which are believable, where the moral struggle is intellectually challenging, which are not too pre dictable in outcome, and which are serious in treatment.
The themes of his most preferred programs cover a wide range, but are similar to the best of Public Broadcasting and what the Television Information Office suggests is the best of commercial broadcasting. The rejected programs likewise cover a wide range of themes. These programs, moreover, are not clear in the coding of the elements. The most that can be said of these programs is that the sophisticate probably would not have selected them.
The Sophisticated construct system might look something like that presented in Graph V.
Radio Program Factors
The Radio Program Ideas instrument produced four strong factors. Factor I is another Sophisticate or
Thinking Man type, very similar to Television's Factor V.
Factor II is the Entertainment Seeking Type. Factors
III and IV are both of the 'Information Seeking Type. 102
They are very similar in both coding and preference
for specific program items. The differences seem to be
in their response to satire and sports programs.
Factor I: The Sophisticate. Radio Factor I is
very similar in his expressed preferences to Factor V
in Television. Both are of the Sophisticate or "Thinking
Man" type. Radio X, lilce Television V, prefers programs which are Believable, Intellectually Moral, and Serious.
Radio I, unlike Television V, also makes clear what
elements he does not like. His least preferred programs are more likely to be coded Unbelievable Fiction and
Moral Sentimental. Thus, two constructs emerge from this coding: Fact---Fantasy and Moral Intellectual---
Moral Sentimental.
Six of the Sophisticate's top eight items are
coded Believable. Of these six, four are coded Believ able Fact. Among those coded Believable Fact is Easy
Listening. "Each evening the announcer plays your favorite kind of music, brings short reports of news, weather, and time, and shows a good sense of humor."
Similarly, in A Book at the World, "This urbane, sophisticated, witty, articulate commentator reviews and briefly comments on some topic in the news." In
Roundtable Meeting, "Each week key figures in the news discuss among themselves and with newsmen the 103 Table 8
RADIO FACTOR I: THE SOPHISTICATE
Item Code Title Score
14. B.Pict MI HCS Readers Theatre 1
18. B.Pict MS HC S Great Moments 1 00 CM U.Pict MI LCS Electronic Music 1
11. B.Pact NMLCC Easy Listening 1 . 3
1 . B.Pact MI HC C A Look At The World 2
2. B.Pact MI HC S Roundtable Meeting 2
3. B.Pact MI LC C Presidential Wit 2
36. U.Pict NM LC S Pantasia 2
9. B.Pact NM HC C Game of the Week 8
21. B.Pict NM HCC Cindy 8
27. U.Pict MILCC "You're Pulling My Ear!" 8
29. U.Pict MS HC C Jack the Mind Reader 8
30. U.Pict MSHCS Ghost Story 8
8. B.Pact MS LC S Save America 8. 5
25. U.Pict MI HCC 8. 5
32. U.Pict MS LC S Revival Hour 8. 6
20. B.Pict MS LC S Life's Troubled Journey 9
26. U.Pict MI HC S Other Worlds, Other Times 9 104 pressing problems of the day." In Presidential Wit.
"Each program presents recorded excerpts from the best wit and humor of Presidents whose speeches and confer ences were recorded live." In all four of these Be lievable Pact items, people are presented being themselves. Given this orientation, it is quite possible that the Sophisticate may have seen the two Believable
Fiction items as being close to Believable Fact. In
Readers Theatre, "A team of top professional readers orally interpret the gfe'at literature of the world."
Similarly, in Great Moments, "Fictionalized accounts of great moments in American history are enacted."
Each of these programs has a basis in fact. The first brings "A team of top professional readers", and the second deals with factual events in American history.
It is possible that the fiction aspect of the element is not so important to the Sophisticate.
Five of the Sophisticate's top eight items are also coded Moral Intellectual, As in the case of the television items, this coding is intended to represent a "shades of gray" morality. This kind of struggle between good and evil is apparently more intellectually satisfying to the Sophisticate. Some of the items, however, tend to be coded Moral Intellectual on the basis of the "intellectual" nature of their subject or theme, and the struggle between good and evil is not so 105
apparent. Or Roundtable Meeting, for example, "A
variety of viewpoints is represented." Presidential
Wit "shows how Presidents from Wilson's time to the
present have been able to apply a sense of humor to the most pressing and complex problems of the day." In
A look at the World, the commentator's "comments are usually very thought-provoking ..." Reader's Theatre
presents "the great literature of the world." Thus,
the Sophisticate appears to prefer a Moral Intellectual
element in his favorite programs.
Five of the Sophisticate's top eight items are also
coded Serious. This represents slightly more than half
of the "most preferred" items. Seriousness, in fact, may not be too important a construct here, especially when considering that the rejected items are evenly
divided between Seriousness and Comedy. But it does suggest that the Sophisticate does have a somewhat serious turn of mind. The items coded Serious include:
Readers Theatre; Great Moments; Electronic Music;
Roundtable Meeting; and Fantasia.
A point worth noting before leaving the Sophisti cate's preferred programs is the fact that the Sophisti cate is something of a Connoissure as well. His selection of preferred items indicates that he has developed a taste for "the best" of jus.t about everything. Readers 106
Theatre, for example, treats him to "great literature" read by "top professional readers." Number 18 brings him accounts of "great moments . . . historic moments."
By tuning in number 28 he can hear "the latest" in the new Electronic Music. Y/hen he wearies of that he can turn the dial over to number 11, where he can hear
"your favorite kind of music" on Easy Listening.
Perhaps there is a bit of the "ideal self" operating when he tunes in the "urbane, sophisticated, witty, articulate commentator" on A Look at the World. Eor a better understanding of the nev/s he can tune in Round table Meeting, where he will hear "key figures in the nev/s". Eor a man who likes to keep his eye on the top, what better form of entertainment than Presidential Wit, where he can hear the "best wit and humor of President's"?
Even his sole preference among the Unbelievable Fiction programs made available to him provided him with "The best of fantastic literature" in Fantasia. Indeed, it almost seems that the members of Factor I should form an "Epicure's Club of the Air." Their!s is a highly developed taste for the very best.
The Sophisticate's sorting of the radio program ideas suggests that there is a strong Fact— -Fantasy construct operating in his preferences. Six of the ten items he rejected are coded Unbelievable Fiction. One of these is number 27, "You're Pulling my Ear!", where
"It- turns out these two talking dogs are the President's closest advisors and confidants in major decisions."
Jack the Hind Reader tells the story of "Jack, a well- meaning friendly, average kind of high-school boy, suddenly develops the power of mind reading." Ghost
Story "presents the best of the favorite, old-fashioned ghost stories -. . ." Number 25 "is a humorous science- fiction series which satirises our way of life and our institutions. In Revival Hour, "A faith-healer conducts a weekly revival and healing service . . . the healer performs some minor 'miracles' right on the program."
Finally, Other Worlds, Other Times is "A science fiction series which makes comments on our Twentieth Century world from the perspective of future worlds." Two other items coded Believable Fiction might very well have been seen as Unbelievable Fiction by this type.
Both are of the "soap opera" variety. In Life's Troubled
Journey, for example, "Each day we hear another 15 minutes segment in the continuing story of a rich, social ly prominent family's troubles in life." Similarly,
Cindy tells of 'The often humorous events that happen in the life of a fashion model as she travels from city to city and country to country on assignment." These two programs are not only unsophisticated, but perhaps also unbelievable to this "thinking man". Thus, the 108
Sophisticate appears to have a strong Fact---Fantasy construct operating in his preferences.
The Sophisticate also appears to have a fairly strong Moral Intellectual Moral Sentimental construct at work in his preferences. Five of his bottom ten items are coded Moral Sentimental. This is half the items, whereas only a third would be expected by chance alone.
The Moral Sentimental coding generally means that the program has a struggle between clearly recognizable good and bad. In some of the programs it is hard to illustrate the presence of this element because it is considered a quality of the story as a whole. In some programs it is more apparent than in others. Y/hen
Jack develops his power of mind-reading in number 29, for example, "He tells no one, but instead tries to use it to help his buddies." Ghost Story presents the best of the "old-fashioned ghost stories, complete with terrifying sound effects, and full of chilling surprises."
Save America, "this news personality warns of dangers to America and tells how we can save ourselves through patriotism, hard work, and economy." "Included" in
Revival Hour, "are testimonies from people telling how faith had healed them ..." Life’s Troubled Journey tells about one "family's troubles in life." So the
Sophisticate does not appear to like a Moral Sentimental 109
element in his radio programs, and he appears to have a
fairly strong Moral Intellectual Moral Sentimental
construct operating in determining his preferences.
Altogether, then, Factor I appears to he the image
of the Sophisticate type. like his counterpart in tele
vision, he has a strong Fact Fantasy construct which
expresses itself in his preference for programs which
are believable and based in fact and rejection of
programs which include the element of Unbelievable
Fiction. Again lilce his counterpart in television, he
seems to have a fairly strong Moral Intellectual---
Moral Sentimental construct. Finally, the themes of his
favorite and rejected radio programs cover a wide range.
The particular choice, however, distinguishes him as a
Sophisticate.
There is an additional problem, however, in inter preting the data array produced by Radio Factor I. The
three people who load highest on this factor all load negatively. This is the only factor among the twenty produced by the six instruments of the study in which the highest loading persons load negatively. There is no standard agreed-upon procedure for interpreting negative factor loadings. If this were a straight factor analysis, and this radio instrument itself loaded negatively for a single person, as in the 0 Design, 110
then it might he easier to interpret. In that case, I might assume that the data array was a mirror image of
the factor, and could reverse the ends of the array and
conclude that what was at the "Like Most" end should
really be at the "Like Least" end, and vice-versa.
The notion in such a case would be that the person
perhaps had misinterpreted the instructions.
Q analysis, however, is inverse factor analysis.
In this case, it is the people, not the items, who load
on the factor. Thus, if what we are given is a mirror
image of the factor, then it is the people themselves who must somehow be reversed, or who must change places v/ith those people who would load high positively on the
factor. The difficulty is that such high loading posi
tive persons do not exist in the sample. The recourse
of reversing the "Like Most" and "Like Least" ends does not seem feasible here. Given what else now is known
about the people who load highest on Factor I, it seems
incomprehensible that these persons really prefer
Revival Hour and Life*s Troubled Journey and reject
Readers1 Theatre and Easy Listening. I have to assume
that the people who loaded highest on this factor really like the programs they say they like and do not
like the programs they say they do not like. I am,
therefore, presenting the data array for these persons
the way they sorted the items. The reader may wish to Ill
Graph VI
RADIO FACTOR I: THE SOPHISTICATE
Believable (Fact) +
Sophisticated
Moral Moral Sentimental Intellectual +
Unbelievable (Fantasy) 112
draw some additional inferences from the fact that these
persons loaded negatively on the factor.
A graphic presentation of the Sophisticate's con
struct system might look something lilce Graph VI.
Factor II: The Entertainment Seeker Type. By
his sorting of the Radio Program Ideas Instrument,
Factor II appears to be defining himself as an Entertain
ment Seeker Type. Here the. coding of the elements in
the radio program items tells the tale quite clearly;
Factor II has two major constructs working in deter
mining his preferences. These are the Comedy Serious
construct, and the Bov/ Complexity High Complexity
construct. The Entertainment Seeker prefers programs
which are funny and easy to follow. He rejects programs
which are serious and hard to follow. The themes of
both the preferred and rejected programs cover a wide
range of topics. In the end Factor II's preference for
a program seems to be based on whether or not he finds
it entertaining.
The Entertainment Seeker shows a strong preference
for humorous programs. The first eight of the nine
radio programs he most prefers are all coded Comedy.
Our Gang, for example, tells of "The often- humorous, heartwarming events in the lives of a large, typical
American family." Cindy tells of "The often humorous
events that happen in the life of a fashion model ..." Presidential Wit "presents recorded excerpts from the best wit and humor of Presidents ..." The announcer who hosts Easy Listening "shows a good sense of humor.1'
Program number 35 is an audience-participation program built around unusual sounds. People phone in to guess what the sounds are. "The- host has devised a humorous explanation for the sounds .... There are many humorous guesses phoned in." A Look at the World fea tures "This urbane, sophisticated, witty, articulate commentator . . . His comments are delightfully humorous ..." "Each program" in USO Troupe "is a recording of entertainment presented to our fighting boys in Viet Nam and other places. The genial host MC’s live entertainment, tells jokes ..." The Junior Glass tells "Humorous stories built around the events in the lives of high-school juniors." The Entertainment Seek er's preference in radio listening, then, is literally for "fun and games".
A good fun show, apparently, ought not to be too complex. It ought to be easy to follow. The Entertain ment Seeker wants to be sure that he's going to have his fun v/hen he turns on his radio. This seems to be the conclusion one can draw from the fact that six of the top nine radio programs are coded low Complexity.
On every program, for example, that large, typical. 114
Table 9
RADIO FACTOR II: THE ENTERTAINMENT SEEKER
Item Code Title Score
19. B.Pict MS LC C Our Gang 1
21. B.Pict NM HC c Cindy 1
3. B.Pact MI LC c Presidential Wit 2
11. B.Pact NMLC c Easy Listening 2
35. U.Fict NM LC c 2
1. B.Pact MI HC 0 A Look at the Yforld 3
7. B.Fact MSLC c USO Troupe 3
15. B.Pict MI LC c The Junior Class 3
18 B.Pict MSHC s Great Moments 3
26. U.Pict MI HC s Other Worlds, Other Times 7
28. U.Pict MILC s Electronic Music 7
30. U.Pict MS HC s Ghost Story 7
34. U.Pict NMHC s Stretch Your Imagination 7
6. B.Pact MS HC s Front Line Report 8
9. B.Pact NM HC c Game of the Y/eek 8
10. B.Pact NM HC s Voices Prom Around the Yforld 8
16. B.Pict MI LC s The Vigilantes 9
22. B.Pict NM HC s Computer Sports Tournament 9 American family in Our Gang; can be counted on to be sharing another humorous, heartwarming experience.
"Each program" in the Presidential Wit series can be counted on to show Presidents simplifying the most challenging problems through wit, by applying "a sense of humor to the most pressing and complex problems of the day." "Each evening" the announcer-host of number
11 can be counted on to use. the same formula or "music
. . . news, weather, and time . . ."to provide Easy listening. The rules for playing the game never change in number 35, the 'guess the sound' game show. On
"Each program" in the USO Troupe series you can be sure
"The genial host MC's live entertainment, tells jokes, and visits with some of our boys in the audience." And you can be sure that the members of The Junior Class will still be members of the Junior Class next season, and the next season, and the one after that. And that, after all, is the way the Entertainment Seeker likes it
------this season, and next season, and the one after t h a t .
Pactor II generally rejects programs which are too
Serious.- Eight of his nine rejected items are coded
Serious. Seriousness is a quality of the program as a whole, and it is therefore more difficult to illus trate it's presence by quoting excerpts. Some examples, hov/ever, may help. The science-fiction satire in Other
Worlds, Other Times "asks searching, thought-provoking questions about our accepted institutions and way of life." Front Line Report "is almost a 'play by play' account of major battles in Viet Ham." "By taking lav; enforcement into their own hands," in The Vigilantes,
"our heroes often commit v/rongs v/hile trying to secure justice." .Voices from Around the World "Picks up and relays programs from foreign radio stations all over the world." Ghost Story "presents the best of the favorite, old-fashioned ghost stories, complete with terrifying sound effects, and full of chilling surprises
Stretch Your Imagination "uses sounds to push your imagination to the very limits." Thus, the Entertain ment Seeker does not like Serious radio programs.
Altogether, his preference for Comedy and rejection of
Seriousness indicates that there is a strong Comedy---
Serious construct operating in his preferences.
There is also evidence of a strong Low Complexity--
High Complexity construct operating in the Entertainment
Seeker's choices. While six of the nine programs he preferred are coded Low Complexity; seven of the nine programs he rejects are coded High Complexity. The programs coded High Complexity include: Other Worlds,
Other Times; Ghost Story; Stretch Your Imagination; 117
Graph YII
RADIO EACIOR II* THE ENTERTAIMTCENT SEEKER •
Comedy +
High Low - Complexity Complexity +
Serious 118
Front Line Report? Game of the Week; Voices .from Around, the.World; and Computer Sports Tournament.
Altogether, then, Radio Factor II emerges in the image of the Entertainment Seeker. He has two strong constructs which he used in determining his preferences in radio listening: Comedy Serious, and low Complexity
High Complexity. He likes radio programs which are funny and easy to follow. He avoids radio programs which are serious and difficult to follow. Graph VII presents his construct sjrstem.
Two Information Seekers; Factors III and IV. The sorting of the Radio Program Ideas instrument produced two factors which could he called Information Seeker types: Factor III and Factor IV. The first, Factor III,
I have chosen to call the Critic. The second, Factor
IV, I have chosen to call the Sports Fan.
The Critic and the Sports Fan are very much alike.
In fact, they share a preference for most of the same programs. The difference between them is in their reaction to science fiction satire and sports programs.
It is the combination of informational and satirical programs which led me to call Factor.Ill the Critic.
It is, similarly, the combination of informational and sports programs which led me to call Factor IV the
Sports Fan. In the next few pages we will take a look 119
at the elements these two Information Seekers share in
common and then closely examine the program preferences which make each distinctive.
Both the Critic and the Sports Pan share the broad
pattern of element preferences which mark the Informa
tion Seekers in the other media. Both, for example, appear to have a strong Pact Piction construct operat
ing in their preferences. Their unique difference in response to science fiction satire and sports programs may account for the slight difference in the remaining element preferences. The Critic, for example, has a
Moral-Intellectual Non Moral construct at work which
does not show up in the Sports Pan's preferences. The
Sports Pan, on the other hand, appears to have a fairly strong High Complexity Low Complexity construct oper ating which does not show up in the Critic's preferences.
His favorite programs ought to be about the "real" world, but may be either serious or humorous. The Critic prefers informational programs which are more intel lectually stimulating, and the Sports Pan prefers in formational programs which are a little more complex.
Taking a closer look at two groups of programs helps clarify the image of the Critic and the Sports
Pan. The Critic likes, but the Sports Pan rejects, programs number 25 and 26. The Critic ranked both of these in the number 2 pile. The Sports Pan ranked program 120 number 25 in the number 9 pile and program number 26 in the number 8 pile. Both of these are science fiction satires on modern society. Number 25 is a humorous science-fiction satire.
This is a humorous science-fiction series which satirizes our way of life and our institutions. It looks at and comments on our most complex and difficult problems.
Program number 26 is a more serious science-fiction satire.
Other Y/orlds, Other Times. A science fiction series which makes comments on our Twentieth Century world from the perspec tive of future worlds. It asks searching, thought-provoking questions about our accepted institutions and way of life.
It is worth noting that these are the only two
Unbelievable items among the programs which The Critic most preferred. In this science-oriented space age it is possible that he does not find science-fiction so Unbelievable. Another fact that may account for
Factor Ill's preference for science-fiction satire is the fact that the person loading highest on this factor is an economically self-supporting lower middle-class
Negro family man. His counter-part in Factor IY, the highest loading person, is a suburban, middle class, white mother. Perhaps the Critic finds a great deal more to "question about our accepted institution and way of life" than does Factor IY, the Sports Fan. 121
The Sports Pan replaced science-fiction satire with sports. Her number 1 choice for radio listening went to Game of the Week. Not far behind it in the number 2 pile is Computer Sports tournament. The Critic ranked Game of the Week near the bottom in the number 8 pile, and placed Computer Sports Tournament in-the number 7 pile. The Sports Pan's favorite program reads as follows:
Game of the Week. . Each week your favorite ball tea'm is described in action by your favorite sportscaster and his "local color" man. They both have a good sense of h u m o r .
Program number 22 reads as.follows:
Computer Sports Tournament. The com puter matches' the all-time greatest athletes in many different sports boxing, football, baseball, horse-racing, tennis, golf, etc. None of the people actually played against each other. The presentation sounds like a real event, but the computer calls the shots.
Reaction to these two groups of programs, then, appears to be the main difference between the Critic and the Sports Pan, The Critic likes, and the Sports
Pan rejects the science-fiction satire programs. The
Sports Pan likes, and the Critic rejects the sports pro g r a m s .
Pactor III: The Critic. An Information Seeker
Type. Pactor III is an Information Seeker who casts a critical eye on the world. He prefers programs which provide him information about the "real"world. His 122 favorite programs should have an intellectually satisfy
ing "shades of gray" moral conflict. He appreciates programs which not only inform him about the world, but also question the values and structure of society.
He rejects programs which are purely fiction and provide no moral conflict. There are two strong constructs at work in determining the Critical Information Seeker's preferences among radio programs: (1) Fact Fiction, and (2) Moral Intellectual Hon Moral.
The first of these two constructs operating strongly in the Critic's radio preferences is the Fact Fiction element construct. Seven of the nine programs the
Critic most prefers are coded Believable. Five of these are coded Believable Fact, and it seems likely that the
Critic may have seen the two Believable Fiction items as Believable Fact.
Consider first the Believable Fact items. In
Roundtable Meeting, for example, "Each week key figures in the news discuss among themselves and with newsmen the pressing problems of the day." "Each day", Ask the Expert "brings a different expert to the microphone
. . . The standard format is for the expert to give a short report on his area of specialty, and then have people call in with their questions." "Each week" on Religion in our lives "an outstanding religious 125
Table 10
RADIO PACTOR Ills THE CRITIC
. ■ ■ ■■ .irsas
Item Code Title Score
2. B.Pact MI HC S Roundtable Meeting 1
12. B.Pact m 1C S Ask the Expert 1
4. B.Pact MI 1C S Religion in Our lives 2
25. U.Pict MI HC C 2
26. U.Pict MI HC S Other Worlds, Other Times 2
1 . B.Pact MI HC C A look at the World 3
5. B.Pact MS HC C G. I. Joe 3
18. B.Pict MS HC S Great Moments 3
24. B.Pict NM 10 S Storeis of Discovery 3
14. B.Pict MI HC S Readers Theatre 7
21. B.Pict NM HC C Cindy 7
22. B.Pict NM HC S Computer Sports Tournament 7
25. B.Pict N M 10 C Comedy Spots 7 9. B.Pact NM HC C Game of the Week 8
10. B.Pact N M HC S Voices Prom Around the World 8
20. B.Pict MS 1C S life's Troubled Journey 8 32. U.Pict MS 1C S Revival Hour 9 33- U.Pict NMHC c The Whopper Club 9 124
leader presents a religious program, similar in format
to a church service." In A look at the World "This urbane,
sophisticated, witty, articulate commentator reviews and briefly comments on some topic in the news." In G. I.
Joe, "The reporter interviews our sold*iers at war against their enemy."
The remaining two Believable items are Believable
Fiction. But the programs have a strong basis in factual material. It is (juite likely that the Critic was more influenced by the factual basis for the story than by the fictional treatment of the production. In program number 18, for example, "Fictionalized accounts of great moments in American history are enacted. Bach week is a different and often surprising account of the behind-the-scenes action at historic moments."
Similarly, there is a factual basis for Stories of
Discovery, where "Each week this program brings the fictionalized story of a major scientific discovery."
Thus, the Critic appears to have a strong preference for stories which present or are based in Fact.
The Critic also has a strong Moral Intellectual---
Non Moral construct operating in his decision-making.
Five of his top nine programs are coded Moral Intel lectual. This generally means that the struggle between good and bad is an intellectually satisfying "shades of 125
gray" struggle. It also tends to represent programs
which are intellectually stimulating in other respects.
The "shades of gray" aspect is evident in Roundtable
Meeting, where "A variety of viewpoints is represented'."
The minister in Religion in our Lives urges us to apply
religion in our px’ivate and public lives, but "points
out that it is often difficult, and that the answers
are not so clear-cut." The. humorous science-fiction
satire, number 25, "looks at and comments on our most -
complex and difficult problems." The more serious
science-fiction satire, Other Worlds, Other Times,
"aslcs searching, thought-provoking questions about our
accepted institutions and way of life." The commen
tator's comments in A Look at the World "are usually
very thought-provoicing." Thus, it appears that the
Critic prefers programs which are Moral Intellectual.
While the critic seems to like radio programs
steeped in Fact, he seems to reject programs offering
Fiction. Seven of his nine rejected programs are coded
Fiction. Rive of these are coded Believable Fiction and
two are coded Unbelievable Fiction. The two items coded
Unbelievable Fiction are the most strongly rejected items
of all. (Both ended up in the number 9 pile.) One of
these, The Whopper Club, involves "a contest to see who
can tell the wildest, funniest 'tall tale'." In the
other, Revival Hour, "A faith-healer conducts a weekly 126
revival and healing service . . . the healer performs
some minor 'miracles' right on the program." The
Critic's reaction to Revival Hour further suggests the
importance of the Fact Fiction construct in deter mining his preference for certain radio programs. He
liked Religion in Our lives, which was coded Believable
Fact and offered religious programming in a believable and even intellectually satisfying format. He strongly rejected, however, a religious program which smacks of
"magic".
The remaining Fiction items are coded Believable
Fiction. Among these is Life's Troubled Journey, where
"Each day we hear another 15 minutes segment in the
continuing story of a rich, socially prominent family's troubles in life." Comedy Spots "presents stand-up comedians playing roles of unusual characters." In
Computer Sports Tournament, "The computer matches the all-time greatest athletes in many different sports . .
. The presentation sounds like a real event, but the computer calls the shots." Cindy brings us "The often humorous events that happen in the life of a fashion model as she travels from city to city and country to
country." In Readers Theatre, "A team of top profes
sional readers orally interpret the great literature of the world." Thus, the Critic appears to have a strong 127
Fact Fiction construct operating in determining his
preferences in radio listening.
The Critic rejects programs which are Non Moral.
Y/hile five of his nine most preferred items are coded
Moral Intellectual, six of his nine least preferred
programs are coded Non Moral. This coding generally
means that the program contains no moral struggle. There
is no struggle between the forces of good and evil.
This element is a quality of the Item as a whole, and
it is hard to illustrate the absence of struggle with
out quoting each item in its entirety. The items
coded Non Moral include: Cindy; Computer Sports Tour
nament; Comedy Spots; Game of the V/eelc; Voices from
Around the World; and The Whopper Club.
Altogether, then, the Critic appears to have two major constructs at work in helping him decide which
radio programs he most prefers. The two major constructs
are: (1) Fact Fiction, and (2) Moral Intellectual ■
Non Moral. The Critic prefers to listen to radio pro
grams which present factual material and deal with the
difficult, challenging, and not so clear-cut problems
of our time. He would not like to listen to radio
programs which are essentially fiction and Which do not relate to the more challenging subjects of conflict and struggle. Factor III is an Information Seeker, albeit a Critical one. Graph VIII
RADIO FACTOR III: THE CRITIC
Fact +
Moral - No Moral Intellectual +
•
Fiction 129
Factor IV; The Sports Jan. An Information Seeker
Type. Just as Factor III is an Information-Seeker Type, so too is Factor IV. Both factors share the use of the Fact Fiction construct in determining their prefer ences. They also share a preference for many of the same programs. But they differ significantly in their response to science-fiction satire programs and sports programs. On the hasis of this difference, I have chosen to call Factor III the Critic, and Factor IV the
Sports Fan. The difference has already heen explored in greater detail above.
The Critic and the Sports Fan both have strong
Fact Fiction constructs operating in their decision making. All nine of the Sports Fan's most preferred programs are coded Believable, and seven of these are coded Believable Fact. In some of these programs, the presence of the Fact element has already been illustrated for the Critic. In addition, the Sports Fan liked several other programs which are coded Believable
Fact. Front Bine Report, for example, "is almost a
'play by play' account of major battles in Viet Nam."
In Game of the Week, "your favorite ball team is des cribed in action." And each program in the USO Troupe series "is a recording of entertainment presented to our fighting boys in Viet Nam." 130
Table 11
RADIO FACTOR IV: THE SPORTS FAR
Item Code Title Score
6. P.Fact MS HCS Front Line Reports 1
9. B.Fact HM HCC Game of the Week 1
2. B.Fact MI HC S Roundtable Meeting 2
7. B.Fact MS LC C USO Troupe 2
22. B.Fict NMHC s Computer Sports Tournament 2
1 . B.Fact MI HC c A Look at the World 3
4. B.Fact MI LC s Religion in our Lives 3
5- B.Fact MS HC c G. I. Joe 3
18. B.Fict MS HC s Great Moments 3
13. B.Fict MI HC c 7
23. B.Fict NM LC c Comedy Spots 7
27. U.Fict MI LC c "You're Pulling My Ears!" 7
34. U.Fict NM HC s Stretch Your Imagination 7
16. B.Fict MI LC s The Vigilantes 8
20. B.Fict MS LC s Life's Troubled Journey 8
26. U.Fict MI HC s Other Worlds, Other Times 8
25. U.Fict MI HC c 9
32. U.Fict MS LC s Revival Hour 9 151
The two remaining items are based in factual material, but are coded fiction because they are not limited strictly to the factual events. The Sports Fan, like the Critic, ranked Great Moments among the pro grams he liked most. This program provides "Fictional ised accounts of great moments in American history,"
The Sports Fan also liked Computer Sports Tournament in which "The computer matches the all-time greatest athletes in many different sports . . . The presentation sounds like a real event, but the computer calls the shots." Altogether, then, the Sports Fan appears to rely heavily on the Fact Fiction construct for making his decisions;
The Sports Fan also shows a preference for programs which are Highly Complex. Seven of his nine most preferred programs are coded High Complexity. This generally means that the outcome of the program is hard to predict. This element is, again, a quality of the program as a whole and therefore is difficult to illus trate with short excerpts.
The negative pole of the Sports Fan's Fact---
Fiction construct is evidenced by the fact that all nine of the programs he rejected are coded Fiction, and five
of these nine are coded Unbelievable Fiction. Among the Unbelievable Fiction items already illustrated are 132
Revival Hour; number 25, the "humorous science-fiction
series", and Other Worlds, Other Times. In addition,
two more Unbelievable Fiction items were among the
Sports Fan's rejected items. Stretch Your Imagination
"uses sounds to push your imagination to the very limits
.... You use your imagination to determine what the
sounds represent." Similarly, "You're Pulling I4y Ear!"
presents a fantasy of "life-at the White House as seen
through the eyes of the President's two pet beagles,
Him and Her."
The remaining items are all coded Believable
Fiction. In life's Troubled Journey, "Each day we hear
another 15 minutes segment in the continuing story of
a rich, socially prominent family's troubles in life;"
The Vigilantes "is an action-packed Western series."
Comedy Spots "presents stand-up comedians playing roles
of unusual characters." Finally, in number 13, "On
each program a top comedy team does satires on people
and institutions much in the nev/s". Although these
programs are coded Believable Fiction, they are not
rooted in factual material (with the possible exception
of number 13). For the most part, these are not the kind of programs which would arouse the interest of an
Information-Seeker. Thus, it appears that the Sports
Fan rejects programs which are essentially based in
Fiction, and especially in Unbelievable Fiction. 153
The Sports Pan also appears to reject items which
are coded Low Complexity. Pive of his bottom nine
items are coded Low Complexity. This coding generally
means that the outcome of the program is easier to '
predict. It is easier to follow. It is less complex.
The Comedy Spots presented by the comedians in number 25»
for example "are short spots from their comedy albums."
The Vigilantes "is an action-packed Western series."
"Each day we hear another 15 minutes segment ..."
from Life's Troubled Journey.. You can be sure that
each week on Revival'Hour "A faith-healer conducts a weekly revival and healing service." The Sports Pan
does not like programs which are so easily predicted.
One final aspect of the Sports Pan's preferences
seems worth noting. He appears to reject strongly any program with a satirical theme.. Pour of the programs he rejects have such themes. Two of them are the
science-fiction satires discussed previously, numbers
25 and 26. In addition, he rejects "You're Pulling My
Ears I" which "takes a satirical look at the major problems of the day." Similarly, in number 15 "a top comedy team does satires on people and institutions much in the news." The Sports Pan apparently does not like satire.
The Sports Pan, then, appears to be an Information
Seeker. He has two strong constructs which he uses in 134
Graph IX
RADIO FACTOR IV: THE SPORTS FAN
Fact +
*
Sports
•
Low High - Complexity Complexity + (Predictable) (Unpredictable)
•
• Satire
Fiction 135 making his decisions among radio programs: (1) Pact---
Piction, and (2) High Complexity low Complexity. He
likes programs which are based in fact and are unpre
dictable enough to hold his interest. He does not like programs which are based in fiction and which are too
easily predicted as to outcome. The range of topics
is generally broad. He differs from Pactor III, his more critical fellow Information Seeker, in that he likes sport3 programs and doesn't, like satires on our way of life and institutions.
The construct system for the Sports Pan might look something like Graph IX.
Movie Pactors
Sorting of the Movie Instrument items produced three main factors. The first of these iB a strong example of the Information Seeking tj^pe. The other two factors developed types which were unique to the
Movie medium. One of these might be called the Human
Interest type. The other might be called the Success ful Adjustment to Life type.
The Information Seeker type here shows a strong preference for Pact versus Piction, for Moral Intel lectual struggle versus Ho Moral struggle, and for themes which provide information about today's world and its complex problems. The Human Interest type prefers 136
Believable rather than Fantastic stories, lilces the
stories told in a Highly Complex and Serious, way, but without a Moral Intellectual struggle. Most important,
these stories should be about people and their problems,
rather than abstract things, and should not be about war. The Successful Adjustment to Life type also pre
fers Believable rather than Fantastic stories, and
prefers a Serious rather than Comedy treatment. He
differs from the Human Interest type, however, in the
kind of story he prefers. Most of the stories he likes
are stories of how people have successfully made a
personal adjustment to life. He rejects stories in which the central figure fails to make this adjustment
successfully and instead "escapes". He also dislikes
items which deal with science, especially science in
volved in our personal lives.
Factor I: The Information Seeker Type. Factor I
of the Movie Instrument is one of the best and strongest
examples of the Information Seeker type.- A close look
at the elements and themes of those items Factor I most
prefers will help clarify the image of the Information
Seeking type. He prefers Fact to Fiction, a Moral
Intellectual struggle to a Non Moral struggle, and
themes which provide him with information about the world and its problems.
Nine of the thirteen items he most preferred are 137 Table 12
MOVIE FACTOR Is THE INFORMATION SEEKER
Item Code Title Score
1 . B.Fact MI HC C Making of the President 1 4. B.Fact MI IC S The Pennsylvania Dutchman 1 7. B.Fact MS LC C The loner 1 35. U.Fict NM 1C C The Story of Man 1 2. B.Fact MI HC S The Blindfold of Justice 1 . 5 34. U.Fict NMHC S The Story of the Universe 1 . 5 3. B.Fact MI 1C C The Baker Platoon 2 6. B.Fact MS HCS lena 2 8. B.Fact MS 1C S The Prospector 2 9. B.Fact NM HCC Colorado 2 10. B.Fact NM HCS This Strange World 2 14. B.Fict MI HCS Alone in Africa 2 15. B.Fict MI 1C C Corpsman lewis 2
13. B.Fict MI HC c 8 22. B.Fict NM HCS The Cry for Help 8 23. B.Fict NM IC c Computer Mate 8 24. B.Fict NM 1C s The D. I . 8 28. U.Fict MI IC s "Impossible" 8 29. U.Fict MS HC c Three Wishes 8 32. U.Fict MS 1C s The Invisible Man 8.3 11. B.Fact NM IC c "Hang Five!" 8.5 26. U.Fict MIHC s The Doomsday Machine 8.6 21. B.Fict NM HC c The Seingles 9 33. U.Fict NM HC c Super-Baby 9 1:58 coded Believable Pact. Making of the President, for example, presents "The documented story of a Presi dential campaign." Similarly, number 4 is "The docu mented story of the Amish people's flight ..." The loner is a "documentary". The Blindfold of Justice is also a "documentary." In The Baker Platoon "we live with a platoon of American fighting men in Viet Nam."
Lena opens with the words "This documentary". The
Prospector is a "documentary story". In Colorado
"A famous photographer has captured on film the natural beauty of the state". This Strange World begins with the words "Here are documented ..."
Given this strong preference for items which contain the element of Believable Pact and are essential ly "documentary" in nature, it is possible that the
Information Seeker also saw the remaining four of the top thirteen items in this same light. The Story of
Man, for example, was coded Pantasy because of the.use of cartoons, but the statement of the theme reads "This is the . . . story of m a n ’s evolution as told by leading anthropologists." Similarly, The Story.of the Universe was coded Pantasy because of the use of cartoons, yet it presents "the theories of one of our best scientists" regarding the beginnings and development of the Universe.
Both Alone in Africa and Corpsman Lev/is are fiction stories about young Negroes in search of personal identity. These four items could easily have been seen by the Information Seeker as presenting factual infor mation.
Six of the top thirteen items were coded Moral
Intellectual. This coding generally means that'the struggle between forces, especially between good and evil, is not a clear-cut one. In Making of the Presi dent, for example, "Treatment is objective and equally sympathetic to both parties." The Pennsylvania Dutchman tells of "The Amish people's fight to preserve their way of life and their values in the face of modernization.
Movie number 2 is one of the best examples of the
"shades of gray" struggle between good and bad repre sented by the coding Moral Intellectual.
The Blindfold of Justice. This docu mentary examines both sides of the issue that the right of society to be protected from "known" criminals must be balanced against individual rights in order to pre vent innocent persons from being convicted. Cases are presented on both sides.
In The Baker Platoon "There is a series of interviews in which the soldiers express their sometimes deep and unpredictable thoughts on war, peace, God, America,
Viet Nam, life and other subjects." The Negro girl at the center of number 14, Alone in Africa, "has had a middle-class American life and education. She is curious, however, about modern Africa and goes to find 140 out about it for herself."
A look at the themes of. those movies which the
Information Seeker liked most helps clarify the image of the Information Seeker. Among the important cate gories, are politics and government, the ITegro today, sociology, science, and man's adventure and travel.
Among those items dealing with politics and government are Making of the President. It covers such topics as
"Maneuvering for position, power struggle in each party, ordeal of the campaign, and final triumph or failure of each man." The Blindfold of Justice, quoted above in its entirety, and The Pennsylvania Dutchman also deal with problems of government and politics.
The Information Seeker included among his most preferred items three movies with Negro themes. Lena, for example, is a documentary which "centers on the sufferings of one older Negro v/idow and her family during the Detroit riots. This patient, religious, hard working woman sees her family torn apart and her home finally destroyed in the riots." Alone in Africa is the story of "one Negro gril's search for identity."
Number 15 is "The fictionalized story of an American
Negro Peace Corps volunteer who goes to work in a Latin
American city slum as a combination school-teacher and comunity improvement worker." 141
For lack of a better word, "Sociology" might be used to describe the category to include both movies number 4 and number 10. Number 4, The Pennsylvania
Dutchman, is "The documented story of the Amish people's fight to preserve their way of life and their values in the face of modernisation. • In number 10, This Strange •
World, "are documented some of the strange, weird customs of human beings around the world."
"Science" might best describe the category to include The Story.of the Universe and The Story of M a n .
The first of these.two "is a fictionalized representation of the theories of one of our best scientists." The
Story of Man "is an often amusing story of man's evolu tion as told by leading anthropologists."
Three of the items have themes which represent man's adventure and travels. The hero of The Doner, for example, is a former New York City businessman who
"now lives a self-reliant life in the mountain forests of the Pacific Northwest. We see how he lives in his struggle for survival, what are his rewards in nature
. . ." Similarly, number 8 is a good example of the adventure theme:
The Prospector. This is a documentary story of a now old gold prospector in the Yukon. He has spent much of his adult life in the mining country of Alaska and Canada struggling against the unknown in his search for a legendary "lost mine" in the mountain wilderness. We accompany him on one of his trips. 142
In number 9. a famous photographer captures on film the natural beauty of Colorado, "... its mountains, lalces, streams, deserts, plains, and animals. Y/e also see the often amusing human side of life, such as rodeos, cowboys, prospectors, camps, etc."
There is only one item which could be categorized as a war theme. Generally,■the Information Seeker appears not to like movies with a war theme. There were three war-related items among those items he re jected. The difference appears to be in the kind of information provided by the item. He ranked The Baker
Platoon among the items he preferred. In this movie "Yte live with a platoon of American fighting men in Viet Ham
. . . There is a series of interviews in which the soldiers express their sometimes deep and unpredictable thoughts on war, peace, God, America, Viet Nam, life, and other subjects." This item provides information of a personal nature about the men living at the very center of the major nev/s event of our day. The rejected war items include The D . I ., a typical war-hero story, and two nuclear-holocost movies, Impossible and The Doomsday
Machine.
A closer look at the elements and themes of the items he rejected helps give a clearer image of this
Information Seeker. He rejects items coded Fiction and 143
Non Moral.and which deal with such themes as war, romance, and-super-humans.
Ten of the eleven movie items he rejected are coded Fiction. These ten are evenly divided between
Believable and Unbelievable. '-When compared to the coding of the items he prefers, there appears to be a strong
Fact Fiction construct operating in his preferences.
Number 13, for example, is "a satire on life inside the
White House and the Administration." The Cry for- Help is a fiction story ", . . of a once beautiful and promi nent, but nov/ fading inovie star who'tries to commit suicide ..." "A young couple meets through a com puter" in the fiction story Computer Hate. The D. I . tells the fiction story of "how a tough Marine 'Brill
Instructor* takes a group of raw recruits and molds them into a fighting platoon ready for battle," "Impos- ■ sible" is a fiction story which "tells the story of nuclear war in the U. S." The scenes of . . . destruction have a ghastly and fantastic quality to them." In Three
Wishes our husband-hero grows restless and "a genie gives him three wishes. He uses each wish on a differ ent 'dream girl1, one to complement each of his three
'ideal selfs' ". The Invisible Man "is about the exploits of a man with the ability to make himself invisible whenever he wants to." The Boomsday Machine
"is the story of an American President who develops 14 4
suicidal tendencies. It centers on the race to stop him before he pushes the button”. The Swindles is the fiction story "of life inside one of those new apartment houses built especially for swinging young singles."
Super-Baby tells the fiction story of a mother who
"During her pregnancy . . . uses an amazing new inven tion which produces super-babies." Thus, the Information
Seeker rejects movies with a strong Fiction element.
Six of the eleven rejected items are coded Non
Moral. This number is over half the items, whereas one would expect only a third of the items to be coded Non
Moral. The coding in these media instruments generally means that there is no real struggle between good and evil, whether it be a "shades of gray" Moral-Intellectual struggle, or a "good guys versus bad guys" Moral Senti mental struggle. Because the element is a negative one, in the sense that it represents an absence of something else, it is difficult to illustrate this element by selective quotations from the items.
The main categories of themes of the movie items the Information Seeker rejected are (1) war, (2) romance, and (3) super-humans. The war themes, already mentioned above, differ importantly from the theme of the single war item he liked. The Baker Platoon was a documentary.
The three rejected items all fantasize or romanticize men in crisis. "Romance" is the subject of three of the items the
Information Seeker rejected. "A young couple meets through a computer" in Computer Hate. Although the computer made a mistake, "The couple goes from initial disappointment to real love.1! In number 29 "A late- thirtyish husband finds himself restless in his marriage, and a genie gives him Three Wishes* "He has a romance with (1) an outdoors-type sportswoman, (2) a showgirl- actress, and (3) a. wealthy heiress." In The Swingles
"The story is built around those humorous and unpre dictable incidents in the palace of "swingledom".
Two of the rejected items deal with super-humans.
The Invisible Nan "is about the exploits of a man with the ability to make.himself invisible whenever he wants to. He uses this ability to help solve crimes." Super-
Baby "is the story of those often humorous and unpredic table events which take place in adjusting to life with a super baby."
Thus, in Factor I is a good example of the Informa tion Seeker type. He likes Fact and rejects Fiction.
He likes a Moral Intellectual struggle, and rejects Non
Moral struggle items. He wants to see movies which talk about the important events of today: politics, the Negro, sociology, science, and man's adventure in nature. He does not want to see fiction stories about Graph X
MOVIE FACTOR I: THE INFORMATION SEEKER
Fact +
• Informative
Moral - No Moral Intellectual 4
Uninformative
■
Fiction 147 war, romance, or super-humans. He rejects these tradi tional themes of movie fiction.
Graph X shows how the Information Seeker's construct system might look.
Two People-Oriented Types: Factors II and III.
The sorting of the- Movies instrument produced two factors that are unlike the types produced by any other instrument. Both of them are people-oriented. Both share a preference for many of the same elements. The important difference between them is in their preferences for certain themes. Based on this difference, I have chosen to call Factor II the Human Interest type and
Factor III the Successful Adjustment to Life type.
Both the Human Interest and the Successful Adjust ment types prefer many of the same elements in movies.
Both prefer Believability to Unbelievability, and both prefer Seriousness. In addition, the Successful Adjust ment type strongly rejects Comedy. The clue to the difference between these two types, however, lies in the themes of the movie items each type preferred and rejected rather than in the coding of these items.
Factor II shows a great deal of interest in people and their problems. In almost every one of the movies he most prefers, a person or a group of people is struggling with some problem. They are trying to 148
overcome some obstacle. The movie tells the story of how these people dealt with their problems. For this
reason I call him the Human Interest type. Even the
coding of elements present tends to support this inter pretation. This Human Interest type favors - Believability and rejects Fantasy. This fact suggests that he is
interested in real people and real problems. ■ He likes,
in addition, for these human-interest stories to be
Highly Complex and Serious, but not Moral Intellectual
in struggle.
Factor III is also interested in people and their
problems. He is especially interested, however, in
stories about people who have successfully met the
challenge and adjusted to life. He rejects, moreover,
"escapist" stories in which the central character fails to make a successful adjustment to life and instead
"escapes". While he shares with Factor II a preference for Believability to Unbelievability, and a preference for Seriousness, Factor III in addition strongly rejects
Comedy. There is no room in his preferences for the
sometimes humorous failures in life. For these reasons, we have chosen, to call him the Successful Adjustment to life type.
One movie item, The Cry for Help, especially well illustrates the difference between these two people- oriented types. Factor II, the Human Interest type, 149 placed this item in his number 1 pile. Factor III, the
Successful Adjustment type, placed this item in his number 8 pile.
The Gry for Help. The story of the events in the life of a once beautiful and prominent, but now fading movie star who tries to commit suicide by taking an overdose of sleeping pills.
Factor IX: The Human Interest Type. A closer examination of Factor II helps clarify his image as that of the Human Interest type. The movie items he most prefers generally tell stories about people and their problems. The movie items he most strongly re jects deal with non-human abstractions, inhumane war, or super-human beings. The items he most prefers generally contain Unbelievable Fiction or Fantasy, and have a Moral
Intellectual struggle.
The movie items the Human Interest type most prefers generally tell stories about people and their problems.
One of the best examples is The Cry for Help, which was examined above more fully. The story in Three V/ishes presents a human problem. "A late-thirtyish husband finds himself restless in his marriage. He dreams of intrigue ana adventure with other women." Humber 15 is the story of Corpsman Lewis, ". . . a n American Negro
Peace Corps volunteer who goes to work in a Latin
American city slum as a combination school-teacher and community improvement worker." A Colorado boy escapes 150
Table 15
MOVIE PACTOR IIs THE HUMAN INTEREST TYPE
Item Code Title Score
22. B.Fict NM HC S The Cry for Help 1
29. U.Fict MS HCC Three V/ishes 1
15* B.Fict MI LC C Corpsman Lewis 1.5
5. B.Fact' MS HCC The ‘Hidden Valley 2
6 . B.Fact MSHCS Lena 2
10. B.Fact NMHCS This Strange Y/orld 2
12. B.Fact NM LC S Survival 2
16. B.Fict MI LC S Black Gold 2
9. B.Fact NM HCC Colorado 8
20. B.Fict MS LC S The Seals 8
33. U.Fict NM ITC C Super-Baby 8
36. U.Fict NM LC S Smoky the Bear 8
25. U.Fict MI HC C Mission: Time 8.5
3- B.Fact MI LCC The Baker Platoon 9 / 26. U.Fict MI HC S The Doomsday Machine 9
28. U.Fict MI LC S "Impossible" 9 151 the problems of the adult world In number 5 by retreat
ing to The Hidden Valley. "The film shows the often
humorous and unpredictable things he does and the animal
friends he has made in this magic retreat from the world
of adult civilization outside." A very real, contem
porary human problem is explored in Lena. "This docu mentary centers on the sufferings of one older Hegro widow and her family during the Detroit riots . . . sees her family torn apart and her home finally destroyed in
the riots." The people-orientation of the Human Interest
type is illustrated in This Strange World. Here are
documented some of the strange, weird customs of human beings around the world." Survival tells about the fight against the big fires which recently swept over parts of Los Angeles, and the emphasis is "on the human
side of the fight against the fire the fight for survival." Finally, another good example of this Human
Interest type is item number 16.
Black Gold. The story of what happens to the human relations of people in a small town when rumor spreads that oil may soon be found on some people's land. The people change, and the old relationships deteriorate. In the end it turns out that there is no oil. The people suddenly realize v/hat has happened to themselves.
A look at the coding of the elements present in these most liked items reinforces the image of Factor II as a Human Interest type. (Dhe elements most preferred 152 are Reality, High Complexity, and Seriousness. Seven of the top eight items, for example, are coded Believable, with a four to three split between Pact and Fiction.
This indicated a preference for "real" people and "real” problems. Whether it is Pact or Fiction is less impor tant than whether it is Believable or Unbelievable.
The items coded Believable include: The Cry for Help;
Corpsman Lewis; The Hidden Valley; Lena; .This Strange
World; Survival; and Black Gold.
In addition, five of the top eight items are coded
High Complexity. Generally, this coding means that the outcome of the story is hard to predict. A preference for this element would seem to be in keeping with the nature of this type. The Human Interest type appears to be saying that he does not believe that real problems which real people face are easily solved. The items coded High Complexity include: The Cry for Help; Three
Wishes; The Hidden Valley; Lena; and Thi.3 Strange World.
Pive of the top eight items, furthermore, are coded Serious. The real problems of real people not only make for very complex stories, but serious ones as well. The items coded Serious include: The Cry for
Help; Lena; This Strange Y/orld; Survival; and Black Gold.
A closer look at the themes and elements within the items Factor II rejected helps clarify the image of 153 this Human Interest type. In the first place, the items rejected deal v/ith non-human abstractions, inhumane war, or super-human beings. This is surely a polar opposite of the concern for humans and their problems in the most preferred items. Five of the bottom eight, moreover, are coded Unbelievable Fiction or Fantasy, an element more suited to stories about non-human themes than is
Believability. Finally, half of the rejected items are coded Moral Intellectual, representing the "shades of gray" morality.
The themes of the Human Interest type's rejected items can be grouped into three categories: (1) non human abstractions; (2) super-human beings, and (3) inhumane war. The first category, non-human abstractions, would include Colorado. "A famous photographer has captured on film the natural beauty of the state— -- its mountains, lalces, streams, deserts, plains, and animals." Also in this category is Smoky the Bear, for
"In this film Smoky the Bear takes us on a tour of his forest homeland. We meet many of his friends and learn about life in the forest." Besides stories based on non-human themes, the Human Interest type also rejected number 33, a story with a super-human being as its central character. 154
Super-Baby. During her pregnancy a mother uses an amazing new invention which produces super babies. This is the story of those often humorous and unpredictable events which take place in adjusting to life with a super-baby.
The Human Interest type most strongly rejected, however, items dealing with war, an inhuman event. Half of the rejected items have war themes, including the three bottom items. All of them are ranked 9 on this data array. The Seals tells "The fictionalized story of the adventures in Viet Ham of a platoon of the
SEALS, America's new elite guerilla fighters who . . . battle the enemy." In The Baker Platoon "We live with a platoon of American fighting men in Viet Nam. We see them fighting and dying." In The Doomsday Machine
"Unknown to the public, American scientists have devel oped the dread new 'Doomsday Machine' which is powerful enough to destory the whole world . . . It centers on the race to stop [the President] before he pushes the button." Finally, movie number 28, optimistically titled "Impossible", "... tells the story of nuclear war in the U. S. . . . The scenes of nuclear explosion and destruction have a ghastly and fantastic quality to them.
The Human Interest type rejects the unreal and the morally unclear. Five of the eight rejected items are coded Unbelievable Fiction or Fantasy. The items 155 coded Unbelievable Fiction include: Suner-Baby; Smoky the Bear; Mission: Time? The Doomsday Machine; and
"Impossible11. Half of the bottom eight items, moreover, are also coded Moral Intellectual. This coding repre sents the "shades of gray" moral struggle. The items coded Moral Intellectual include: Mission: Time;
The Baker Platoon; The Doomsday Machine; and "Impossible".
Thus, the image of Factor II appears to be that of a Human Interest type. He prefers stories which deal with believable people who have believable problems.
He takes these people and their problems seriously, and expects the stories to reflect this seriousness. The stories should also reflect the difficulty and complex ity of these problems by being difficult to predict as to outcome. Given this preference for stories concerned with believable people and their problems, it is not surprising that he rejects stories which deal with non-human abstractions, inhumane war, or super human beings. These are appropriately coded Unbeliev able. Similarly, he does not like the "shades of gray" morality represented by the Moral Intellectual element coding.
The Human Interest type’s construct system might look something like that presented in Graph XI. 156
Graph. XI
MOVIE PACTOR II: THE HUMAN INTEREST TYPE
Human +
High Complexity
. Serious
-,Unbelievable Believable +
Non Human 157
Factor III; The Successful Adjustment to Life Type.
•A closer look at Factor Ill's movie preferences illus
trates why I have chosen to call him the Successful
Adjustment to life type. The movie items he most pre
fers feature persons who have successfully made an
adjustment to life. In some cases, the stories are about
war. He generally prefers that these stories be Be
lievable and Serious. He most strongly rejects the
movies in which the main character fails to make a
successful adjustment, "escapes", or relies on science
in his personal life. He rejects movies which are
predominately Fantasy or Comedy.
In the next few pages I will examine more closely
the movie preferences of this Successful Adjustment to
Life type. I will begin by looking at the themes and
coding of elements in his most .preferred items. Then I
will look at the themes and coding of elements in his
rejected items.
The "Successful Adjustment to life" theme is present
in many of Factor Ill's most preferred items. The theme
is well illustrated by item number 14.
Alone in Africa. This is the story of one Negro girl's search for identity. She has had a middle-class American life and education. She is curious, however, about modern Africa and goes to find out for her self. In the end, she decides that above all else, she is American, and returns home. 158
Table 14
MOVIE FACTOR Ills THE SUCCESSFUL ADJUSTMENT TO LIFE TYPE
Item Code Title Score
14. B.Fict MI IIC S Alone in Africa 1
25. U.Fict MI HC C Mission: Time 1
10. B.Fact NM HC S This Strange World 1.5
15. B.Fict MI LC C Corpsman Lewis 2
19. B.Fict MS EC C The Marriage Counselor 2
20. B.Fict MS EC S The Seals 2
28. U.Fict MI EC S “Impossible" 2
17. B.Fict MS HC C The Zoo Keeper 8
22. B.Fict NM HC S The Cry for Help 8
25- B.Fict NM EC C Computer Mate 8
51. U.Fict MS LC C Our Gang 8
50. U.Fict MS HC S The Balloon Man 8.5
55. U.Fict NM HC C Super-Baby 8.5
15. B.Fict MI HC C 9
27. U.Fict MI EC C Vivaldi 9
55. U.Fict NM LC C The Story of Man 9 159
In Mission: Time "A crew of astronauts is sent into
outer-space for several years of exploration . . . This
is the story of the often humorous and unpredictable
events that occur to the crev; in gelling readjusted to
life on an Earth which has aged faster than they."
Corpsman Lev/is, the Negro Peace Corps volunteer in
Latin America, "Y/ith his sincere interest, hard work, and sense of humor . . . wins the respects of the people
and the love of the children." The "successful adjust ment to life" theme takes a more humorous turn in number ,19.
The Marriage Counselor. Pull of advice on how other people should“live their lives, the marriage counselor is a man who takes himself and his advice-giving very seriously. In the story he gets -married and begins a number of humorous encounters in his own marriage which soften him up, make him a bit more human by the end of the movie.
Two additional items among those most preferred are best categorized as war items. One of these,
"Impossible", however, has an adjustment theme. "It's main characters are a group of young people who believe nuclear war is "impossible", v/ho manage to survive the
destruction of New York City, and then begin to rebuild their lives in the ruins." The other war item, The
SEALS, has a more traditional adventure theme. "The fictionalized story of the adventures in Viet Nam of a platoon of the SEALS . . as these men battle the 160 enemy." One final item does not seem to fit neatly into any other category, though it might be considered an "adjustment to life" story. In This Strange World
". . . are documented some of the strange, weird cus toms of human beings around the world."
Five of the top seven items are coded Believable, four of which are coded Believable Fiction. Among the ' items coded Believable Fiction are Alone in Africa;
Corpsman Lewis; The Harriage Counselor; and The SEALS.
This Strange World is coded Believable Fact. As in the case of the Human Interest type, this preference for
Believable stories seems consistent with the themes most preferred by this type personal adjustment to life and war.
The preference for a Serious element in these stories seems just as consistent as the preference for
Believability. Indeed, four of the top seven items are coded Serious. The items coded Serious include: ■ Alone in Africa; This Strange World; The SEABSj and "Impossible".
Just as Factor III prefers to see movies in which the central character makes a successful personal ad justment, he rejects "escapist" adjustments. This appears to be the theme of four of the bottom nine items.
The Zoo Keeper, for example, tells "The story of a man who has trouble relating to.a world of people and finds his refuge in a world of animals." 161
The Cry for Help has already been quoted in full as an example of the Human Interest type's preference for stories dealing with "people and their problems".
The Human Interest type ranked this item in the number 1 pile. The Successful Adjustment type, however, rejected this same item. The "once beautiful and prominent, but now fading movie star" is an escapist who tries to commit suicide.
The boy who is the central character in Our Gang can retreat into a private world with his talking horse and talking dog. "Their observations on the 'grown up' world of people are often humorous."
But the escape theme is probably best expressed in number 30.
The Balloon Man. A Balloon man in Central Park sells magic balloons to some children. They ride off through the air to unusual places where they capture the joys of childhood. The story is built around the unpredictable incidents in this "great escape" from the real world of adults.
A second, but perhaps not too distantly related category of themes might be called "science in our domestic lives." Perhaps Factor III is thinking that
"if you have to turn to science to help you make the adjustment, you're not making a very successful adjust ment." In any event, science is a part of the domestic lives of a young couple in Computer Mate. "A young 162 couple meets through a computer. They find that each other are not what they had put down as the 'ideal date' . . . The story is built around those humorous incidents that arise from the computer's mistake."
Similarly, science is a part of the domestic life of the mother of a Super-Baby. "During her pregnancy a mother uses an amazing new invention-which produces super-babies."
The three remaining items do not seem to fit easily into the above categories. The Story of Man might be considered science; Vivaldi might be considered culture, and number 13 "is a satire on life inside the
White House and the Administration."
A look at the coding of the elements in these rejected items helps clarify the image of the Successful
Adjustment type. Five of the bottom nine items are coded Unbelievable Fiction. These items include: Our
Gang; The Balloon Man; Super-Baby; Vivaldi; and The Story of Han. Seven of the bottom nine items are coded Comedy.
These items include: The Zoo Keeper; Computer Mate;
Our Gang; Super-Baby; number 13, the political satire;
Vivaldi; and The Story of Han.
Thus, Factor III emerges as a "successful adjust ment to life" type. He prefers stories which tell how a person has successfully made the adjustment to life. Graph XII
MOVIE FACTOR III: THE SUCCESSFUL ADJUSTMENT TO LIFE TYPE
Believable +
Successful Adjustment to Life
4
- Humorous Serious +
•
Unsuccessful Adjustment to Life (Escape)
•
Unbelievable 164
He rejects items which tell stories about a person who has-failed to make that adjustment successfully and has become an "escapist", or who must turn to science for help. The stories he likes appear to be Believable and Serious. The stories he does not like appear to be
Unbelievable and Comedy.
Graph XII shows a possible construct system for the Successful Adjustment to Life type.
Magazine Factors
Sorting of the Magazine instrument produced three factors considered strong enough to report. Factor I appears to be a good representative of the Information
Seeker type. Factor II seems to represent the Enter tainment Seeker type. And Factor III appears to be a
Youth-Oriented type.
Factor I: The Information Seeker Type. Through his sorting of the magazine items, Factor I appears to define himself as an Information Seeking type. He shows a strong preference for the Believability element and the themes of his "most liked" magazine items are almost entirely based on current news, people, places, and problems. The items he "liked least" abound in the elements of Fantasy, Moral Sentimentalism, and Low
Complexity. Most of the items have little resemblance to the kinds of real, believable people and places 165 which are "in the news." The items he rejects provide more escape than information. In the next few pages I will look more closely at the likes and dislikes of magazine reader Factor I.
The first ten of the Information Seeker's top eleven item3 are coded Believable. This fact seems to reflect an-interest in the "real wox*ld". Indeed, six of the ten are coded Believable Fact, and the four
Believable Fiction items provide fiction based on real people, places, or events. Economic Review, for example, presents an "Examination of the difficult, mentally challenging economic problems which face our country, yet interpreted and presented in a simplified, graphic fashion." "The Best of All Possible Worlds" centers attention on "some of our institutions and the difficult problems they face ..." This Week in the News presents
"The weeks major news stories, including some pictures."
"Articles of interest to homemakers, wives and husbands alike," appear in Our Home. "The articles are mostly written to help families have more successful homes
. . ." Wanderlust provides "interesting information about places around the world." The humorous incidents reported in The Diplomat are "from the world of inter national politics and diplomacy." See "Reports the major news stories for this, week well illustrated 166
Table 15
MAGAZINE FACTOR I: THE INFORMATION SEEKER
Item Code Title Score
4. B.Fact MI ICS Economic Review 1
15. B.Fict MI 1C C "The best of All Possible 1 Worlds"
6 . B.Fact MS IIC S This Week in the News 1.5
12. B.Fact NM IC S Our Home 1.5
22. B.Fict HM HC S Wanderlust 1.5
1. B.Fact MI HC C The Diplomat 2
7. B.Fact MS 10 C See 2
9. B.Fact NM HC C The Candid Observer 2
13. B.Fict MI HC C leader 2
21. B.Fict HM HC C The O’Henry Journal 2
27. U.Fict MI IC C Crazy 2
8. B.Fact MS IC S My Romance 8
11« B.Fact NM 1C C Sports Week 8
26. U.Fict MI HCS New Worlds 8
30. U.Fict MS HC s Modern Miracles 8
35. U.Fict NM 1C C The laugh-Word Puzzle 8
20. B.Fict MS IC s Romantic Story 8.5
32. U.Fict MS IC s Knighthood and love 8.5
29. U.Fict MSHC c Super-Eye 9
31. U.Fict MS IC c Screen Star 9 167 with lots of pictures." The Candid Observer tells
"stories of people from all walks of life even celebrities." leader presents "Fictitious, humorous stories about leading personalities and institutions of our times." The O'Henry Journal offers "A collection of short stories in the O ’Henry manner. The stories usually feature ordinary folks who find themselves caught up in an intriguing set of events which usually lias a humorous surprise ending."
The coding of the elements present in the magazine items which the Information Seeker rejected is equally illuminating. Six of his nine "like least" magazine items are coded Unbelievable Fiction (Fantasy), six are coded Moral Sentimental, and six are coded Low Complexity.
Apparently the Information Seeker does not care for magazine articles which are unbelievable or based in
Fantasy, where there is a clear-cut struggle between good and bad, and where the outcome is very predictable.
Two good examples of items which contain all three of the elements which the Information Seeker rejects are Knighthood and Love and Screen Star.
Knighthood and Love. Stories of romance and love m the days of knighthood. Always, the dashing young icnight must overcome great dangers, usually super-natural, to win his beautiful maiden. In the end, knighthood and love triumph. 168
Screen Star. Fictionalized and glamorized stories about the lives and times of the big gest of the movie and TV stars. They seem to live in a dream world of glamor and adventure. Many of the episodes are humorous.
A close look at other rejected elements sharpens the image of the Information Seeker. Six of these re jected -items contain Unbelievable Fiction (Fantasy).
New Worlds tells "Science fiction stories of space ex plorers discovering new worlds." Modern Miracles tells about "... modern miracles of health, good fortune, etc. resulting from deep religious faith." The hero of
Super-Eye "is endowed with extra-ordinary physical powers and modern gadgetry."
Six of the bottom nine items are coded Moral
Sentimental. Here the struggle between good and evil is clearly drawn. Consider the struggles of the heroes- of My Romance magazine, for "their loves are threatened by various difficulties and obstacles." Consider the
"modern miracles of-health, good fortune, etc. resulting from deep religious faith" a3 told in Modern Miracles.
Romantic Story tells "Fiction stories of people in love, and the difficulties which beset them. Their love is threatened ..." Super-Eye is "A parody of the private- eye detective stories."
Six of the bottom nine items are coded low Complex ity. The outcome of these stories and articles is very 169 Graph XIII
MAGAZINE FACTOR I: THE INFORMATION SEEKER
Believable, Real NorId +
Simple, - Drama bio______Informative + (Moral Sentimental) (Low Complexity)
Unbelievable, Fantasy, Escape 170 predictable. The young lovers in My Romance wage a great struggle against those "various difficulties and obstacles, but in the end, their love triumphs."
Similarly, in Romantic Story "Their love is threatened, but love triumphs in the end." In Super-Eye "Somehow, in some crazy way, the good guy cops win and 'crime doesn't pay'."
Thus, Factor I appears to be a good example of the
Information Seeker type. He prefers magazine items which are believable and whose stories are based on real people, . places, events, and problems currently in the news. He rejects magazine articles which are based in fantasy, offer a too-clear struggle between good and evil, where the outcome is easily foretold, and which provides more escape than information.
Graph XIII shows what the Information Seeker's construct system might look like.
Factor II: The Entertainment Seeker Type. By his sorting of the magazine items, Factor II appears to be defining himself as an Entertainment Seeking type.
He prefers items which contain an element of comedy. A good many of these preferred items contain an element of Fantasy. Most of his preferred items are news-based, but tend to stress the "fun side of the news". He tends to reject items coded Low Complexity, Serious, and 171
Believable. Factor II seems to be saying, "Y/hen I read a magazine, I like to be entertained."
One interesting cine to the different preference patterns of Factors 1 and II is their different reactions to magazine item number 4, Economic Review. Factor I, the Information Seeker, placed this item in pile num ber 1,. indicating that this was one of his two favorite
items. Factor II, the Entertainment Seeker, placed this item in pile number 9, indicating that this was one of the two items he most strongly rejected. The ' item reads:
Economic Review. Examination of the difficult, mentally challenging economic problems which face our country, yet inter preted and presented in a simplified, graphic fashion. Pictures, graphs, cartoons, drawings, etc. are used where helpful. The object is to help the layman reader to get a better understanding of the difficult economic prob lems of our times.
Factors I and II are not, however, mirror-images of each other. A closer look at the elements and themes of the Entertainment Seeker's "like most" and
"like least" sorting v/ill help make the image of Factor
II's more distinct. In these next fev; pages, we will look more closely at the elements and themes present in the Entertainment Seeker’s preferred and rejected magazine items.
The strongest element to show up in the Entertain ment Seeker's "like most" items is Comedy. Seven of his 172
Table 16
MAGAZINE FACTOR XI: THE ENTERTAINMENT SEEKER
f,",,pyv|ls=tg, — --- - Item Code Title Score
25. U.Eict MI HC C Satire 1
27. U.Fict MI LC C Crazy 1 -
55. U.Fict M HC C UFO Reports 1.5
9. B.Fact MHC C The Candid Observer 2
11. B.Fact HM LC C Sports Week 2
22. B.Fict NMHC S Wanderlust 2
23. B.Fict NM LC C Sports Story 2
31. U.Fict MS LC C Screen Star 2
1. B.Fact MI HC C The Diplomat 8
3. B.Fact MI LC C Berkeley 8
19. B.Fict MSLC C Out West 8
32. U.Fict MS LC S Knighthood and Love 8
36. U.Fict NM LC S Modern Art 8
4. B.Fact MI LC S Economic Review 9 00 CM ’U.Fict MI LC S Miracles From the World's 9 Religions 173 eight most preferred items are coded Comedy. Satire for example, "With its fanciful, fantasy kind of humor
. . . satirises almost every aspect of modern American life ..." "Each month's issue" of Crazy "contains cartoon satires and parodies of American life and politics." The "f^ing saucer" citings in UEQ Reports
"includes the whole range from the serious to the ludicrous." The Candid Obs.erver offers "Pictures and stories of the humorous, if sometimes- embarrassing, predicaments people get themselves into." The reports in Sports Week "usually show a good sense of humor by the writers." In number 23, ". • • the authors usually include a touch of the humorous." "Many of the episodes" in Screen Star "are humorous."
A look at the themes of most of these preferred items reinforces the Entertainment Seeker image in
Factor II. Three of these have as their themes humor and satire of the news and people in the news: Satire;
Crazy; and The Candid Observer. Two of the items have sports themes: Sports Week anu Sports Story. UFO Re ports has a space-fiction theme. Wanderlust offers trave1-adventure stories which take you*on the
"drearaed-of vagabond life" journey. The pages of
Screen Star transport you to "a dream world of glamor and adventure." Altogether, these themes, in combination with the Comedy element, represent fun, entertainment, 174 and escape.
The Entertainment Seeker appears to reject maga
zine items which are of Low Complexity and stress the
Serious, The bottom six of his seven least preferred magazine items are coded Low Complexity, and the bottom four are coded Serious. The four bottom items have a
combined coding of low Complexity and Serious.
The coding Low Complexity as applied to the media instruments generally means that the outcome of
the article is easily predicted The stories in Out
Vest, for example, "tend to follow the classic pattern of Western stories, easy to follow and the good guy always wins." Knighthood and Love states that "In the end, knighthood and love triumph." The readers of
Modern Art know that "Each issue features the work of a different modern artist." The current economic problems discussed in Economic Review are "interpreted and pre
sented in a simplified, graphic fashion." The readers of number 28 know what to expect in Miracles from the
World’s Religions, for "In each issue this feature tells a different story from the world's religions."
In addition to being easy to follow and predict,
the Entertainment Seeker's four most rejected magazine
items are also serious in theme or treatment or both.
These items include: Knighthood and Love; Modern Art;
Economic Review; and Miraoles from the World's 175
Graph XIV
MAGAZINE FACTOR II: THE ENTERTAINMENT SEEKER
Comedy, Fun, Escape,
+
Low Surprising, - Complexity Interesting +
Serious 176 Religions. It seems safe to say that Factor II does notfind such items either fun or entertaining.
Thus, Factor II is a good example of the Enter tainment Seeking type. He prefers to read those maga zine items which provide an element of Comedy and present the fun and entertaining side of nev/s and sports, or other escapist themes. He rejects those items which offer a combination of low Complexity and Seriousness.
The Entertainment Seeker's construct system might look something like Graph XIV.
Factor III: The Youth-Oriented Type. Through his sorting of the magazine items, Factor III seems to be saying that he prefers magazines which are oriented toward youth. A look at the themes of Factor Ill's most preferred and least preferred items gives a clearer image of this factor than does the coding of elements present in the items. Nothing clear-cut emerges from the coding except that 2/3 of his least preferred items are coded Serious. Otherwise, both his like and dislike items are pretty well divided as to the elements present, and one must turn elsewhere for a way to bring this factor into clearer focu3. In the next' few pages I will look at the themes of Factor Ill’s most preferred items and then look at the coding and themes of his rejected items.
The best clue to understanding the preferences of 177
Factor III is in looking at the themes of his "most preferred" items. Most of the themes appear to be oriented toward youth. It is, indeed, a youth who loads highest on the factor. The themes of the most preferred items appear to fall into four main catego ries: (1) reporting and interpretation of the nev/s,
(2) satire on the news and presentation of the bizzare in this world, (3) sports, and (4) foreign adventure.
Taken together, these themes represent a young man's search for understanding and a questioning of the adult world around him. Coupled with this search and ques tioning is a desire to enjoy the world through sports and even foreign adventure.
An important theme present in the Youth-Oriented type's "most preferred" magazines is the reporting and interpretation of the nev/s. This Vfeek in the News, for example, reports "The week's major news stories, including some pictures." "The object" of Economic
Review "is to help the layman reader to get a better understanding of the difficult economic problems of our times." The Diplomat "Reports on humorous incidents from the world of international politics and diplomacy."
Thus, Factor III likes magazines which help him better understand the adult world around him by reporting and interpreting its significant, challenging, and sometimes humorous events. Table 17
MAGAZINE FACTOR Ills THE YOUTH-ORIENTED
Code Title
B.Fact MSHCS This Week in the News
U.Fict MI HCC Satire
B.Fact MI LC S Economic Review
B.Fact NM LC C Sports Week 2
B.Fict MS HC S Government Agent 2
B.Fact MI HC C The Diplomat 3
B.Fict NM LC C Sports Story 3
U.Fict MI LC C Crazy 3
U.Fict NM HCS Would you Believe? 3
B.Fact MS HC C The Happy Cook 7
B.Fact NM HCS How to Build It 7
B.Fict NM HCC The O 1Henry Journal 7
U.Fict MS HC S Modern Miracles 7
B.Fact NM LC S Our Home 8
U.Fict NM HC C UFO Reports 8
U.Fict NM LC S Modern Art 8
B.Fact MS LC S My Romance 9
B.Fict MS LCS Romantic Story 9 179
But Factor III also questions the world around him.
He sometimes sees the world through the eyes of the satirist, and on occasion the world looks downright bizarre to him. Along with the straight-news-reporting magazine Thi3 Week in the News, the Youth-Oriented type also ranked Satire in the number 1 pile. The item is a good example of youth’s questioning of the world he strives to understand. The item reads as follows:
Satire. With its fanciful, fantasy kind of humor, this new magazine satirizes almost every aspect of modern American life---- politics, religion, education, business, sports, etc. Traditional values are ques tioned in the process.
Similarly, Crazy seems to question the modern world.
The item reads as follows:
Crazy. Each month's issue contains cartoon satires and parodies on American life and politics. The cartoons for each issue are usually built around the major events in the nev/s for that particular month.
Indeed, sometimes the world around him seems to be literally unbelievable. Would You Believe? "Reports on the unusual, the bizarre, the unbelievable in this world."
But while this young reader searches for real understanding of the adult world around him, he finds certitude and fun in the world of sports and adventure.
Sports Week is described as "The newsweekly of the sports world , . . the reports usually show a good 180 sense of humor by the writers." Sports .Story is "A collection of the best in sports fiction. These are usually straight-forward, hard-hitting stories, and the authors usually include a touch of the humorous."
Government Agent is pure adventure on a world-wide set.
The item reads in part:
Government Agent. Fiction stories of our foreign agents working in South America, Asia, Africa, and behind the Iron Curtain. The people and stories are believable enough, but the plots are very suspenseful and intriguing.
Thus, the Youth-Oriented type seems to prefer magazine reading which helps him understand the adult world around him, and which also questions that world.
In addition, he likes reading which provides the certi tudes and fun of sports and adventure stories.
This image of Factor III as a Youth-Oriented type is reinforced by a look at the coding and themes of the items which he most strongly rejected. Six of the bottom nine items are coded Serious, and the themes may be classed roughly into the following five categories:
(1) Homemaking, (2) Romance, (5) Culture, (4) Space, and (5) Religion. Let us look first at the Serious element coding of these rejected items, and then at their themes.
It is difficult to illustrate the Serious element present in these items the way one illustrates the presence of the Comedy element. Generally, the Serious 181
items lack Comedy. The six items coded Serious include:
How to Build it; Modern Miracles; Our Home; Modern Art;
My Romance; and Romantic Story. While the themes of
all these items ranged from homemaking to religion and
from romance to culture, the treatment of all of them
is Serious.
A look at the themes of the items rejected by
this Youth-Oriented type magazine reader is helpful.
Three of the items could be classified as Homemaking
items. How to Build it, for example, brings "Articles
to help the homeowner stretch his or her dollar and have fun doing it by building yourself some of those
things you've always wanted ..." Similarly, Our Horae
offers "Articles of interest to homemakers, wives and husbands alike. The articles are mostly written to
help families have more successful homes ..." With
the help of The Happy Cook "even the most amateur cook
can conquer the most difficult obstables for making the
finest dishes."
Romance is the theme of the two items most strongly
rejected by the Youth-Oriented type. Both of these
items ended up in the number 9 pile. My Romance brings
the reader "True stories of people in love. People write in and tell their true stories. Their loves are
threatened by various difficulties and obstacles, but 182 in the end, their love triumphs." Romantic Story offers
"Fiction stories of people in love, and the difficulties which beset them. Their love is threatened, but love triumphs in the end."
Culture is the theme of two of the rejected items.
"Each issue" of Modern Art "features the work of a dif ferent modern artist. The work represents a variety of mediums, such as paintings,- photography, sculpture, etc."
The 0 1Henry Journal brings "A collection of short stories in the 0*Henry manner." Modern Miracles has a religious theme. "Here are told in fictionalized form the stories of ordinary people's modern miracles of health, good fortune, etc. resulting from deep re ligious faith." Space is the theme of UFO Reports.
"These are fictionalized reports of UFO ("flying saucer") citings."
Thus, Factor III appears to reject items which are too serious in treatment and which deal with domestic, cultural, or miraculous themes. He prefers instead to read magazines that help him understand and even ques tion the adult world around him, and on occasion, to entertain him. Altogether, his preference pattern suggests that he is a Youth-Oriented type.
A comparison of the Youth-Oriented type's likes and dislikes with those of-the Information Seeker and 185 the Entertainment Seeker helps clarify the image of this third type. The Information Seeker and the Youth-
Oriented type, for example, share a preference for
Economic Review, while the Entertainment Seeker strongly rejected it. The "Information Seeking" aspect of the
Youth-Oriented type’s personality is illustrated by other items most preferred by both Factors I and III. These items include This V/eek in the News and The Diplomat.
V/hile Factor I appears to be a pretty consistent
Information Seeker, Factor III on the other hand shares some of the preferences of Entertainment Seeking Factor
II. This is especially true of the satire and sports items. The Entertainment Seeker and the Youth-Oriented type share a common preference for Satire (ranked in the number 1 pile by both); Crazy; Sports Week; and
Sports Story. The Youth-Oriented type, however, dif fers from the Entertainment Seeker in that he does not consistently prefer the Comedy element in his magazine reading, as does the Entertainment Seeker.
The Youth-Oriented type furthermore rejects some of the items highly rated by both the Information
Seeker and the Entertainment Seeker. The Youth-
Oriented type rejected Our Home and The O 1Henry Journal, favorites of the Information Seeker. At the same time, he preferred Sports V/eek which the Information Seeker rejected. Similarly, the Youth-Oriented type rejected 184
UFO Reports, a favorite of the Entertainment Seeker,
and liked Economic Review, which the Entertainment Seek
er rejected.
The Youth-Oriented type thus appears to he a com
bination of both the Information Seeker and the Entertain
ment Seeker. He likes items which are informative, and
he likes items which are entertaining. Yet he is
neither the Information Seeker of Factor I nor the
Entertainment Seeker of Factor II. He seeks information
which helps him better understand and interpret the news
and major events of the world around him, while rejecting
those items which provide information on purely cultural
or domestic matters. He also seeks entertainment, whether through sports and adventure reading, or through
reading which questions the kind of world we live in
by poking fun at it. Yet he rejects those items where
the fun Is totally irrelevant to the world he struggles
to understand. In the final analysis, this Factor III
person can best be described as youth-oriented in his
reading preferences, for it is this search for under
standing of the world, and the desire to continue having
fun which characterizes youth.
Graph XV shows what the Youth-Oriented type maga
zine reader's construct system might look like. 185
4 '- Graph XV
MAGAZI1TE FACTOR III: THE YOUTH-ORIENTEB TYPE
Relevant Information (Hews, Important Issues, The World Around Me) +
Bull Pun, - Serious Adventure +
Irrelevant Information (Homemaking, Romance, Culture) 186
Toothpaste Commercial Factors
The study produced two strong factors from the sorting of the Toothpaste Commercials instrument. The first of these two factors is a good example of the
Entertainment Seeker type, and the second is a good example of the Information Seeker type. This instru ment, perhaps better than any of the other instruments used in the study, illustrates the difference between these two strong types of viewers.
Factor I; The Entertainment Seeker Type. Through his sorting of the commercials, Factor I seems to be saying "entertain me with your commercials." "Commer cials should be fun", and "way-out fun at that." It's as though he's asking the advertiser to "give me some thing new and different" in commercials, and "something that will amuse me at the same time." In the next few pages I will examine the elements of style and content found in those commercials which the Entertainment
Seeker most prefers and least prefers.
The Entertainment Seeker likes a combination of the elements Unbelievable Fiction (Fantasy) and Comedy in his favorite commercials. His commercials should not have in combination the elements of Believability,
High Complexity, and Seriousness. 187 'fable 18
TOOTHPASTE COMMERCIAL FACTOR I: THE ENTERTAINMENT SEEKER
Item Code Title Score
9. B.Fact Nil HC C How do you Brush Your Teeth? 1 27. U.Fict MI LC c A Pirana's Advice 1 29. U.Fict MS HC c The Fantastic Voyage 1 28. U.Fict MI LC s The Strength of Gibralter 1.5
35. U.Fict m 1C c The Painters 1.5 25. B.Fict NM LC c A Vibrating Electric 1.6 Toothbrush 2. B.Fact MI HC s Teeth and Survival 2 4. B.Fact MI 1C s A South Seas Beauty 2 19. B.Fict MS LC c A Star is Born 2 31. U.Fict MS LC c Goldilocks 2 33. U.Fict NM HC c Shield and the Seven Dwarfs 2 34. U.Fict NM HC s A Tour of the Flouride Plant 2
10. B.Fact NI«I HC s A Talk with the Scientists 8 11. B.Fact NM LC c Give it Your Own Test 8 20. B.Fict MS LC s A Timely Tip 8
25. U.Fict MI HC c Put up a Shield 8 18. B.Fict MS HC s "That's It!" 8.3 17. B.Fict MS HC c Little Jill's Food 8.5 13. B.Fict MI HC c Home from the Dentist 8.6 14. B.Fict MI HC s 8.6 6. B.Fact MS HC s Mother, Teacher, Dentist 9 188
Eight of the Entertainment Seekerfs twelve favorite commercials are coded Comedy. The range of Comedy runs from gentle embarrassment to spoofs on commercials and contemporary culture. Commercial number *9, for example, asks the question How do you brush "your" teeth? and answers with candid shots of "the sometimes funny expressions on people's faces" while brushing their teeth in all sorts of unusual and amusing ways.
"The treatment" of commercial number 27, A 3?irana *s
Advice, "is tongue-in-cheek humorous." Commercial number 29 is a "take-off on the Fantastic Voyage kind of movie." "The characters" in The Painters "are exagger ating and 'cutting-up' quite a bit." In number 25,
"a young working man" is shown having all manner of difficulty trying to get his toothpaste on A Vibrating
Electric Toothbrush, but in the end he succeeds and
"A big grin breaks over his face." A Star is born is a "tongue-in-cheek commercial" which concludes when
"the announcer tells us, humorously" what a difference new Shield made in her career*. Commercial number 51 is "a cartoon take-off on •Goldilocks and the Three
Bears' " in which the discovery of the "just right" toothpaste (new Shield) is as important as the dis covery of the "just right" porridge and the "just right" bed. SHIELD and the Seven Dwarfs provides "a series 189 of comical scenes" in which "the treatment is charming and humorous.11
In addition, seven of these twelve favorite commer cials are coded Unbelievable Fiction (or Fantasy). In
A Pirana's Advice, for example, "two live pirana fish
. . . appear to be having a conversation." The Fantas tic Voyage is "a take-off" on the fantasy movies of the same name. Through a bit of film magic in The Strength of Gibraltar, "Gibraltar appears transformed into a giant tooth". The Fainters appear to be painting a strip down the center of the highway, but "on ‘closer look, however, we see that the painting machine is laying down a big round strip of toothpaste." Number
51 is "a cartoon take-off on ’Goldilocks and the Three
Bears' ". SHIELD and the Seven Dwarfs entertains and amuses, as well as sells toothpaste, "in a cartoon story with a Walt Disney quality." "In this cartoon, a scientist in a lab coat takes us on" A Tour of the
Flouride Plant.
This preference for commercials which combine the elements of I’an t a s y with Comedy indicates the desire to be entertained and amused while being persuaded.
This preference for entertainment is apparent also after looking at the coding and themes of the commer cials that the Entertainment Seeker rejects. 190
The Entertainment Seeker does not seem to like commercials which are "based in "Believable" reality
(whether fact or fiction), which are Highly Complex, and which take themselves and their messages terribly
Seriously. In addition, he rejects commercials which seem to have many children and domestic settings. These are the "slice of life" commercials which are a staple of the toothpaste industry's television diet. The
Entertainment Seeker not only rejects the "slice of life" commercial, but he especially rejects the "slice of family life at home" commercial.
Eight of his bottom nine commercials are coded
Believable. In A Talk With the Scientists, for ex ample, the scientists "talk in their own way about the new ingredient from a scientific standpoint." Humber 11
"focuses our attention on a graph showing how SHIE1B reduced cavities for a test group", and urges the view- er to Give it Your Own Test. A Timely Tip tells the
"story of an aspiring young model who was having a hard time breaking into the big league of modeling".
"That's It!" presents what is supposed to be a "real- life" situation as I3om and Bad try to figure out why the kids have fewer cavities following this latest trip to the dentist. In little Jill's Bood "a mother comments on how difficult it is to get my little Jill to eat 191 what's good for her." Number 13 tells a Home From the
Dentist story much like "That's It!11. In number 14
"a man representing an authoritative sounding, profes
sional looking teacher is talking to a class." In nura- ber 6, Mother, Teacher, Dentist "are interviewed and in
their ov/n words talk about the importance of having healthy teeth and the results of using SHIELD."
Seven of the nine "Least Liked" toothpaste com mercials are coded High Complexity. Generally, this means "difficult to predict the outcome", but since
commercials are generally so short, the coding took
on the added meaning of "filled with a number of scenes
or people" and "difficult to follow". A Talk With the
Scientists, for example, interviews "a number of research
scientists". During number 25* "in a sequence of car toon scenes", our hero Put up a SHIELD against "several
different villains". In "That's It!", Mom, Dad, and their four children talk about "the several benefits"
of using new Shield. In Little Jill's Pood "the camera passes over all kinds of . . . foods." When the kids
come Home Prom the Dentist in commercial number 13,
Dad checks out a number of leads before discovering that new SHIELD has made the difference. Our teacher in number 14 "is talking about the many things which con tribute to tooth decay and peridontal diseases". 192
Finally, in Mother, Teacher, Dentist "several people
important in the life of a growing boy . . . are all interviewed".
Five of the nine commercials which the Entertain ment Seeker "Liked Least" are coded Serious. The dental researchers, for example, are talking "in their own way . . . from a scientific standpoint" in number 10,
A Talk with the Scientists.- In number 20 "a top photog rapher seriously gives" our model A Timely Tip to try nev/ SHIELD. In number 18, when Dad wonders out loud if new SHIELD could account for the children's fewer number of cavities, "Mora says, seriously, 'Why, of course.
That's it I * " The central figure in number 14 is "an authoritative sounding, professional looking teacher."
Finally, those are serious interviews being conducted in Mother, Teacher, Dentist in which the serious topic of dental care is being discussed.
The items which the Entertainment Seeker rejected clearly show that he does not like commercials which contain elements of Believability, High Complexity, and Seriousness, He would rather not see commercials which are set at home, featuring Mom, Dad, and the kids enacting a domestic drama.
In conclusion, Factor I wants to be entertained.
He prefers fantasy to reality. He prefers fun to 193 seriousness. He would rather see a single idea enter tainingly presented, than a series of ideas seriously treated in one hard-to~follow commercial. It will take something new and different, something "way out" and amusing to appeal to this viewer. Above all, it v/ill take something far more imaginative than the traditional, home-centered "slice-of-life" commercials to engage his attention, much less sell him a brand of toothpaste.
The Entertainment Seeker's construct system might look something like that presented in Graph XVI.
In some ways, Factor I might be characterized as
"the young men". The four people who loaded highest on this factor are all young men. The two young men who loaded highest 011 the factor are brothers, only a year apart in age. At 17 and 18 years old, they are a Junior and a Senior in high school. The sons of a Ph.D. who works in industry, these boys could be classified as
■typical middle-class, V/hite, Protestant Americans.
Both hold part-time jobs after school, and are headed for college.
The other two young men who loaded highest on
■this factor would fall into the "young adult" category.
One is a 26 year-old aero-space industry research engineer. The other is a 30 year old Ph.D. candidate in the humanities. Both of these could be classified as 194
Graph XVI
TOOTHPASTE COMMERCIAL EACTOR I:
THE ENTERTAINMENT SEEKER
Fantasy +
Lov/ + Complexity
Serious Fun +
High - Complexity
Reality 195 middle-class, White, Protestant Americans. The engineer is maried.
Factor II: The Information Seeking Type. If
Factor I can be characterized as the Entertainment
Seeking type, then Factor II can be characterized as the Information Seeking type. And if Factor I best represents the views of "the young men", then Factor
II can be said to represent best the preferences of
"the housewives". These housewives who typify Factor II appear to be saying, through their sorting of the com mercials, "Give me the facts about the problems and the product which is supposed to help me solve the problem.
Make the presentation as believable as possible. But let me make up my ov/n mind about it. Don't go making a hero out of the brand, or turning it into a knight in shining armor. It just isn't real, somehow. I just can't believe that only one brand can solve the prob lem. Guide me, help me, but don't insult me." In these next few pages we will look more closely at the elements of style and content found in those commercials which the Information Seeker most preferred and least pre ferred .
The elements of style and content present in the commercials which Factor II most preferred illustrate this information seeking characteristic. Four of the 196
Table 19
TOOTHPASTE COMMERCIAL EACTOR XI:
THE INFORMATION SEEKER
Item Code Title Score
1. 33. Pact MI HC C "Houseparty" 1
10. B.Fact NM HC S A Talk with the Scientists 1.5
34. U.Fict NM HC S A Tour of the Flouride Plant 1.5
11. B.Fact NM LC C Give it Your Own Test 2
24. B.Fict NM LC S The Big Picture 2
31. U.Fict MS LC C Goldilocks 2
4. B.Fact MI LC S A South Seas Beauty 8
23. B.Fict NM LC C A Vibrating Electric 8 Toothbrush
29. U.Fict MS HC C The Fantastic Voyage 8
30. U.Fict MS HC S The Queen of Light 8
17. B.Fict MS HC C Little Jill's Food 8.5
20. B.Fict MS LC S A Timely Tip 8.5
13. B.Fict MI HC C Home from the Dentist 9
32. U.Fict MS LC S Cinderella 9 197 top six commercials are coded Believable. Three of these are coded Believable fact. Houseparty, for example, begins with the words "In an Art Linkletter 'houseparty' type of interview, several youngsters are asked to tell what they think causes bad teeth and what they recommend to save teeth." A Talk with the Scientists presents
"interviews with a number of research scientists" who
"talk in their own way" about the product. In Give It
Your Own Test the commercial "focuses our attention on a graph" and meanwhile "in the background we hear an interview". The fourth commercial, The Big Picture, is coded Believable Fiction, but could have been seen as
Fact by the Information Seeker if the distinction between a real teacher and an actor representing a real teacher is not important. The Big Picture reads in part, "A man representing a teacher is seen showing a group of grade-school children a large picture of a tooth. He explains the different parts of the tooth and tells why brushing is important." One of the two remaining favorite commercials, A Tour of the Flouride
Plant, also demonstrates the information-seeking nature of Factor II, even though the item is coded Unbelievable
Fiction (Fantasy). The item reads: "In this cartoon, a scientist in a lab coat takes us on a tour of the plant where the flouride active compound is made for 198
new SHIELD, It is an interesting and educational
tour.11
Four of the Information Seeker’s top six commer
cials are also coded Hon Moi'al. Generally, this means
that the. item contains no struggle between good and
bad, v/hether a "shades of gray" struggle represented as moral Intellectual 01? "good guys versus bad guys" repre- ,
sented as I-Joral Sentimental, A quiz shov/ on television,
or a cross-v/ord puzzle in the newspaper, for example,
is generally coded Hon Moral. In the case of the
commercials, it also means that no attempt is made to
pit the hero (SHIELD toothpaste) in battle against the
evil forces of tooth decay, bad breath, and yellowed
smiles. Generally, a mere identification of SHIELD
as sponsor of the message, or a good-natured invitation
to try SHIELD, suffices.
A closer look at some of the commercials illustrates
the point. In A Talk v;ith the Scientists, for example,
the identification of the sponsor is imbedded deep within the commercial. "Y/e see interviev/s with a
number of research scientists who worked at the Dental
Research Center which developed the nev/ anti-cavity
ingredient in SHIELD. They talk in their own way about
the new ingredient from a scientific standpoint."
Again, in A lour of the Flouride Plant the focus of attention is on scientific information rather than the 199 heroic qualities of the product. ". . . a scientist in a lab coat takes us on a tour of the plant where the flouride active compound is made for new SHIELD. It is an interesting and educational tour." Give It Your
Own Test concludes with the line, "In the same light note, the announcer asks us to try new SHIELD-— give
your ov/n test." Similarly, The Big Pictvire. concludes by saying "SHIELD is briefly identified as the sponsor of the message."
(Phis desire of the Information Seeker not to have the product mounted on a charger and shown slaying the dragons of poor dental care is reinforced by a look at the commercials which he most strongly rejects. !Phe clearest element among these eight "Like Least" com mercials is Moral Sentimental. Eive of the bottom eight items are coded Moral Sentimental. In The Eantastic
Voyage, for example, "the dental party finally concludes that the only thing that will help now is new SHIELD."
In number 30, The Queen of Light "solves several dif ferent crises of love by brightening up dull teeth.
She tells us seriously we can do the same with new
SHIELD toothpaste." Little Jill's mother tells us, in number 17, " 'And you know I used to have trouble getting Jill to brush her teeth until new SHIELD came along. Didn't like the taste of her old toothpaste. 200
But SHIELD changed all that'." A struggling, ambitious young model is having a tough time with her career in number 20 when "A top photographer seriously gives her the tip to 'try new SHIELD1 ". She does, of course, and then has great success. Not surprisingly, "She tells us slio has new SHIELD to--thank for her success." In number 32, Cinderella's smile helps her conquer her man, Prince Charming. "At the end, we're reminded how much beautiful teeth can help your smile and 'Who knows new SHIELD may even help you get a smile that will conquer a prince."
It is the combination of this NonMoral Moral
Sentimental construct with the reality unreality construct that makes Factor II distinct. The Moral
Sentimental element appears to be rejected in part because it is unbelievable. A combination of, say,
Believable Fiction and Moral Sentimental might have re sulted in the "slice of life" commercial so strongly rejected by the Entertainment Seeker. If Factors I and II were merely mirror images of each other, it might reasonably be expected that the sentimental "slice of life" commercial would be strongly accepted by the
Information Seeker. But she appears to have rejected this sentimental "slice of life" combination as unreal, unbelievable. 201
Graph XVII
TOOTHPASTE COMMERCIAL PACTOR. II:
THE INFORMATION SEEKER
Believable, Real
Moral Sentimental No Moral +
Unbelievable, Unreal 202
Another interesting comparison between the Enter tainment Seeker and the Information Seeker is the role of children. Children did not play a central role in the kinds of commercials which the "young men" who loaded highest on Factor I liked most. Children were very noticeable in the commercials which Factor I strongly rejected. • Perhaps not too surprisingly, half of the commercials which the "housewifes" of Factor II liked most do have children present. But there is a difference. The children present in the commercials which Factor I disliked were playing roles in the traditional "slice of life" commercials. The children present in Factor II's favorite commercials are subjects of a test (number 1), or students in a classroom (number
24), or "kids" saying "the darndest things" to Art
Linkletter. The children who are present here are real, believable youngsters who help support the information- giving function of these commercials. Only two commer cials in Factor II's reject pile noticeably center on children, and both of these are in the Moral Sentimental
"slice of life" category. (Numbers 17 and 32).
Political Message Factors
The sorting of the Political Messages Instrument produced three main factors. As in the case of the 203
Toothpaste Commercials Instrument, one of these factors
is a strong representative of the Information Seeker
type, and another is a strong representative of the
Entertainment Seeker type. In addition to these two
strong type3, the political instrument produced a third
factor which is representative of the Youth Oriented
type.
Factor I: The Information Seeking Type. Through his sorting of the political messages, Factor I appears
to he saying, "Politics is important business. You
shouldn't he using a lot of fancy, way-out tricks to
sell a candidate. The use of Fantasy is just too un
dignified for the 3erious business of politics. You
should concentrate on showing us the candidates as they really are and having them present their views on the
important issues and problems of the day. And I want
to know what other people think about the candidates.
You shouldn't make the candidate out to be a hero who
can miraculously solve all of our problems. This is a complex, difficult age we live in. Your messages
ought to be honest and reflect this complexity.' Of
course, don't forget that I consider myself to be a
friendly guy with a good sense of humor, and I would
like to know that the man we elect Pi'esident is also friendly and has a good sense of humor and can get along 204 Table 20
POLITICAL FACTOR Is THE INFORMATION SEEKER
Item Code Title Score
10. B.Fact NM IiC S The Important Issues 1
35. U.Fict NM LC C A Young American Taxpayer 1
1. B.Fact MI HC C John Phillips with Latin 1.6 American Leaders
3. B.Fact MI LC C 1.6
9. B.Fact NM HC C The Man on the Street Talks 2 About John Phillips
13. B.Fict MI HC C 2
21. B.Fict'NM HC C 2
22. B.Fict NM HC S Stretching the Family Dollar 2
4. B.Fact MI LC S Help for the American Indian 8
23. B.Fict NM LC 0 "Y/ho Can You Believe 8 . . . .?"
25. U.Fict MI HC C Even in Yftieelbarrows 8
27. U.Fict MI LC C Those Romantic Gangs 8
29. U.Fict MS HCC A Fish’s Guided Tour 8
52. U.Fict MS LC S The Shopper's Maze 8
35. U.Fict NM HC C The Amazing New Anti- 8 Missle Defense System
34. U.Fict NM HCS 2068 8.5
7. B.Fact MS LC C "No More Recess . . . ." 9
36. U.Fict NM LC S 9 205 v/ith all kinds of people. It's a plenty tough job.”
According to the sorting, the Information Seeker most prefers the element of Believability, Non-Moral
Struggle, High Complexity, and a light touch of Humor in political messages. The element most often found in the rejected political messages is that of Unbelievable
Fiction (Fantasy)* In the next few pages I will look at the elements and themes of those political messages which the Information Seeker most prefers and rejects.
Seven of the top eight items are coded Believable.
The first four of these seven are coded Believable.
Fact. In The Important Issues, for example, "John
Bhillips talks about the bills he has sponsored in the
Senate on a variety of subjects . . . He uses a series of charts and graphs to illustrate his points." In John
Bhillips with Batin American Leaders, "Nev/sfilms are shown of the time Y/hen he was a young Undersecretary of State attending a-conference of Latin American leaders.” Message number 5 "is a short excerpt taken from the time v;hen Sen. Phillips was a guest on the
Johnny Carson Show.” "In a series of 'Man on the
Street1 interviews, a v/ide variety of people talk about some of the different reasons they intend to vote for
John Phillips" in number 9.
The next three items are coded Believable Fiction, 206 but the emphasis still is on "real people" talking about "real problems". The fact that the roles of these "real people" are taken bjr actors and that the conversations are usually scripted seems not to matter.
The total effect of the messages is one of "believa bility" and "reality". Number 13, for example, reads in part:
•In this staged film a college profes sor is talking informally with a few of his students. In the scripted conversation they discuss John Phillips* position on several of the most complex problems of the day . . . They often bring into their con versation quotations from Sen. Phillips.
Similarly, number 21 reads in part:
In a series of scripted interviews, persons representing many different voters talk about different jobs John Phillips has held in the past. Each of these examples helps make the point that he has had broad experience in government administration
• • *
Number 22 also stresses reality and believability:
Stretching the Pamily Dollar. Several young women representing and looking very •much the part of typical young American housev/ives are seen in a series of different shopping situations . . . In each case the point is made that prices have gone up on a wide range of items.
Taken together, these items, whether coded Believ able Pact or Believable Piction seem to illustrate the information-seeking aspect of Pactor I's personality.
The emphasis is on "plain talk". It's as though he 207
were saying "I want to know the candidate and what he
stands for." Altogether, these are items in which the
candidate himself, real people, or persons representing
"real people" talk about the candidate's background
and experience and his stand on the important issues.
Five of the top eight items are coded Hon Moral.
The coding as used in this study generally means that
there is an absence of a struggle between good and
evil, whether that struggle is a Moral Intellectual
"shades of gray" struggle or a Moral Sentimental "good
guys versus bad guys" struggle. Since this Hon Moral
element is a negative element, it is difficult to
illustrate its presence in an item. The result in these political messages is a kind of "soft sell". The mes sage presents the information about the candidate and the issues, and identifies the candidate and the office, but lets people draw their own conclusions. The can
didate is not presented as a knight in shining armor who can miraculously solve all the problems of the country.
Significant for its absence is the Moral Sentimental element, which pits the "good guys" in battle against the "bad guys", a battle which the "good guys" always win. Hone of the top eight messages were coded Moral
Sentimental.
In fact, the three items among the top eight which 208 were not coded Hon Moral were coded Moral Intellectual.
Moral Intellectual is the coding for the "shades of gray" struggle between good and evil. It’s presence among the top eight items suggests that whenever the struggle between good and evil is presented, it should be pre sented in such a way that it recognizes the real com plexity of today's problems and does not try to over simplify the issues or present any too-easy answers.
Six of the eight most preferred political messages are coded High Complexity. Throughout the study, this coding has generally meant that the outcome of the item is difficult to predict. In the case of these political messages, as in the case of the toothpaste commercials, the coding.also means that the items contain more people or that more ideas and issues are discussed. The
Information Seeker's preference for items v/hich are coded High Complexity would seem to be in keeping with his preference for the elements of Hon Moral and Moral
Intellectual struggle. "Complex issues", he seems to be saying, "should be given a complex treatment in political messages. Somehow, it's more believable, more realistic that way."
A closer look at some of the items will illustrate the presence of this High Complexity element. In The
Important Issues, for example, John Phillips talks 209 about 'h variety of subjects education, prices, housing, peace, crime and corruption, protecting con sumers, etc." He also used "a series of charts and graphs" to illustrate his points. There is a series of scenes in John Phillips with Latin American headers.
In number 22, "Several young women . . . are seen in a series of different shopping situations," in which, they are hopelessly working at Stretching the Family Dollar.
Six of the top eight items are coded Comedy. In the case of these political messages, the element generally referred to the presence of a "light touch",
"friendly people", and "humorous comments". Item number
3 may provide one of the best examples of this element.
"This is a short excerpt taken from the time when Sen.
Phillips was a guest on the Johnny Carson Show. In the interview Sen. Phillips is friendly, relaxed and has a good sense of humor." The prfessor and-his students in number 13 "are a friendly, relaxed group, and their conversation is.filled with wit." In addi tion, "They often bring into their conversation quotations from Sen. Phillips which indicate that he is very knowledgable on the issues and has a good sense of humor, as v/ell as high purpose." The people in number 21 who talk about the jobs and experience
Sen. Phillips has had in the past "are friendly, re laxed people who have a good sense of humor." 210
The most obvious element present in the political messages the Information Seeker "liked Least" is
Unbelievable Fiction (Fantasy). Seven of the bottom ten items are coded with this element. In message num ber 25> the political message which asks the question
" 'How much inflation is safe inflation?1 "we see people carrying money "in wheelbarrows, in potato sacks, bulging suitcases, etc. Sen. Phillips' concern for the root problems of youth and juvenile delinquency is rather fantastically expressed in message number 27:
Those Romantic Gangs. This filmed . message looks like it could have been a scene taken from the popular musical "West Side Story." The members of the young gang arc seen snapping their fingers to the rhythran of the music and dancing their way down a New York City street.
"A fish takes us on a guided tour of his home, a river," in message number 29. 5Phe fantasy quality is very explicit in message number 52, which begins: "This message has a surrealistic, or dream quality to it.
A housewife is pushing a grocery cart through a giant maze and can't find her way out." In number 33, The
Amazing New Anti-Missle Defense System turns out to be
" giant sized, automatic bow-and-arrow machines."
2068 is a "fictionalized story of what life will be like in the year 2068, a century from now. It . . . seems fantastic." 211
Graph XVIII
POLITICAL FACTOR I: THE INFORMATION SEEKER
Real, Believable +
+ Complex
Unnatural, Friendly, Warm, Unfriendly Sense of Humor +
Simple
wm Fantasy, Unbelievable 212
A graphic presentation of the construct system for Political Factor I, the Information Seeker, might look something like Graph XVIII.
Factor II; The Entertainment Seeker Type.
Political Messages Factor II, like Toothpaste Commer cials Factor I, is a good example of the Entertainment
Seeker. Factor II strongly prefers the element of
Unbelievable Fiction, or Fantasy, in his political messages. He rejects the Hon Moral and Low Complexity elements. He appears to be a person who does not look to televised political messages as a source of informa tion. He more than likely is already informed about the candidates and the issues, and already has decided v/hich issues are most important. He looks to these messages, instead, to dramatically present the issues and champion his cause. In the next few pages we will take a closer look at both the elements and the themes of the items which Factor II most prefers and rejects in his political messages.
Six of his nine most preferred messages are coded
Unbelievable Fiction (Fantasy). "Through a bit of film magic," in number 28, for example, "we see the
Grand Canyon rapidly filling with water. Soon we see a picture of what the Grand Canyon would look like all filled up with water." A Fish's Guided Tour is one of 215 the two fantasy items which the Entertainment Seeker liked and the Information Seeker didn't. The Fantasy in Through the Fop; has an almost eerie quality to it.
Through the Fog. Running forms are barely seen through a thick, blowing smog. The smog finally breaks a bit and we see little children running through the park, playing on jungle gym bars, jumping rope, etc.----wearing gas masks.
Message number 31 tackles this same air pollution problem v/ith a more light-hearted form of Fantasy.
The Chimney Sweep. Here a "Mary Poppins" t5rpe of chimney-sweep is being interviewed. He is complete with high hat, broom, soot, and all. All around him smoke is billowing out of chimneys, incinerators, plants, etc. In this humorous interview, he talks about how busy he's been, and con cludes by saying "Yes, Sir! Business is better than ever!" Then he flies off to his next job.
The Fantasy in "What Went Wrong . . .?" is a bit grim.
At the opening, some top military and civilian leaders are in an underground bomb-shelter somewhere under neath Washington, D. C. The message reads in part:
When they emerge, they see total, unbeliev able destruction. They are then followed walking in several scenes at the ruins of different landmarks such as the capitol, the White House, etc. One asks the other, "What went wrong?"
Number 33 is the second of the two Fantasy items which
Factor II liked and which Factor I didn't like. En titled The Amazing New Anti-Missle Defense System, it is a satirical commentary on our defense system. Toward 214 Table 21
POLITICAL FACTOR II: THE ENTERTAINMENT SEEKER
Item Code Title Score
28. U.Fict MI LG S The Grand Canyon Fills Up 1 29. U.Eict MS HO C A Fish'3 Guided Tour 1
15. B.Fiet MI LC C The Free Air 2
50. U.Fict MSHC S Through .the Fog 2
31. U.Fict MSLC 0 The Chimney Sweep 2
2. B.Fact MI HCS Nature's Balance 5
19. B.Fiet MSLC C John Phillips Champions 5 National Parks
26. U.Pict MIHC S "What Went Wrong . . . .?" 5
55. U.Fict NM HCC The Amazing New Anti-Missle 5 Defense System
9. B.Fact NM HC C The Man on the Street Talks 7 About John Phillips
15. B.Fiet MI HC C • 7
25. B.Fiet NM LC C "Who Can You Believe 7 . . . .?"
27. U.Fict MI LCC Those Romantic Gangs 7 10. B.Fact NM HC S The Important Issues 8 52. U.Fict MS LC S The Shopper's Maze 8
55. U.Fict NM LC C A Young American Taxpayer 8 11. B.Fact m LC c The Grocery Budget--- 9 Including Fido 56. U.Fict m LC s 9 215
the end of a big alert at one of our missle defense
centers, "the silos open and up and out come giant
sized, automatic bow-and-arrow machines."
The major theme of the most preferred messages is
the use and care of our natural resources. Seven of
the top nine messages deal with such problems as air
and water pollution, wildlife conservation, development
of the national park system, and preservation of great natural phenomena.
Preservation, for example, is the theme of number
28, The Grand Canyon Fills Up. After watching the Grand
Canyon fill to the rim,
Y7e then hear John Phillips say, "There are some values which are hard to measure in terms of dollars and cents efficiency. True, the dam would px'ovide cheaper electric power and more irrigation water. But how do you measure the worth of a great phenomenon of nature?"
The "talkative fellow with a good sense of humor"'who
takes us on A Fish's Guided Tour in number 29,
. . . begins by apologizing for "what a mess the place is today". On the tour we meet several of his friends. Each conversation points up another cause of river pollution. "It wasn't always like this," he tells us. "And we'd sure like to get it cleaned up." The annoimcer then asks us to "Join John Phillips in his fight against the causes of water polutionl let's clean up our water!"
In The Free Air, after humorously showing the extent and
sources of air polution on .a downtown city street, 216
Jolm Phillips' voice is heard saying: "The free air we breathe costs us millions of dollars each year in damage to property and health. Yes, it will cost us in taxes and inconvenience to clean up the air. But can we afford to wait?"
The children we see wearing gas-maslcs as they play in message number 50, Through the Fog, are, of course trying to protect themselves from air polution.
. . . the announcer talks abou.t the several causes of air pollution, including autos, industry, incinerators, etc. He concludes, "Although powerful interests resist his efforts, John Phillips has been a strong leader in the fight to clean up the air for our families. This is a fight we must not lose."
Air pollution again is the theme of message number 51.
After interviewing The Chimney Sweep,
. . . . The announcer chuckles and says, "Well, it will take more than a busy chimney-sweep to take care of all the polution in the air today. Join John Phillips in 'Operation Chimney Sweep1, his imaginative new program to clean up the air. For the sake of your family, you can't afford not to."
Message number 2 addresses itself to preserving Nature's
Balance, for
If the number of animals outruns the natural food supply, the animals will starve. John Phillips has proposed larger game quotas for hunters in order to prevent starvation and at the same time provide sport for hunters.
The last two of the top nine items are about modern warfare. Number 26, for example, asks the question "What Went Wrong?" as we look upon scenes of 217
"total, unbelievable destruction" following the nuclear devastation of Washington, D. 0. Number 33 is a satiri cal fantasy which questions the adequacy of our. missle defense system.'
The elements found in the items which Factor II rejected bears out the impression of him as an Enter tainment Seeker type who wants his political messages to dramatically present an issue. He consistently rejects political messages which have No Moral struggle, and which are very predictable and humorous.
Six of his nine rejected items are coded No Moral struggle. Generally this means that he doesn't like political messages which don't make a point. This ap pears to be in keeping with his preference for commercials which make a point with impact. Recall that the Infor mation Seeker preferred the Non Moral element in his political messages. He would rather not have the struggle between good and bad getting in the way of his favorite messages' primary function, providing information. The Information Seeker v/ants information to help him make up his mind about the candidate and the issues, and he doesn't want the message zealously championing a man or a cause. But the Entertainment
Seeker appears already to have his information and have made up his mind about the issues. He has no use 218
for a political message which does not champion his
cause. Significantly, one of the messages which the
Entertainment Seeker rejected is entitled The Important
Issues, and is coded Non Moral. He placed this item
in the number 8 pile next to the last.' The Information
Seeker, however, placed this item in the number 1 pile,
at the very top of his data array.
Six of the bottom nine-messages are coded low
Complexity. This means that he does not like highly
predictable messages, where the outcome is well known.
In the case of these political messages, and in the
case of the toothpaste commercials, his rejection of
these low Complexity messages suggests that he does not like messages which lack variety. These messages
generally feature only one or two persons, and focus on
only one setting. Number 23t for example, features two
fisherman conversing in a boat. Number 32 features
one housev/ife lost in The Shopper's Maze. A Young
American Taxpayer features "A typical young American
family man . . . at his desk at home working on his
taxes, bills, etc."
Six of the nine "Least Liked" are coded Comedy.
Mostly these contain the "friendly" folks with a "good
sense of humor" who tend to star in the "slice of life"
type messages. When, for example, The Man on the Street Talks About John Phillips, "sometimes the ansv/ers are a bit humorous, but they reflect the views of real people." The college professor and his students in number 13 "are a friendly, relaxed group, and their conversation is filled with wit." Moreover, they quote
Sen. Phillips showing that "he has good sense of humor."
Both of these items were favorites of the Information
Seeker. In "V/ho can You Believe . . "A couple of men in their late thirties, representing and looking like young American family men, are out fishing together
In a boat. They are haying an often humorous conversa tion about politics ..." The "typical-looking, real- life young housewife" in number 11 who was worrying about the rising cost of food "has a good sense of humor, and even mentions how rising prices have affected
3?ido, the faithful family dog's eating habits." She rated only a 9 on the Entertainment Seeker's preference sort. One of the messages, Those Romantic Gangs, was coded Comedy because of the "musical-show" quality of the production. The opening line from it reads: "This filmed message looks like it could have been a scene taken from the popular misical 'West Side Story' ".
Humber 25 achieves its comic effect through satirizing the plight of the modern Young American Taxpayer. A young man is sitting at his home desk as tax forms and 220
Graph XIX
POLITICAL FACTOR II: THE ENTERTAINMENT SEEKER
Fantasy (Enterta inrnent) +
No Moral, Low Complexity, Strong Impact, - Friendly Makes a Point +
-■
Reality (Information) 221 other forms keep piling up on him.
. . . At the very end, the room is filled with paper and he is literally about to drown in it. The announcer says, "Here's a message from a young American taxpayer." "Help!" cries the young American tax payer .
Through his sorting of the political messages,
Political Factor II defines himself as a strong Enter tainment Seeker type. He already has information about the candidates and the issues. He knows where he stands in relation to what he considers the important issues.
Now he wants to see these positions forcefullyi dramatically and entertainingly presented. In his mind, the use of Fantasy will most likely achieve the impact.
He has no use for political messages which do not make a point, which are too simple to hold your interest, and which are filled with the "smiles and light humor" of the typical "slice of life" commercial.
A graphic representation of his construct system might look something like Graph XIX.
Factor Ills The Youth-Oriented Type. The sorting of the political messages produced a third factor worth examining. This third factor is a good representative of the Youth-Oriented type. There are tv/o major constructs operating in determining his preferences: Reality---
Unreality, and High Complexity low Complexity. His 222 favorite political messages either feature young people in the message, or are about, subjects which are supposed to be of interest to young people. He combines some traits of both the Information Seeker and the Entertain ment Seeker. Although he has more in .common with the first type, he is distinctive. He seeks .information about subjects of special interest to young people.
He is an Information Seeker with a difference. In the next few pages I will look at the element constructs and themes of his most preferred and rejected political messages,
The first eight of the Youth-Oriented type's nine most preferred messages are coded Believable, with an even split between Fact and Fiction. The Man on the
Street Talks about John Phillips "reflects the views of real people." "In a series of scripted interviews," in number 21, "persons representing many different voters talk about" John Phillips' experience. Number 3 is "a short excerpt taken from the time when Sen.
Phillips was a guest on the Johnny Carson Show." In the Important Issues, the candidate himself "talks about the bills he has sponsored in the Senate on a variety of subjects." A Conversation at lake Powell features the candidate himself and a guest; "John Phillips and a young man of college age." Number 8 uses documentary 223
Table 22
POLITICAL FACTOR III: THE YOUTH-ORIENTED TYPE
Item Code Title Score
9. B.Fact NM IIC C The Man on the Street Talks 1 About John Phillips
21. B.Fiet NM HCC 1
3. B.Fact MILC C 2
10. B.Fact NM HC S The Important Issues 2 CM
• B.Fiet NM LC S A Conversation at Lake 2 Powell
8. B.Fact MS LC S Little Paul Goes to School 3
17. B.Fiet MS HC C "I Can Trust Him ..." 3
18. B.Fiet MS HC S John Phillips' Crusade 3 Against Crime
30. U.Fict MS HC S Through the Fog 3
2. B.Fact MI HC S Nature's Balance 7 22. B.Fiet NM HC S Stretching the Family Dollar 7 29* U.Fict MS HC C A Fish's Guided Tour 7
32. U.Fict MS LC S The Shopper's Maze 7 11. B.Fact NM LC C The Grocery Budget--- 8 Including Fido
19. B.Fiet MS LCC John Phillips Champions 8 National Parks
28. U.Fict MI LC S The Grand Canyon Fills Up 8
7. B.Fact MS LC C "No More Recess . . . ." 9 12. B.Fact NM LC s The Super Train 9 224 technique to explore the world of a little ghetto child as Little Paul Goes to School. "... persons repre senting voters from all walks of life tell why they intend to vote for John Phillips," in number 17. The people featured in John Phillips' Crusade Against Crime
"are all people very much lilce ourselves."
A look at the themes of the Youth-Oriented type's
"most liked" messages is helpful. The first four also are among the top seven "most liked" by the Information
Seeker: These four are the best representatives of the
"information seeking" side of the Youth-Oriented type's personality. V/hen, for example, The Man on the Street
Talks About John Phillips in number 9» "they mention such things as his experience, his voting record in the
Senate, his views on important issues, his fine per sonal qualities, etc." In number 21, a group of people
"talk about the difierent jobs John Phillips has had . in the past." In number 10, The Important Issues, Sen.
Phillips "makes the point that these are important issues we must seriously consider in making our voting decisions."
Yet Factor Ill's is information seeking with a . difference. A closer look at several of his "like most" messages indicates that he seeks information about the candidate and issues which is of interest to young 225 people. • A number of these top-rated messages either feature young people in the message, or are on topics of interest to young people, or both. In number 3, for example, the candidate is seen when he was a guest on the Johnny Carson Show. Yet "this particular excerpt centers on a discussion abovit dissenters from stu dents to clergy to Congressional leaders. He is very knowledgable in his defense, of the right to dissent, in a democracy, even in time of national trial."
A Conversation at lake Powell features "John Phillips and a young man of college age . . ." Humber 18, entitled Little Paul Goes to School, notes that "His chances of finishing school and getting a good job are way below average. John Phillips wants every child to have a good education."
If it's true that the younger generation wants the older generation, especially in government, to
"tell it like it is", then the Youth Oriented type's preference for message number 17 is quite understand able . Entitled "I Can Trust Him . . the message reads in part: "One of the major reasons [that people say they are going to vote for John Phillips] is the fact that 'he is sincere, honest, and I can trust him.' "
The "running forms . . . barely seen through a thick, blowing smog," in number 30 turn out to be "little 226 children running through the park, playing on jungle gymn bars, jumping rope, etc. wearing gas masks."
The message concludes "... John Phillips has been a strong leader in the fight to clear up the air for our families. This is a fight we must not lose."
Thus, the Youth Oriented type's is information seeking with a difference, lie wants information about real people and problems presented in a believable fash ion, but he has his own youth-oriented set of problems about which he wants information.
Another important element-construct operating in determining the Youth Oriented type's preferences appears to be High Complexity low Complexity. Six of his top nine messages are coded High Complexity. Six of his bottom nine messages are coded low Complexity. In terms of the media instruments, the coding High Com plexity has meant difficulty in predicting the outcome of a particular story or message, low Complexity, on the other hand, suggests that the outcome of the message is easy to predict. In the case of these political messages as in the case of the toothpaste commercials, the coding High Complexity has taken on the added meaning of greater variety and greater difficulty in following the message. By the same token, the low
Complexity items have usually centered on one person 227
or issue, and have been less difficult to follow. In
keeping with the youth-oriented nature of his type, ■
this may suggest that Factor III sees High Complexity
items as faster paced than Low Complexity items.
There is more "action'’ in a High Complexity message.
More is "happening". You have to "keep up" to follow
the message.
Thus, Factor III seeks information on topics of
interest to him and his age group. This information
should be presented in a believable form. It ought
to feature young people like himself. And it ought to
be fast-paced and have variety. This is the Youth
Oriented type.
A graphic representation of his construct system might look something like Graph XX. 228
Graph XX
POLITICAL FACTOR Ills THE YOUTH-ORIENTED TYPE
Real, Believable, Informative +
Young People
Slower Pace, Fast Pace, No Variety, Variety, low Complexity High Complexity +
Adults
Unreal, Unbelievable, Uninformative CHAPTER IV
INDIVIDUAL PREFERENCE PATTERNS
The Single-Case Study
From the outset, this study has been concerned with two aspects of the cross-media preference problem. In the last chapter I was asking the question, "Are there similarities in preference types from medium to medium, or across the media?" I applied Q methodology to gain insight into the question.
The second aspect of the cross-media preference problem is the question of individual preference pat terns. I asked, "Are people generally consistent in their preferences across the media?" Asked another way, "Does a person generally like the same things in magazines, or commercials, or radio that he likes in television?" The design called for using 0 analysis to gain insight into this question.
Traditionally 0 analysis involves one person sorting a single instrument under a number of differ ent conditions of instruction. A good example of 0 analysis is a Decision-Maker study conducted by Robert
229 250
Monaghan and Joseph Plummer in 1967. They asked a local television station.Program Director to sort a set of hypothetical television programs under a number of conditions. Each condition represented the director1 perception of the preferences of a different person, such as his wife, hi3 boss, the station sales manager, the sponsor, the FCC, and others. Then, the conditions were clustered. The sorting developed two clusters, one representing what the director felt he "ought to" program, and the other what he actually programmed.
Closely associated with his first cluster were his concept of the public interest, what significant others
(such as his wife, parents, etc.) wanted him to program, hiB ideal role, and the community leader’s preferences.
His "actual" programming cluster was closely associated with what he thought his immediate superior wanted him to program, what he felt the audience wanted to see, and what he considered appropriate in his role as a practi cal, profit-minded commercial broadcaster. The con siderable difference in these two clusters pointed up what Monaghan and Plummer called "The Broadcast Maiiager'
Dilemma". It is interesting to note that this person
■'■'Robert R. Monaghan and Joseph T. Plummer, "The Broadcast Manager's Dilemma" (Unpublished report, Ohio State University), Abstract, 1966. 231 subsequently solved his dilemma by resigning his. com mercial post and becoming the program director of an educational television station. The study is a good example of hov; 0 design can be used to study a single person's preferences and decision-making processes.
I planned a similar approach as a way of studying individual preference patterns across the media. I started with one set of constructs and structured them in a balanced-block design. Six instruments were built from this common set of elements of style and content.
The instruments were built in such a way that same- numbered items in each instrument represented the same combination of constructs.
A person sorted each instrument according to per sonal preference in that medium. I reasoned that this procedure was the equivalent of sorting the same instru ment under different conditions, A person was, in effect, sorting the same combination of constructs according to preference in television, preference in radio, preference in movies, and so forth. I correlated the sorting of the instruments for each person. Then, factor analysis was used to cluster the instruments.
I hoped to compare and contrast the data arrays from these clusters of instruments. This would give insight into individual preference .patterns across the media.
It would give some idea how consistent a person is in 232 his preferences from one medium to the next.
The results of the 0 analysis were not' as con clusive as I had hoped. Unforeseen problems developed.
Essentially, I was unable to explain the factor arrays of a number of persons in the sample.
The main source of the problem appears to be in the cross-media reliability of the instruments. The lengthy reliability-checking procedures developed re liability within each medium's instrument. I did this by having six people sort each instrument four times, once for each construct. The procedure was repeated for each instrument.
But I did not check the reliability of the instru ments across the media. It now appears that a useful procedure would have been to put items from all the instruments together in one pile, and ask people to sort them according to the constructs. At the time X was developing the instruments, however, I felt it was necessary to slightly modify some of the constructs' definitions to accommodate different media. For example, the original definitions for moral value, complexity, and humorousness in television were modified somewhat for brand and political commercials. These slight changes in definition made it hard to check reliability across the media, although-it would not effect reli ability within each medium. 255
The reliability checking procedures I followed seemed appropriate to developing a series of Q instru ments. In the Q analysis, the codings of constructs is helpful, but not limiting. The pattern of element constructs is fairly clear in three of the Q types: the Information Seeker, the Entertainment Seeker, and the Sophisticate. But in the other three Q types, the element constructs are not so helpful: the Youth-
Oriented type, the Human Interest type, and the
Successful Adjustment to Life type. In these three
Q types, other constructs appear to be operating, such as Youth Adult, Human Non Human, and Success----
Escape. Indeed, one of the advantages of a Q study is the possibility of discovering constructs beyond the ones contained in the original theory.
The particular form of 0 study I undertook here, however, is almost entirely dependent upon the coding of the constructs in the instrument. In a traditional
0 study, for example, item 1 would be the same under all the different conditions. But in this study, only the coding for item 1 was the same under all the dif ferent conditions. Thus, it is the codings which are correlated and factored, and the conditions only secondarily. The person doing the sorting was not aware of the coding in the instruments. He thought he 234 was doing nothing more than expressing preference for various hypothetical selections in each medium. But since it is the codings which are correlated and fac tored, the cross-media reliability of. the instruments is crucial.
Despite the problems I had with the 0 analysis, some of the single-case studies did give some insight into the question of individual preference patterns.
I selected a few of these cases to illustrate the approach. They show the relationship between Q analysis and 0 analysis. These particular cases were among those which presented the fewest problems.
Some Examples
Mary Goodwin. Mary Goodwin is a thirty-eight year old housewife and mother of two. A college graduate, she holds the Bachelor of Arts degree. She lives in a choice middle-class residential neighborhood which- is inhabited bj7- business and professional people and a number of university faculty families. She is Presby terian and "mostly Republican."
In some ways, Mrs. Goodwin may be the single most important person in this study. She loaded high on more high-variance Q factors than any other person in the study. She loaded high on Movie Factor I, Magazine 255
Factor I, Toothpaste Commercial Factor II, and. Politi cal Messages Factor I. All four of these factors are of the Information Seeker type.
Her sorting of the six media instruments produced four factors. Factor I combined both Radio and Toothpaste commercials. Factor II was Political; Factor III was
Movies; and Factor IV was Television. All four of these factors are Information-Seeking factors. Con sidering the fact that she loads high on the Information-
Seeking type for four media, and that the four factors she produced iri the 0 analysis are all of the Information-
Seeking type, v/e can conclude that she is generally con sistent across the media.
The four factors appear to have more similarities than differences. All of them appear to be of the
Information-Seeking type. The dominant construct in her media decision-making appears to be the Reality con struct. In three factors it appears in the form of a
Fact Fiction construct, and in one factor it appears
in the form of a Believable Unbelievable construct.
This Real Unreal construct appears to be the strongest
one operating in determining her preferences among media.
Two other constructs present, but not quite so strong, are the Non-Moral- Moral Sentimental construct and the Low Complexity---- High Complexity one. Generally 236 spealcing, she prefers those messages which provide believable, factual information presented in a less complex manner and in a manner devoid of heroes and the struggle between clear-cut good and evil.
The one factor which seemed to stand out from the others is Factor III, the Movies. In most respects she is still an Information Seeker in the Movies. The
Real Unreal construct is operating strongly here.
The subjects of the movies are informational. In the movies, however, she seems to prefer more humorousness.
The Comedy---Serious construct appears to be operating strongly here. For the most part, the humor appears to be a "softer” form of humor, such as the presence of friendly people, lighthearted comments by a President, or home-centered humor. It may be that she expects movies to be more entertaining than the other media.
My inclination is to believe that this is a subordinate construct which she applies to movies, but which is subsumed under the more important super-ordinate Reality and Informational constructs v/hich she uses in deter mining her preferences across the media.
In the following pages are presented the data arrays for each of the 0 factors, and a graph suggesting what Mary Goodwin’s personal construct system may b e . 237
Table 23
MARY GOODY/HI FACTOR Is RADIO & TOOTHPASTE COMMERCIALS
Item Code Title Score
14. B.Fict MI HC S Readers Theatre (Rad) 1 34. U.Fict HM HC S A Tour of the Flouride Plant 1 (TPC) 1. B.Fact MI HC C A Look at the V/orld (Rad) 1. 5 1. B.Fact MI HC C "Houseparty" (TPC) 1. 5 11. B.Fact HM LC C Easy Listening (Rad) 1. 5 11. B.Fact KM LC C Give it Your Own Test (TPC) 1. 5 2. B.Fact HI HC S Roundtable Meeting (Rad) 2 4. B.Fact MI LC S Religion in our Lives (Rad) 2 10. B.Fact HM TIC S A Talk Y/ith the Scientists 2 (TPC) 24. B.Fict HM LC S The Big Picture (TPC) 2
17. B.Fict MS HC C Little Jill's Food (TPC) 8 17. B.Fict MS HC C The Reporter (Rad) 8 21. B.Fict HM HC C Cindy (Rad) 8 23. B.Fict HM LC C A Vibrating Electric 8 Toothbrush (TPC) 29. U.Fict MS HC C Jack the Mind Reader (Rad) 8 29. U.Fict MS •HC C The Fantastic Voyage (TPC) 8 13. B.Fict MI HC c Home From the Dentist (TPC) 9 20. B.Fict MS LC S Life's Troubled Journey 9 (Rad) 20. B.Fict MS LC s A Timely Tip (TPC) 9 35. U.Fict HM LC c (Rad) 9 238
Table 24
MARY GOODWIN 'FACTOR II: TELEVISION
Item Code Title Score
16. B.Fict MI LC S The Classics for Discussion 1
24* B.Fict KM LC S Those Far Av/ay Places 1
2. B.Fact MI HC S The Y/ar Years 2
12. B.Fact m LC S The .Professional Chef 2
22. B.Fict NM HC S Great Scientists 2
8. B.Fact MS LC S The Tumult and the Shouting 3
34. U.Fict NM HC S Outside the World 3
35. U.Fict NM LC C Peanuts 3
36. U.Fict NM LC s How About That! 3
6. B.Fact MS HC s Night Cry 7 9. B.Fact NM HC C It's Nev; ■7 20. B.Fict MS LC s Prince Toby 7 25. U.Fict MI HC c Merlin the Magician 7 18. B.Fict MS HC s Yearning 8 30. U.Fict MS HC s Project Universe 8
21. B.Fict NM HC 0 The Pantomime Game 8
26. U.Fict MI HC s Commitment: Destiny 9
32. U.Fict MS LC s The Mystery Man 9 239 Table 25
■MARY GOODWIN FACTOR III: MOVIES
Item Code Title Score
1. B.Fact MI HC C Making of the President 1 7. B.Fact MS LC C The Loner 1 8. B.Fact MS LC S The Prospector 2 9. B.Fact NM HC C Colorado 2 34- U.Fict NM HC s The Story of the Universe 2 2. B.Fact MI HC S The Blindfold of Justice 3 3. B.Fact MI LC c The Baker Platoon 3 19. B.Fict MS LC c The Marriage Counselor 3 35. U.Fict NM LC c The Stor5" of Man 3
20. B.Fict MS LC s The Seals 7 22. B.Fict NMHC s The Cry.for Help 7 24. B.Fict NM LC s The D.I. 7 25. U.Fict MIHC c Mission: Time 7 11. B.Fact NM LC c "Hang Five I" 8 26. U.Fict MI HC s The Doomsday Machine 8 Table 26 MARY GOODWIN PACTOH IV: POLITICAL. MESSAGES Item Code Title Score 3. B.Fact MI LC C 1 10. B.Fact n m HC S The Important Issues 1 1. B.Fact MI HC C John Phillips with Latin 2 American Leaders ■ 13. B.Fict MI HC C 2 21. B.Fict NM HCC 2 9. B.Fact NM HC C The Man on the Street Talks 3 About John Phillips 17. B.Fict MS HC C "I Can Trust Him ..." 3 23. B.Fict HM LC C "Vfho Can You Believe . . .?" 3 24. B.Fict HM LC S A Conversation at Lake Powell 3 6 . B.Fact MS HC S The Sounds of Hammers and 7 School Bells 29- U.Fict MS HC C A Fish's Guided Tour 7 31. U.Fict MS LC c The Chimney Sweep 7 34. U.Fict HM HC s 2068 7 25. U.Fict MI HC c Even in Wheelbarrows 8 27. U.Fict MI LC C Those Romantic Gangs 8 33. U.Fict m HC c The Amazing Hew Anti-Missle 8 Defense System 7. B.Fact MS LC c ”Uo More-Recess . . ." 9 36. U.Fict NM LC s 9 241 Graph XXI MARY GOODY/IN Real, Believable, Factual + H* Bov/ Complexity + No Moral (or Moral Intellectual) Non- Inf orraative Informative + Moral Sentimental High Complexity Unreal, Unbelievable, Fictional 242 John Olson. John Olson is fifty-four years old and lives with his wife and two teenage sons in a desireable middle-class neighborhood. He has a Ph.D. in horticulture and works in industry. He is a Lutheran and a Republican. Hr. Olson loaded high on two Information Seeker Q factors: Movies and Political Messages, The 0 analysis of his sortings produced four factors, all of them of the Informat.ion-Seek.er type. Factor I combined Radio and Toothpaste Commercials. Factor II was Magazines; Factor III v/as Movies; and Factor IV was Political Messages. Mr. Olson appears to be an even more consistent Information Seeker than Mrs. Goodwin. All of his factors are of the Information-Seeker type, including the Movies. Here again, the Reality construct appears to be the most important one. He prefers messages which are Believable, especially Believable Fact, and he rejects Unbelievable Fiction, or Fantasy. The other constructs do not appear to be as important. He does show a prefer ence for Seriousness over Comedy in Factor I (Toothpaste Commercials and Radio). Also, he preferred the Hon Moral and rejected the Moral Sentimental in Factor I. He preferred the Moral Intellectual in Factor III (Movies). He preferred High Complexity in Factor IV (Political Messages). In the following pages are pre sented the data arrays for his four factors, and a graph representing his possible construct system. 243 Table 27 JOHN OLSON PACTOR I: RADIO & ‘TOOTHPASTE COMMERCIALS Item Code Title Score 11. B.Fact NM DC C Easy Listening (Rad) 1 12. B.Fact NM DC s Ask the Expert (Rad) 1 16. B.Fict MI LC s (TPC) 1 9. B.Fact MM HC c How Do You Brush Your 1. 5 Teeth? (TPC) 9. B.Fact MM HC c Game of the Week (Rad) 1. 5 14. B.Fict MI HC s (TPC) 2 18. B.Fict MS HC s Great' Moments (Rad) 2 22. B.Fict HM HO s What's Nov/ in Shield (TPC) 2 24. B.Fict NM LC s The Big Picture (TPC) 2 24. B.Fict NM LC s Stories of Discovery (Rad) 2 20. B.Fict MS LC s life's Troubled Journey (Rad)8 21. B.Fict NMHC c Cindy (Rad) 8 23. B.Fict NM LC s Comedy Spots (Rad) 8 31. U.Fict MS DC c Goldilocks (TPC) 8 33. U.Fict NMHC 0 Shield and the Seven Dwarfs 8 (TPC) 32. U.Fict MS LC s Cinderella (TPC) 8. 5 32. U.Fict MS LC s Revival Hour (Rad) 8. 5 27. U.Fict MI LC c "You're Pulling My Earl" 9 (Rad) 29. U.Fict MS HC s The Fantastic Voyage (TPC) 9 30. U.Fict MSHC s The Queen of Light 9 244 Table 28 JOHN OLSON FACTOR II: MAGAZINES Item Code Title Score 4. B.Fact MI LC S Economic Re vie*/ 1 11. B.Fact NM LC C Sports Yfeek 1 6. B.Fact MS HC S This Y/eek in the News 2 7. B.Fact MS LC 0 See 2 23. B.Fict NMLC c Sports Story 2 13. B.Fict MI HC c Leader 3 16. B.Fict MI LO s Success Story 3 21. B.Fict HMHC c The O'Henry Journal 3 24. B.Fict NM LC s Our State's History 5 5. B.Fact MS HC c The Happy Cook 7 9- B.Fact NM HC c The Candid Observer 7 27. U.Fict MI LC c Crazy 7 34. U.Fict NMHC s YJould You Believe? 7 18. B.Fict MS IIC s Government Agent 8 20. B.Fict MS LC s Romantic Story 8 29. U.Fict MS HC c Super-Eye 8 8. B.Fact MS LC s My Romance 9 31. U.Fict MS LC c Screen Star 9 245 Table 29 JOHN OLSON FACTOR III: MOVIES Item Code Title SOore 1. B.Fact MI HCC Making of the President 1 4. B.Fact MI LC S The Pennsylvania Dutchman 1 2. B.Fact MI HC S The Blindfold of Justice 2 3. B.Fact MI LC C The Baker Platoon 2 9. B.Fact NM HCC Colorado 2 10. B.Fact NM HC S This Strange Yforld 3 20. B.Fict MS LC S The Seals 3 34. U.Fict HM HC S The Story of the Universe 3 35. U.Fict HM LC C The Story of Man 3 18. B.Fict MS HCS The Dehut 7 19. B.Fict MS LC C The Marriage Counselor 7 25. U.Fict MI HC C Mission: Time 7 28. U.Fict MI LC S "Impossible" 7 13. B.Fict MI HC C 8 22. B.Fict HM HC S The Cry for Help 8 29. U.Fict MS HCC Three Wishes 8 26. U.Fict MI HC S The Doomsday Machine 9 33. U.Fict HM HC C Super-Baby 9 246 Table 30 JOHN OLSON FACTOR. IV: POLITICAL MESSAGES Item Code .Title Score 1 . B.Fact MI HC C John Phillips with Latin 1 American Leaders 10. B.Fact NM HCS The Important Issues 1 3. B.Fact MI LC C 2 9. B.Fact NM HC C The Man on the Street Tallcs 2 About John Phillips 21. B.Fict NM HC C 2 6 . B.Fact MS HC S The Sounds of Hammers and 3 School Bells 13. B.Fict MI HC C 3 tt 17. B.Fict MS HC C "I Can Trust Him . . ♦ 3 26, U.Fict MI HC S "Y/hat Went Y/rong . . 3 4. B.Fact MI LC S Help for the American Indian 7 7. B.Fact MS LC C "No More Recess . . .ti 7 9 ti 23. B.Fict NT-1 LC C "Who Can You Believe , * . « 7 31. U.Fict MS LC C The Chimney Sweep 7 25. U.Fict MI HC C Even in Y/heelbarrows 8 29- U.Fict MS HC C A Fish's Guided Tour 8 32. U.Fict MS LC S The Shopper's Maze 8 34. U.Fict NM HC S 2068 9 36. U.Fict NM LC S 9 247 Graph XXII JOHN OLSON Real, Believable, Factual + + High Complexity + Serious Moral Sentimental No Moral + or Moral Intellectual Comedy - Low Complexity Unreal, Unbelievable, Fantasy 248 Pat Baker. Pat Baker is an attractive fifteen year old high school sophomore. She lives with her five-member family in a choice middle-class neighbor hood. She is Episcopalean and politically independent. Por her hobbies she lists art, horseback riding, and boys. Miss Baker appears to be a fairly consistent Entertainment Seeker. As a person she loaded high on two Entertainment Seeker Q factors: Television and Magazines. Her own 0 analysis produced four factors. Pact or I combined Radio and Movies. Pactor II was Political Messages; Pactor III v/as Magazines; and Pactor IV was Toothpaste Commercials. All of the factors in her 0 analysis appear to be basically En tertainment Seekers. The two strongest constructs operating in her media decision making are the Seriousness and Complex ity constructs. These two constructs were operating in all of the media for her. She prefers Comedy and High Complexity, and rejects Seriousness and low Com plexity. The Reality construct appears not to be so impor tant to her. She would enjoy either l,real,f or "unreal" messages so long as they are humorous and unpredictable. 249 Table 51 PAT BAKER PACTOR I: RADIO & MOVIES • Item Code Title Score 21. B.Pict NM HCC The Swingles (Mov) 1 27. U.Piet MI LC c "You're Pulling My Ear!" 1 (Rad) 6. B.Fact MS HC s Front Line Report (Rad) 1 . 5 6. B.Fact MS HC s Lena- (Mov) 1 . 5 11. BiPaot NM LC c "HANG FIVE!" (Mov) 1 . 5 11. B.Fact NM LC c Easy Listening (Rad) 1 . 5 13. B.Fict MI HC c (Rad) 2 18. B.Fict MS HC s The Debut (Mov) 2 25. U.Fict MI HC c Mission: Time (Mov) 2 35. U.Fict NM LC c (Rad) 2 2. B.Fact MI HC s Roundtable Meeting (Rad) 8 8. B.Fact MS LC s The Prospector (Mov) 8 9. B.Fact NMHC c Game of the Week (Rad) 8 14. B.Fict MI HC s Alone in Africa (Mov) 8 16. B.Fict MI LC s Black Gold (Mov) 8 31. U.Fict MS LC c Uncle Ben (Rad) 8 4. B.Fact MI LC s Religion in our Lives(Rad) 9 27. U.Fict MI LC c Vivaldi (Rad) 9 32. U.Fict MS LC s Revival Hour (Rad) 9 36. U.Fict NM LC s Smoky the Bear (Mov) 9 250 Table 32 PAT BAKER PACTOR II: POLITICAL MESSAGES Itera Code Title Score 10. 33. Pact HMHC S The Important Issues 1 15. B.Pict MIHC C 1 3. B.Pact MILC C 2 20. B.Pict MS LC S John Phillips Eights for 2 Highway Safety 25. U.Pict MIHC C Even In Wheelbarrows 2 1. B.Pact MI HC C John Phillips With Latin 3 American Leaders 6. B.Pact MS HC S The Sound of Hammers and 3 School Bells 21. B.Pict HMHC C 3 22. B.Pict i m HC S Stretching the Pamily Dollar 3 14. B.Pict MI HC S They Pay Parmers Not to 7 Grow Things 31. U.Pict MS LC C The Chimney Sweep 7 33. U.Pict NM LC C A Young American Taxpayer 7 36. U.Pict HM LCS 7 7. B.Pact MS LCC "No More Recess ..." 8 9. B.Pact NM HC C The Man on the Street Tallcs 8 About John Phillips 11. B.Pact HM LC C The Grocery Budget --- 8 Including Ij’ido 4. B.Pact MI LC S Help for the American 9 Indian 29. U.Pict MS HC C A Pish's Guided Tour 9 251 Table 53 PAT BAKER PACTOR III: MAGAZINES Item Code Title Score 27- U.Pict Ml LC C Crazy 1 33. U.Fict HM HC C UPO Reports 1 9. B.Pact NM HC C The Candid Observer 2 22. B.Pict NM HC S Wanderlust 2 31. U.Pict MS LC 0 Screen Star 2 7. B.Pact MS LC c See 3 10. B.Pact NM HC s How to Build It 3 25. U.Pict MI HC 0 Satire 3 34. U.Pict NM HC 3 Would You Believe? 3 14. B.Fict MI HC s The Taste of Life 7 IS, B.Pict MI LC s Success Story 7 24. B.Fict NM LC s Our State's History 7 35. U.Pict NM LC c The Laugh-Word Puzzle 7 1. B.Pact MI HC c The Diplomat 8 3. B.Pact MI LC c Berkeley 8 1—I cA B.Pict MS LC c Out West 8 4 . B.Pact MI LC s Economic Review 9 28. U.Fict MI LC s Miracles Prom the World's 9 Religions 252 Table 54 PAT BAKER MOTOR IV: TOOTHPASTE COMMERCIALS Item Code Title Score 3. B.Fact MI LG C The Little Dentist 1 23. B.Fict HM LC C A Vibrating Electric 1 Toothbrush 5. B.Fact MSHCC Boys1 \riews of Shield 2 26. U.Fict MI HC S The View From Inside 2 34. U.Fict HM HC S A Tour of the Flouride Plant 2 9. B.Fact KM HC C How Do You Brush Your Teeth? 3 21. B.Fict HM HC C A Healthy, Happy World 3 29. U.Fict MS HC C The Fantastic Voyage 35. U.Fict NM LC C The Painters 3 6. B.Fact MS HC S Mother, Teacher, Dentist 7 • » • 16. B.Fict MI LC S 7 22. B.Fict NM HC S What's New in Shield 7 24. B.Fict NM LC s The Big Picture 7 2. B.Fact MI HC s Teeth and Survival 8 11. B.Fact NM 1C C Give it Your Own Test 8 13. B.Fict MI HC c Home From the Dentist 8 i-t 00 B.Fict MS HC s "That's It!" 9 CVJ ff\ • U.Fict MS 1C S Cinderella 9 Graph XXIII PAT BAKER Comedy 'I' Low High -Complexity Complexity + Serious 254 In some ways her preferences appear to toe close to those of the Youth-Oriented type. The subjects of the messages she prefers appear to toe those of special interest to young people. The Youth-Oriented type, however, is a combination of tooth the Entertain ment Seeker and the Information Seeker. That is, the Youth-Oriented type's strongest construct is a Youth Adult construct, and he can enjoy either informative or entertaining messages, so long as they are oriented to youth. But Pat Baker is an Entertainment Seeker who shares the interests of other young people. She apparently would not like an informative program oriented toward the young. She wants the humor and unpredictableness of entertaining messages. The next few pages present the data arrays and a graph of her possible construct system. Jack Hathaway. Jack Hathaway is a sixteen year old high school football player and track runner. He lives with his seven-member family in a nice middle- class neighborhood. He is a member of a large, non- denominational community church. He supported Eugene McCarthy in 1968. Jack Hathaway is an example of the Youth-Oriented type. As a person, he loaded high on the Youth-Oriented 255 Television factor. His own 0 analysis produced five factors: I, Magazines; II, Movies; III, Political Messages; IV, Television; and V, Toothpaste Commercials, All of his 0 analysis factors appear to represent the Youth-Oriented type. The main thing which distinguishes the Youth- Oriented type is that the preferred programs appear to he about subjects which interest young people. The coding of elements of style and content is not very helpful in interpreting this type. This seems to be true for Jack Hathaway’s preferences across the media. There were no clear patterns in the coding of any of his 0 factors. The main thing which distinguished his preferences in each medium was subject matter of inter est to young people. The next few pages present the data arrays for Jack Hathaway’s 0 analysis factors, and a graph of his possible construct system. These examples were presented to give some idea of how a single-case 0 analysis might proceed in con junction with Q analysis to gain insight into the prob lem of cross-media preferences. This study ran into some unforeseen problems which made a full analysis impossible. 256 Table 55 JACK HATHAWAY FACTOR I: MAGAZINES Item Code Title Score 55. U.Fict NM HC C UFO Reports 1 54. U.Fict HM HC 3 Would You Believe? 1 19. B.Fict MS 1C 0 Out West 2 25. U.Fict MI HC C Satire 2 50. U.Fict MS HCS Modern Miracles 2 11. B.Fact NM 1C C Sports Week 5 22. B.Fict NM HC s Wanderlust 5 27. U.Fict MI 1C c Crazy 5 29. U.Fict MS HC c Super-Eye 5 10. B.Fact NM HC s How to Build it 7 14. B.Fict MI HC s The Taste of life 7 21. B.Fict NM HC c The O'Henry Journal 7 CM CO U.Fict MI 1C s Miracles From the World's 7 Religions 4. B.Fact MI 1C s Economic Review 8 20. B.Fict MS 1C s Romantic Story 8 CM • B.Fict NM 1 0 s Our State's History 8 5. B.Fact MS HC c The Happy Cook 9 8 . B.Fact MS 1C s My Romance 9 257 Table 36 JACK HATHAWAY FACTOR II: MOVIES - Item Code Title Score 23- B.Fict NM LC C Computer Mate 1 28. U.Fict MI LC s "Impossible'' 1 11. 33. Fact NM LC c "Hang Five!" 2 16. B.Fict MI LC s Black Gold 2 24. B.Fict NM LC s The D . I . 2 5* B.Fact MI LC c The Baker Platoon •3 17. B.Fict MS HC c The Zoo Keeper 3 20. B.Fict MS LC s The Seals 3 22. B.Fict HM HC s The Cry for Help 3 4. B.Fact MI LC s The Pennsylvania Dutchman 7 9. B.Fact NM HC c Colorado 7 15. B.Fict MI LC c Corpsman Lewis 7 19. B.Fict MS LC c The Marriage Counselor 7 1 . B.Fact MI HC c Making of the President 8 27. U.Fict MI LC c Vivaldi 8 36. U.Fict NM LC s Smoky the Bear 8 30. U.Fict MS HC s The Balloon Man 9 33. U.Fict NM HC c Super-Baby 9 258 Table 37 JACK HATHAWAY FACTOR Ills POLITICAL MESSAGES ■ ■ ■ - "--.s - s - m .--' -i .. Item Code Title Score 4. B.Pact MI LC S I-Ielp for the American Indian 1 30. U.Pict MS HC S Through the Fog 1 7. B.Pact MS LC C "No More Recess . . . ," 2 11. B.Pact NM LC C The Grocery Budget--- 2 Including Fido 27. U.Pict MI LC C Those Romantic Gangs 2 8. B.Pact MS LC S Little Paul Goes to School 3 9. B.Pact m HC C The Man on the Street Talks 3 About John Phillips 15. B.Pict MI LC C The Free Air 3 19. B.Pict MS LC C John Phillips Champions 3 • National Parks 5. B.Pact MS HC C A Boy's Bream 7 21. B.Pict NM HC C 7 34. U.Pict NMHCS 2068 7 35. U.Pict NM LC C A Young American Taxpayer 7 24. B.Pict NM LC S A Conversation at Lake 8 Powell 29. U.Pict MSHCC A Fish's Guided Tour 8 32. U.Pict MS LC S The Shopper's Maze 8 2. B.Pact MI HC S Nature's Balance 9 31. U.Pict MSLCC The Chimney Sweep 9 259 Table 38 JACK HATHAWAY FACTOR IV: TELEVISION Item Code Title Score I- 6. B.Fact MS HC S Night Cry 1 7. B. Fact MS LC C These Also Tried 1 2. 33 .Fact MI HC S The War Years 2 5. B.Fact MS HC C Pardon My Foot 2 19. B.Fict MS LC C Gold Rush 2 11. B.Fact HM LC C The Weird Teams 3 18. B.Fict MS HC S Warning 3 C\J K\ • U.Fict MS LC S The Mystery Man 3 53. U.Fict HM HC C The Insiders 3 9. B.Fact NM HC C It1s New 7 16. B.Fict MI LC S The Classics for Biscussion 7 20. B.Fict MS LC S Prince Toby 7 23. B.Fict KM LC C The Blue Thumb 7 10. B.Fact NM HC S Today*s Weather 8 25. U.Fict MI HC C Merlin the Magician 8 34. U.Fict NM HC S Outside the World 8 12. B.Fact NM LC S The Professional Chef 9 31. U.Fict MS LC C Grimm's Fairy Tales 9 260 Table 39 JACK HATHAWAY FACTOR V: TOOTHPASTE COMMERCIALS Item Code Title Score ro • U.Pict MI LC C A Piraua's Advice 1 33. U.Pict HM HC c Shield and the Seven Dwarfs 1 15. B.Pict MI LC c The Skeletons Speak 2 26. U.Pict MI HC s The View Prom Inside 2 29. U.Pict MS IIC c The Fantastic Voyage 2 2. B.Pact MI HC s Teeth and Survival 3 3. B.Pact MI LC c The Little Dentist 3 10. B.Pact HM HC s A Talk With the Scientists 3 16. B.Pict MI LC s 3 17. B.Pict MS HC c Little Jill's Pood 7 19. B.Pict MS LC c A Star is Born 7 25. U.Pict MI HC c Put Up a Shield 7 32. U.Pict MS LC s Cinderella 7 8. B.Pact MS LC s A Mother's Y/ord 8 31. U.Pict MS LC c Goldilocks 8 36. U.Pict HMLC s Lake Shield 8 28. U.Pict MILC s The Strength of Gibralter 9 30. U.Pict MS IIC s The Queen of Light 9 261 Graph XXIV JACK HATHAWAY Youth + - Uninteresting Interesting + Subjects Subjects Adult 262 The work with the 0 data and the examination of the individual persons' sortings, however, did stimulate some preliminary thinking which may be useful in a future study. I was struck by the fact that in most cases the similarities in 0 factors are much greater than the differences. For example, all of Mary Goodwin's factors were Information-Seeker factors. Perhaps Kelly's theory can help explain this. It seems likely that within a person's construct system there are a few major constructs which pervade the media. These major constructs account for the similarities across the media. Within a person's construct system are subordinate constructs which he applies to specific media. But these subordinate constructs are subsumed by the major, super-ordinate constructs. As a result, the preferences across the media appear to have more similarities than differences. Any firm conclusions about this theory, however, must await further research. CHAPTER V CONCLUSION Summary This research project grew out of a curiosity about the consistency of people's preference patterns across the mass media. There has been a great deal of research activity studying audience preferences in the mass media. Most of these studies, however, deal with one medium, such as television or newspapers. I wanted to know how preferences in one medium compared with preferences in another medium. Neil Macdonald pointed out the need for a cross media preference study. In his own study, entitled Television Drama Preference Choice, he noted the un relatedness of most of the media preference studies. Examination of the literature reveals the unrelated nature of the vast majority of studies concerning preference choice. There has just been no integration of material. Data concerning viewer character istics haven't been related to data concern ing content characteristics. Lata dealing with aspects of the various media— -whether traits of readers, listeners, or viewers 263 264 or content ingredients of books, comic stx’ips, movies, radio or tv programs--- have all remained relatively isolated.4° This study was designed to.gain insight into the following questions. (1) What constructs do people use in deciding their preferences in each medium? (2) What preference types can he found in each medium? (3) Are there similarities in preference types from medium to medium, or across the media? (4) Are people generally consistent in their preferences across the media? It seemed to me that in order to answer the need for a cross-media study, such a study should do the following things. (1) Define messages in terms of the constructs people use in deciding their preferences among messages. (2) Use the same set of constructs for messages in all of the media in order to provide a common framework within which to make comparisons across the media. (3) Define people in terms of their preferences among messages. (4) Compare people's preferences in one medium with their preferences in another media. ^°Neil William Macdonald, Television Drama Prefer ence Choice, p. 2. 265 I reviewed some of the many studies of audience media preferences which have been reported in recent years. I reported those which were especially relevant to this study, either for their substantive findings or for their methodological development, or for both. Most of the studies came close to meeting the specifica tions established for this study. Some of the studies reported how people look at television and decide their preferences among programs. Some studies applied preference theory to the process of creating television programs in order.to maximise audience enjoyment. A third group of studies applied preference theory to. media other than television. This study used a methodology similar to that used in several other television program preference studies. The methodology was extended horizontally from the one medium to include several mass media. Then, comparisons of the data were made across the media. This resulted in the six "basic preference types" which cut across the media. The basic theory of media preference decision making postulated in this study is based on George Kelly's Personal Construct Theory. A set of four con structs believed to be operating strongly in people's media preferences were used as the basis for constructing 266 the instruments. These constructs include Reality, Moral Conflict, Complexity, and Seriousness. William Stephenson's Q Methodology was used in building the instruments, conducting the interviews, and analyzing the data. The four constructs were built into a balanced-bloclc design. This yielded a total of 36 possible combinations of the construct elements of style and content. Based on these combi nations of elements, six Q-sort instruments were built, one for each medium I wanted to study: television, radio, movies, magazines, consumer brand commercials, and political messages. Each instrument contained 36 items. Same-numbered items in each instrument represented the same combina tion of construct elements. The items in each instru ment were hypothetical selections available to a person in that medium (such as television programs, magazine articles, toothpaste commercials, etc.). Each instru ment was checked by inter-judge panel agreement and refined to be sure the items represented the constructs assigned to them. Thirty-five people were interviewed. These people represent a wide cross-section of demographic variables and life styles. Each person sorted each of the six instruments on a modified normal-curve distribution. 267 Factor analysis was used to develop a set of preference types within' each medium. This was done by correlating the sortings of all thirty-five people on one medium, such as television. The correlation matrix of persons was factored. This clustered together those persons who share similar preferences within that medium. Rotated factors which accounted for seven percent or more of the variance were reported, and considered to form a "preference type". Inferences about the preferences of each type were made by first building a data array and then applying abduction in interpreting the array. The original sortings of those persons who loaded .70 or higher on a factor were used in making the arrays. A set of factors, or preference types, was defined for each of the six media studied. Then, I compared the types from each medium with the types from every other medium. By noting the similarities in types from medium to medium, I was able to discover six "basic preference types" which cut across the media. Table 2 in Chapter III shows the relationships of the various types across the media. The six basic preference types include: (1) the Information Seeker, (2) the Entertainment Seeker, (3) the Youth-Oriented type, (4) the Sophisticate, 268 (5) the Human Interest type, and (6) the Successful- Adjustment-to-Iife type. The basic types, however, are not evenly distributed across all of the media. The Information Seeker is a type of person who is looking for information when he turns to the media. He is looking for information about the real world around him, and he wants that information presented in a believable form. The Reality construct is most impor tant to him. He prefers messages which give him facts about the real v/orld presented in a believable manner. He rejects messages about any unreal world presented in the unbelievable forms of fantasy. The conflict dimension is also important to him. He prefers that his messages have no moral conflict, or that it be an intellectual moral conflict if one is present. He re jects the simpler sentimental moral conflict between clearly-labeled "good" and "bad". The Complexity con struct is not so important to him, although he is more likely to prefer highly complex messages rather than those v/hich are low in complexity. He appears to have no clear-cut preference for either humorous or serious messages. Essentially, the Information Seeker is a person who comes to the media looking for information about the real v/orld, presented in a believable form. The Entertainment Seeker comes to the media looking 269 for "fun". He prefers messages which are humorous and fantastic. The most important construct for him is the Humorous— Serious one. The Entertainment Seeker almost always prefers those messages which contain an element of humor, or "the light touch." He almost always rejects messages which are serious in presentation. The reality construct is also important to him. He generally prefers fantasy t.o reality, and often rejects those messages which are believable. The moral conflict and complexity constructs are not so important to him. The Entertainment Seeker, then, prefers messages which are humorous and unbelievable, and rejects messages which are real, believable, and serious. The Youth-Oriented type is usually a young person who prefers media messages which are about subjects' of interest to young people today. The constructs Youth— Adult and Interesting Boring appear to be more impor tant to him than the element constructs coded into the messages, nevertheless, there does appear to be a tendency to prefer messages which are believable, moral- sentimental, and difficult to predict; while rejecting messages which are too serious and too easily predicted. The Sophisticate is the type of person who wants "the best" of messages available in a medium. He is the type of viewer the Television Information Office 270 appears to have in mind when it prepares its monthly list of the best programs available in commercial tele vision. He would also enjoy the kind of programming represented by the Public Broadcasting laboratory, good- music PM radio, a challenging "talk" show on AM radio, or the like. He has a clear preference for believa- bility, intellectual morality, high complexity, and seriousness in messages. He rejects fantasy and senti mental morality. The Sophisticate is a "thinking man" type. The Human Interest type is distinguished by his preference for messages which are about people and their problems. He rejects messages which are about abstract things. He has a strong Human Hon Human construct. In addition, he prefers messages which are believable, highly complex, and serious. He rejects messages which feature fantasy and "shades of gray" intellectual morality. The humans who are the center of his interest do not always turn out to be life's "winners". The Human Interest type is concerned about people and the problems they face living in this real world. The Successful Adjustment to Life type is also interested in people and their problems, and also pre fers messages which are believable and serious, while rejecting messages which feature fantasy and humor. 271 He is distinguished "by a strong Success Escape con struct. He prefers messages about people who success fully make a personal adjustment to life. His heroes are life's "winners". lie rejects messages about people who fail to meet life's challenges, who eventually "escape". He also rejects messages which inject science into our personal lives. This type i3refers messages about people who make a successful adjustment to life. The six basic preference types are not present in each medium. Table 2 shows the distribution of the types across the media. Chapter III presents a full, detailed description of each of the twenty preference types in the study, organized according to the medium which produced the factor. I also attempted in this study to look at the consistency of individual persons' preference patterns across the media. The approach was that of the single case Q study, or the 0 analysis. The design called for correlating the six media sorts for each person. The matrix was then factored to cluster together those media which "go together" in a person's media preference decision-making. The results of this phase of the study are inconclusive. The problems appear to be due mainly to the difficulty of establishing cross-media relia bility. in the instruments. 272 Pour examples were presented in Chapter IV to illustrate the technique attempted here. In each case, the similarities among the factors are much greater than the differences. This led me to postulate a theory of individual cross-media preference based on Kelly's theory of personal constructs. It seems likely that within a person's construct system there are a few major constructs which pervade the media. Also within his system are subordinate constructs which he applies to specific media. The subordinate constructs are subsumed by the major, super-ordinate constructs. Thus, the similarities in a person's preferences among the media appear greater than the differences. This theory is presented as a stimulus to further research. Suggestions for Further Research Working on this research project has stimulated my thinking about future research projects exploring the same questions. The success in isolating some basic preference types raises some questions in my mind about "where we go from here". The problems I encoun tered with the 0 analysis leads me to suggest some changes for future single-case studies of this sort. Following are some of the questions and suggestions for future research. (1) Are there other "basic preference types"? It 273 would, be useful to conduct another study using a similar design and instruments but a different sample of persons to see if the same basic preference types reappear, or if any new ones appear. (2) Have we found the constructs which are most important in people1s preference decision-making? There is a need for further refinement of the constructs used in these media preference studies. One place to begin would be to try to determine which constructs were operating most strongly in this study. What new con structs can be found? This study found that such con structs as Youth----Adult, Human Hon Human, and Success Escape were operating strongly for some types of viewers. Other studies may discover other constructs. (3) Which items from the instruments in this study tell us the most? An item analysis is needed here. This could improve the existing instruments and also lead to the creation of a new, shorter paper-and-pencil instrument for quickly identifying a person's typal membership. (4) How large are these preference types in terms of membership? There is a need for a survey study to indicate what percentage of a population might belong to a particular type. The development of a paper-and- pencil instrument which can be quickly and easily administered will facilitate such a study. 274 (5) There is a need for more 0 studies looking at individual cross-media preference patterns. One way to get around the kind of problems I had might be to create a single "neutral" instrument which is not identified with any specific medium. Such an instrument could be sorted under conditions of instruction which asked for personal preference in each of several different media. (6) George Kelly's Repertory Grid Test should be administered in conjunction with the 0 study. This should give a more accurate picture of an individual's construct system. (7) Finally, all of this research ought to be leading toward a theory and a model of media preference decision-making. Certainly, theory is implied in the selection of the constructs used in building the instru ments, in the operations involved in Q methodology, in the discovery and definition of preference types, and in the insights yielded by single-case studies. By now a number of studies have been conducted using various combinations of these methods to study media preferences. Each study has contributed substantive findings and offered some explanation for the findings. X believe now someone would make a useful and signifi cant contribution to our understanding of communications by abstracting and correlating the findings of these studies, articulating a theory of preference based on these findings, and proposing a model. I hope that this study has contributed to the development of preference theory and the building of a model of media decision-making. APPENDIXES APPENDIX A DEFINITIONS OF CONSTRUCT ELEMENTS OF STYLE AND CONTENT 277 278 1. New Television Program Ideas Instrument Reality A1 Believable Pacts The presentation of events as they actually are, or were; Persons being presented as themselves. Reflects expected cultural patterns, given the circumstances. BBC News, Candid Camera, Johnny Carson. A2 Believable Piction Actors play roles of characters other than them selves, but portray "possible" persons in "possible" circumstances. Armstrong Circle Theatre, Dr. Ivildare. A3 Unbelievable Piction, or Fantasy Represents improbable, fantastic or cartoon charac ters in "believable" circumstances; or "believable" characters in unlikely situations; or a combination of both "unreal" conditions. The Blintstones, Yogi Bear, Twilight Zone, Star Trek, Jeannie, My Living Doll, Voyage ‘to the Bottom of the Sea. Moral Value and Conflict B1 Moral Intellectual Those programs where moral values are intellectual- lized where all is not white or black, but where there are shades of gray. Differing views of morality are presented in conflict, sometimes violently. A resolution is not necessarily involved. The Defenders. B2 Moral Sentimental In these programs there are clearly "good" guys and "bad" guys, and a singular "right" that triumphs. The good guys are often friendly and polite; and the bad guys are often crude and unsociable. It is kind of "cliche morality". The Loretta Young Show. 279 B3 No Moral . In these programs, moral values are not considered. Game shows are a good example. Password. Complexity Cl High Complexity Given a flow of circumstances, it is difficult to predict subsequent events of final outcome. Alfred Hitchcock. Twilight Zone, Mission; Impossible. C2 low Complexity The so-called formula programs. Highly predic table. Lassie, Dennis the Menace, Ozzie and Harriet. Seriousness D1 Comedy These are comedy, light entertainment, and even musical shows, usually self-designated by the program format. The Ed Sullivan Show, The Smothers Brothers, Beverly Hillbillies. D2 Serious Serious programs, also indicated by the format or in the introduction of the show. These same construct element definitions were used for the Hew Radio Programs Ideas Instrument. 2. Movie Ideas Instrument Essentially, about the same definitions as for the television programs. Remember to think in terms of a full-length movie (1 ^2 to 3 hours long) of the quality that you would pay to go to a movie theatre to see. Also, these are complete story units, not neces sarily adaptable to the serial format of the television program series. 280 Reality A1 Believable Bacts Same definition as for television, but most likely a documentary of raovie length. Endless Summer, Beaver Valley, The Mud Above, the Earth Below. Moral Value and Conflict B3 No Moral 'Same definition as television programs. In movies, might include educational films, public information films, industrial films, etc. Seriousness DI Humor Same definition as for television. Should be broad enough to include light touches in movies, some thing short of an all-out "comedy" movie. 3. Magazine Ideas Instrument Essentially the same definitions as for the tele vision programs. But there are some differences here due to the form of the medium. Think in terms of whole magazines, or articles within magazines, or of "features" or "columns" such as appear regularly in some magazines. Moral Value or Conflict B1 Moral Intellectual Same definition as for television. Here some point can be made about society, etc. Yet it is more than just a "good" versus "evil" point. There are shades of gray. It may even be hard to say for certain which is the "good" and which the "evil" side. 281 Complexity C2 Low Complexity Same definition as for television. Retain the idea of high predictability. For magazines, "low complexity" items may be those that have more pictures and graphic materials to make the article easier to follow, etc. Seriousness LI Comedy Same definition as for television. Here, humor can be all the way from an emphasis on the humorous, even the out-and-out parody and satire kind of article to the "light touch" in other material. 4. Toothpaste Commercial Ideas Instrument Reality Essentially, the same as for television programs. A1 Believable Facts Such phrases as "documentary" or "in his own words" may help to distinguish interviews in this cate gory from interviews in the next category. A2 Believable Fiction Here, the interviews are staged, actors are general ly used, and conversations are scripted, rather than spontaneous. Moral Conflict B1 Moral Intellectual The basic notion of "shades of gray" moral conflict operates here also. In these commercials there is a recognition that there are many causes of poor teeth. It 282 is not a simple matter of brushing with Shield to take care of all problems. There are othei’ things a person must do brush regularly, watch between-meal treats, etc. Shield helps, but is not the a11-conquering hero. B2 Moral Sentimental Here the struggle between good and evil is much more pronounced. It is a struggle between bright, white, shining healthy teeth and clean breath on the one hand, versus dull, yellow, unhealthy, cavity-ridden teeth and bad breath on the other hand. New Shield is clearly the champion of "good" teeth fighting off the causes of "bad teech, etc. Also, the main characters of these commercials are likely to be homey, sentimental folks mother, father, children, school-teachers, etc. B3 No Moral Conflict Here, the struggle between good and evil is not drawn, at either the intellectual or the sentimental level. The commercial instead concentrates on making a point about the virtues of the brand in terms of its accomplishments. Bor example: (a) There might be a statistical presentation on the number of cavities using Shield versus the number using a different brand. (b) Or, there might be the "soft-sell" type of commercial. Here there is no big good-evil conflict. Merely a message, entertaining or serious, in which the brand is highlighted. A good example of this would be a beer commercial which Rod Serling once described as his "ideal commer cial". In front of a fireplace in a high-backed chair sits a very outdoors-looking man reading a book. His hunting dog sits at his feet. On a table next to him under his reading lamp is a bottle of beer, the label turned toward the camera. The announcer merely says, as camera moves in on the beer bottle, "We think you'll like our beer." 5. Political Message Ideas Instrument Reality Essentially, the same as for television programs. 283 AX Believable Facts Such phrases as "documentary" or "in his ov/n words" may help to distinguish interviews in this category from interviews in the next category. A2 Believable Fiction Here, the interviews are staged, actors are general ly used, and conversations are scripted, rather than spontaneous. Moral Conflict B1 Moral Intellectual The issues discussed in these commercials cannot be so clearly defined in terras of the struggle between good and bad. The issues are complex; all is not black or white; there are shades of gray. An example might be the issue of American foreign policy making alliances with military dictatorships in order to defend ourselves against Communism. Another example might be the many unclear issues surrounding the Viet Nam war. B2 Moral Sentimental Here, the issues are much simpler and drawn much more clearly in terms of the struggle between good and evil. Our candidate is one of the "good guys", fighting against those "bad guys". Or, he may appear as the "knight in shining armor", the champion of the people, v/ho is leading the fight against some evil. He is fighting for something here. There is an apparent struggle and conflict between good and evil. Also, this Moral Sentimental quality may be evidenced by the presence of family, children, etc. (though not every family scene is intended to be Moral Sentimental). B3 No Moral Conflict Here, the struggle between good and evil is not drav/n, at either the intellectual or the sentimental level. 284 The commercial, instead, concentrates on making a point about the candidate's accomplishments. This might be a list of his accomplishments in terms of new bills, new highways, aid to education, etc. Or, the commercial may make a point on a sensitive subject without ever drawing the moral conclusion. It is a rhetorical question, which doesn't have to be answered. The phrase, "you don't know who you can believe any more", for example, may make a point about the so-called "credibility gap", without ever drawing a conclusion. The idea is to "accentuate the positive" without portraying a fight, or without stressing sentimental qualities (such as children, mother, family, etc.). Complexity Cl High Complexity Here, the presentation of material in the com mercial is complex and its course cannot be so easily predicted. It requires more alertness and attention to follow. Because commercials are so short by comparison to program, it may help to think in terms of a series of persons being interviewed, or looking at several aspects of a problem or issue. C2 low Complexity Here the presentation of material in the commercial is less complex and its course more easily predicted. It requires less alertness and attention to follow. By contrast to the above, these may mean inter viewing just one person, or one family, and looking at a single aspect of a problem or issue. Seriousness 11 Comedy In these political messages, the term "comedy" re fers broadly to the "light touch", and may range all the way from "warmth" to'humorous" to "satire and parody". The candidate, his family, or various people being 285 interviewed may be seen laughing, smiling, or generally enjoying themselves. It may be .that the "warm, friendly side" of the candidate's personality is shown. Even the presence of a "sense of humor" in the candidate or other persons qualifies. Sometimes, the answers in interviev/s, or statements made, or conversations may be funny or humorous. Also, the situation, plot, ox* characters may be funny and have a comedy quality. Finally, the political commercial may have the quality of satire or* parody. The above definitions for Complexity and Serious ness were also used for the Toothpaste Commercial Ideas Instrument. APPENDIX B CODING OP CONSTRUCT ELEMENTS IN ITEMS 1 . B.PACTMI HC C 13. - 3 .PICT MI HC C 25. U.PICTMI HC C 2. B.PACT MI HC S 14. B.PICT MI HC S 26. U.PICT MI HC s 3. B.PACT MI LC C 15. 3 .PICT MI LC c 27. U.PICTMI LC c 4. B.PACTMI LC S 16. B.PICT MI LC s 28. U.PICT MI LC s 5. B.PACT MS HC C 17. B.PICT MS HC c 29. U.PICT MS HC c 6. B.PACT MS HC S 18. B.PICT MS HC s 30. U.PICT MS HC s 7. B.PACT MS LC C 19. B.PICT MS LC c 31. U.PICTMS LC c 8. B.PACT MS LC S 20. B.PICT MS LC s ro • U.PICTMS LC s 9. B.PACT NM HC C 21. B.PICT NM HC c 33. U.PICTNM HC c 10. B.PACT NM HC S 22. B.PICT NM HC s 34. U.PICTNM HC s 11 . B.PACT NT-1 LC C 23. B.PICT NM LC c 35. U.PICT Nil LC c 12. B.PACT NM LCS 24. B.PICT NM LC s 36. U.PICT NM LC s 286 APPENDIX C THE SIX MEDIA INSTRUMENTS 287 288 B. PACT MI HO C 1. ■ TV BAEZ AND BALLADS Peatures the singing and sayings of Joan Baez. A semi-interview, semi-documentary program ahout the singer and her relationship to folk singing as an art. She sings a few humorous folk songs and is hacked up by some dancers. B.PACT MI HC S 2. TV THE WAR YEARS Stories of actual battles of World ’War II, with emphasis given to showing both the Allied and the German viewpoints of the battle. B.PACT MI LC C 3. TV MAN TO MAN ANSWERS On each program the questions of various people on the street are put "man to man" to an authority in some field. The questions and ansv/ers range from very serious to rather humorous. The host-moderator has a good sense of humor v/hich helps cool passions. B.PACT MI LC S 4. TV THE EXECUTIVE In this weekly documentary, the camera follows a high ranking executive on a typical working day. Each week the program shows life in the business world and another of the hard and sometimes controversial decisions which must be made. B.PACT MS HC C 5. TV PARDON MY POOT True stories about famous personalities of our time. Recorded live on film are those hilarious and surprising moments when our most celebrated heroes in society are embarrassed by and the victims of their own foibles. 289 B.PACT MS HC S 6. TV NIGHT CRY True stories of policemen during their night shift in a large city. Tonight we go to New York City and ride with car 757 for -"live" coverage of its night beat. B.PACT MS LC C 7- TV THESE ALSO TRIED True stories which show that crime does not pay. Criminals represent themselves each week in an episode showing another of the many v/ays people try to break the lav/ and fail. Some of the ways are indeed funny. B.PACT MS LC S 8. TV THE TUMULT AND THE SHOUTING A documentary-type sports program based on the lives of the great athletes. Each week film clips and narration feature the career of a different sports hero, showing how he overcame hardships and succeeded in a sports career. B.PACT NM I1C C 9- TV I T 'S NEW The crazy things that people and the v/orld of in dustry invest in is shown. This week features an automatic dish v/asher v/asher, a television without a picture tube, and an airplane you can take with you. B.PACT NM HC S 10. TV TODAY'S WEATHER This weather program brings stories of the unusual weather conditions, stories about the unusual ways man is reacting to the weather, and other surprises about today's weather. 290 B.FACT NM LC C 1 1 . TV THE Y/EIRD TEAMS Teams that are exceptionally different from the usual are featured each week. This week's program features the Harlem Globe Trotters in a basketball game with the Boston Bullets, A sports-caster with a light touch adds to the humor of the situation. B.PACT NM LC S 12. TV THE PROFESSIONAL CHEF Each week a different 'famous professional chef serves as host and prepares some of his specialties. At the end of the show, a lavish dish is cooked and the recipe is given to all the viewers. B.FICT MI HC C 15. TV RED TAPE Each week a talented group of actors presents sa tirical sketches that constructively poke fun at our complex institutions such as education, government, etc. Typically, they focus on a basic conflict which is most difficult to resolve. B.FICT MI HC S 14. TV THE NEGOTIATOR A program about a man who goes all around the world by order of the President of the U. S., to negotiate a treaty or peace terms. Tonight, he goes to Egypt to negotiate peace between Egypt and Isreal. B.FICT MI LC C 15. TV THE FOLK HOUR Each program in this series enacts some piece of American or European folk literature. Usually, these are light or humorous stories. A.narrator-host provides some explanation and background to help us understand i t . 291 B.FICT MI 10 S 16. TV THE CLASSICS FOR DISCUSSION Each week an excerpt from one of the great classics is adapted for television. Those parts which stimulate the most thought are presented. At the end of each pro gram the host gives a short analysis and asks questions designed to stimulate the most discussion. B.FICT MS HC C 17. TV THE IROQUOIS The often humorous and' unpredictable stories of how the Iroquois Indians fared in their struggle with the early settlers of this country. B.EICT MS HC S 18. TV WARNING In tonight's episode, an Air Force Captain inter cepts an important message headed for the enemy. Does time-permit him to follow proper channels to stop the sabotage? To make matters worse, the enemy knows he has intercepted the message. B.FICT MS LC C 19. TV GOLD RUSH Two never-do-wells go north to Alaska in search of a fortune. From Nome to Fairbanks they get into funny as well as serious trouble but always manage to dig themselves out of the situation in a humorous manner. B.FICT MS LC S 20. TV PRINCE TOBY Young Prince Toby runs a kingdom about the size of Rhode Island. He is a kind boy who must constantly work to protect his small kingdom from encroachment by modern super-powers in these fast-moving times. 292 B.FICT NM HC C 21. TV THE PANTOMIME GAME This is a fast-moving game show in which famous personalities act out various humorous scenes. Only the pantomimers and the audience know what things are being acted out. A panel of ordinary folks tries to guess what they're playing. If the panel guesses, they win money. If they don't guess, the money goes to charity. B.FICT NM HC S 22. TV GREAT SCIENTISTS Each xveelc an actor portrays a different scientist of the past explaining his scientific law or achievement and how it came to be. Tonight the setting is England and the 17th Century with Sir Issac Nev/ton. B.FICT NM LC C 23. TV THE BLUE THUMB The handyman's equivalent of the "green thumb"-- except that this character's thumb is blue because he has hit it so many times with his hammer. It's a fic tionalized account of an "all thumbs" bumbler's life in the "do it yourself" world. B.FICT NM LC S 24. TV THOSE FAR AWAY PLACES This is a fictionalized travel series. It's central character is a writer who visits a different place in the world each week. The story line is designed to show us the place, the people, and the way of life. U.FICT MI HC C 25. TV MERLIN THE MAGICIAN Wise old Merlin often uses his magic powers in humor ous and surprising ways when trouble brews in the Court of King Arthur. Tonight, for example, he turns all the swords to rubber in the middle of a fight between two knights who are both loyal to King Arthur. 293 U.FICT MI HC S 26. IV COMMITMENTS: DESTINY Tales of the world beyond. Tonight Jim Baker's robot is involved in a serious question of morality with another robot.whose programmed brain is not in alignment. U.FICT MI LC C 27. TV THE ANIMAL KINGDOM This series makes observations on and pokes gentle fun at the weaknesses of our human institutions by giving animals human-like qualities, yet having them remain in their natural habitat. Thus, a next or a cave is "home", hunting food is a "job", etc. They have all the troubles with home, job, education, etc. that we have. U.FICT MI LC S 28. TV OUR UNIVERSE Each week an American astronaut travels through space and comes into contact with a different civili zation. On each program he tries to compare their life with ours on Earth. U.FICT MS HC C 29. TV GHOST WRITER The ghost of a former editor of a small town news paper comes back to continue his newspaper's crusade to clean up city hall. Humorous and unpredictable situa tions arise in this war between a "ghost" and the corrupt officials. U.FICT MS HC S 30. TV PROJECT UNIVERSE A space adventure program. Tonight our characters land their space ship on an unchartered planet and then begins the adventure with the new and the unknown. They must rely on their courage, imagination, and group cooper ation in their struggle with the unknown. 294 U.FICT MS 1C C 31. TV GRIMM'S FAIRY TALES These tales which children and adults know and love come to life on the television screen through the por trayal of actors and actresses. U.FICT MS LC S TV THE MYSTERY MAN Stories of how a mysterious man with super-human powers fights crime in the big city. The treatment of the program is serious. U.FICT NM HC C 33- TV THE INSIDERS Cartoon story of what happens inside people, or could happen, as revealed in the program v/hen Henry the Heart becomes angry v/ith Larry the Lung. U.FICT NM HC S TV OUTSIDE THE WORLD A program in animated cartoon form. Kal, an Ameri can space explorer travels throughout the solar system and tells us what is known or theorized about it. Tonight we learn about Mars. U.FICT NM LC C 35- TV PEANUTS Good old Charlie Brown and his friends come to week ly television. The big problem that Charlie now has is with his baseball team. U.FICT NM LC S 36. TV HOW ABOUT THAT! A program that shov/s some aspect of the natural sciences through an animated cartoon story. Tonight, flov/ers come to life and we learn about how they live and grow. 295 B.PACT MI HC C 1. Radio A LOOK AT THE WORLD This urbane, sophisticated, witty, articulate commentator reviews and briefly comments on some topic in the nev/s. His comments are usually very though- provoking and often are delightfully humorous as well. B.PACT MX HC S 2. Radio ROUNDTABLE MEETING Each week key figures in the news discuss among themselves and with newsmen the pressing problems of the day. A variety of viewpoints is represented. B.PACT MI LC C 3. Radio PRESIDENTIAL WIT Each program presents recorded excerpts from the best wit and humor of Presidents whose speeches and con ferences were recorded live. It shows how Presidents from Wilson's time to the present have been able to • apply a sense of humor to the most pressing-and complex problems of the day. B.PACT MI LC S 4. Radio RELIGION IN OUR LIVES Each week an outstanding religious leader presents a religious program, similar in format to a church service. He talks about how religious principles should be applied in our private lives and in our relations with other people. He points out that it is often difficult, and that the ansv/ers are not so clear-cut. B.PACT MS HC C 5- Radio G. I. JOE The reporter interviews our soldiers at war against their enemy. It concentrates on the human-interest aspects of the G. I.'s life and times. Also includes samples of the G. I.'s unique sense of humor. 296 B.PACT. MS HC S 6. Radio FRONT LINE REPORT This is almost a "play by play" account of major battles in Viet Nam. Radio newsmen accompany the troops in battle and described the action as our boys fight the enemy. B.PACT MS LC C 7. Radio USO TROUPE Each program is a recording of entertainment pre sented to our fighting boys in Viet Nara and other places around the world. The genial host MS's live entertain ment, tells jokes, and visits with some of our boys in the audience. B.PACT MS LC S 8. Radio SAVE AMERICA On each prgram this news personality warns of dan gers to America and tells how we can save ourselves through patriotism, hard work, and economy. B.PACT NM HC C 9. Radio GAME OP THE ’WEEK Each week your favorite ball team is described in action by your favorite sports caster and his "local color" man. They both have a good sense of humor. B.PACT NM HC S 10. Radio VOICES PROM AROUND THE WORLD Picks up and relays programs from foreign radio stations all over the world. Usually, news, entertain ment, music, and anything interesting. V/e hear London, Paris, Moscow, Peping, Saigon, Hanoi, Cairo, Tel Aviv, etc. 297 B.PACT NM LC C 11. Radio EASY LISTENING Each evening the announcer plays your favorite kind of music, brings short reports of news, weather, and time, and shows a good sense of humor. B.PACT I'M LC S 12. Radio ASK THE EXPERT Each day this program brings a different expert to the microphone. One day he may be a doctor, the next a lawyer, and the next a government official. The standard format is for the expert to give a short report on his area of specialty, and then have people call in with their questions. B.PICT MI IiC C 13. Radio On each program a top comedy team does satires on people and institutions much in the nev/s. Big men in government, politics, religion, education, the military, etc. all topple. B.PICT MI HC S 14. Radio READERS THEATRE A team of top professional readers orally interpret the great literature of the world. B.PICT MI LC C 15. Radio THE JUNIOR CLASS Humorous stories built around the events in the lives of high-school juniors. Their views of the world, the generation gap, etc. They find some of our accepted views of the world funny and unacceptable. 298 B.PICT MI LC S 16. Radio THE VIGILANTES This is an action-packed western series. The dif ference is that by taking law enforcement into their own hands, our heroes often commit wrongs while trying to secure justice. B.PICT MS IIC C 17. Radio THE REPORTER A fictionalized series.in which the reporter narrates his adventures and the humorous, unpredictable situations he gets into. B.PICT MS HC S 18. Radio GREAT MOMENTS Pictionalized accounts of great moments in American history are enacted. Each week is a different and often surprising account of the behind-the-scenes action at historic moments. B.PICT MS LC C 19. Radio OUR GANG The often humorous, heartwarming events in the lives of a large, typical American family. B.PICT MS LC S 20. . Radio LIFE'S TROUBLED JOURNEY Each day we hear another 15 minutes segment in the continuing story of a rich, socially prominent family's troubles in life. B.PICT NM HC C 21. Radio CINDY The often humorous events that happen in the life of a fashion model as she travels from city to city and country to country on modeling assignments. Each week is a new and surprising sequence of events and different setting. j______299 B.FICT NM HC S 22. Radio COMPUTER S)?ORTS TOURNAMENT The computer matches the ail-time greatest athletes in many different sports boxing, football, baseball, horse-racing, tennis, golf, etc. None of the people actually played against each other. The presentation sounds like a real event, but the computer calls the shots. B.FICT NM LC C 23- Radio COMEDY. SPOTS This program presents stand-up comedians playing roles of unusual characters. These are short spots from their comedy albums. B.FICT NM LC S 24. Radio STORIES OF DISCOVERY Each week this program brings the fictionalized story of a major scientific discovery. U.FICT MI HC S 26. Radio OTHER WORLDS, OTHER TIMES A science fiction series which makes comments on our Twentieth Century world from the perspective of future worlds. It asks searching, thought-provoking questions about our accepted institutions and way of life. U.FICT MI LC C 27. Radio "YOU'RE PULLING MY EAR!" Life at the White House as seen through the eyes of the President's two pet beagles, Him and Her. It turns out these two talking dogs are the President's closest advisors and confidents on major decisions. The program takes a satirical look at the major problems of the day. 500 U.FICT MI IC S 28. Radio ELECTRONIC MUSIC Each program in this series brings the latest in the new electronic music. U.FICT MS HC C 29. Radio JACK THE MIND READER Jack, a well-meaning, Friendly, average kind of high-school age boy, suddenly develops the power of mind reading. He tells no one, but instead tries to use it to help his buddies out. This series brings the surprising, humorous adventures of a boy trying to live a normal life under these strange circumstances. U.FICT MS HC S 50. Radio GHOST STORY This series presents the best of the favorite, old fashioned ghost stories, complete with terrifying sound effects, and full of chilling surprises. U.FICT MS LC C 31. Radio UNCLE BEN Uncle Ben narrates stories for his little nephew. These are the fanciful, humorous stories of early American folklore such as "Paul Bunyon", "Rip Van Winkle", and others. U.FICT MS LC S 52. Radio REVIVAL HOUR A faith-healer conducts a weekly revival and healing service. Included are testimonies from people telling how faith had healed them", and then the healer performs some minor "miracles" right on the program. 301 U.FICT NM HC C 35. Radio THE WHOPPER CLUB Each v/eelc we tune in 011 a "whopper club" in a dif ferent city, where the members are having a contest to see who can tell the wildest, funniest "tall tale". U.FICT NM HC S 34. Radio STRETCH YOUR IMAGINATION This program uses sounds to push your imagination to the very limits. Some sounds are electronically produced, some are from nature, some are man-made. You use your imagination to determine what the sounds repre sent. Each time there are new and surprising sounds. U.PICT NM LC C 35. Radio This program is an audience-participation game for radio listeners. Unusual, fantastic sounds are played over the air. Listeners are asked to phone in and tell what they think the sounds represent. The host has de vised a humorous explanation for the sounds and the person who first comes closest to guessing right wins. There are many humorous guesses phoned in. U.PICT 1TM LC S 36.' Radio PANT /IS IA The best of fantastic literature in prose and poetry is read with appropriate sound effects to stimulate the imagination to "see" with its own eye. Such works as P o e ’s stories, Homer's Odyssey, Coleridge's The Ancient Mariner, etc. B.FACT MI HC C 1. Movies MAKING OP THE PRESIDENT The documented story of a Presidential campaign. Manuevering for position, power struggle in each party, ordeal of the campaign, and final triumph or failure of each man. The humorous as well as the serious side of the campaign. Treatment is objective and equally sym pathetic to both parties. 302 B.FACT MI HC S 2. Movies THE BLINDFOLD OF JUSTICE This documentary examines "both sides of the issue that the right of society to be protected from ‘'known'* criminals must be balanced against individual rights in order to prevent innocent persons from being convicted. Cases are presented on both sides. B.FACT MI LC C 3* Movies THE BAKER PLATOON Y/e live with a platoon of American fighting men in Viet Ham. We see them fighting and dying. We also see them playing and sample their humor. There is a series of interviews in which the soldiers express their some times deep and unpredictable thoughts on war, peace, God, America, Viet Ham, life, and other subjects. B.FACT MI LC S 4. Movies THE PENNSYLVANIA DUTCHMAN The documented story of the Amish people's fight to preserve their way of life and their values in the face of modernisation. B.FACT MS HC C 5. Movies THE HIDDEN VALLEY These documentary pictures are taken of a Colorado boy's special secret "hidden valley" in the mountains. The animals know and trust him because he is a frequent visitor. The film shows the often humorous and unpre dictable things he does and the animal friends he has made in this magic retreat from the world of adult civilization outside. B.FACT MS HC S 6. Movies LENA This documentary centers on the sufferings of one older Negro widow and her family during the Detroit riots. This patient, religious, hard-working woman sees her family torn apart and her home finally destroyed in the riots. Through strength of character, she rebuilds her home and family. ______503 B.PACT MS LC C 7. Movies THE LONER The central character of this documentary is a former New York Businessman who gave up the ways of the city and now lives a self-reliant life in the mountain forests of the Pacific Northwest. Y/e see how he lives in his struggle for survival, what are his rewards in nature, and the sense of humor with which he tells the story. B.PACT MS LC S 8. Movies THE PROSPECTOR This is the documentary story of a now old gold prospector in the Yukon. He has spent much of his adult life in the mining country of Alaska and Canada strug gling against the unknown in his search for a legendary "lost mine" in the mountain wilderness. Y/e accompany him on one of his trips. B.PACT NM HC C 9. Movies COLORADO A famous photographer has captured on film the natural beauty of the state its mountains, lakes, streams, deserts, plains, and animals. Y/e also see the often amusing human side of life, such as rodeos, cow boys, prospectors, camps, etc. B.FACT NM HC S 10. Movies THIS STRANGE Y/ORLD Here are documented some of the strange, weird customs of human beings areound the world. B.PACT NM LC C 11. Movies "HANG FIVE!" The camera follows a couple of young surf-board enthusiasts to different surfing beaches around the world. It concentrates on .the daring and funny things that happen in surfing. 304 B.PACT im LC S 1 2 . Movies SURVIVAL The documented story of the big fires which swept parts of Los Angeles recently. It touches on the human side of the fight against the fire the fight for sur vival. B.PICT MI HC C 13. Movies This film is a satire on life inside the White House and the Administration. It seems that the President has decided he wants to appear more friendly and show a greater sense of humor in his speeches. The story centers on the newly appointed Special Assistant in Charge of Humor and the newly created Office of Jokes. B.PICT MI HC S 14. Movies ALOHE IN APRICA This is the story of one ITegro girl's search for identity. She has had a middle-class American life and education. She is curious, however, about modern Africa and goes to find out about it for herself. In the end, she decides that above all else, she is American, and returns home. B.PICT MI LC C 15. Movies CORPSMAN LEV/IS The fictionalized story of an American Negro Peace Corps volunteer who goes to work in a Latin American city slum as a combination school-teacher and community improvement worker. With his sincere interest, hard work, and sense of humor, he wins the respect of the people and the love of the children. B.PICT MI LC S 16 Movies BLACK GOLB The story of what happens to the human relations of people in a small town when rumor spreads that oil may 305 soon be found on some people's land. The people change, and the old relationships deteriorate. In the end it turns out that there is no oil. The people suddenly realise what has happened to themselves. ■ B.PACT MS HC C 17. Movies THE ZOO KEEPER The story of a man who has trouble relating to a world of people and finds his refuge in a world of animals. The story tells the often humorous and un predictable incidents which show his difficulty in understanding people versus his understanding of the animals in his care. B.PICT MS HC S 18. Movies THE DEBUT A young socialite is the daughter of a very wealthy and prominent Senator. Her very social-minded mother has controlled the daughter's life, selecting her school and friends. Her approaching debut is supposed to be the social event of the year. Pinally, she rebels against her dominating parents by going to the streets and inviting the bum, the derelict, the chorus girl, etc. to her debut. B.PICT MS LC C 19. Movies THE MARRIAGE COUNSELOR Pull of advice on how other people should live their lives, the marriage counselor is a man who takes himself and his advice-giving very seriously. In the story he gets married and begins a number of humorous encounters in his own marriage which soften him up, make him a bit more human by the end of the movie. B.PICT MS LC S 20. Movies THE SEALS The fictionalized story of the adventures in Viet Nam of a platoon of the SEALS, America's new elite guerilla fighters who work on sea, air, and land. The story has many surprises as these men battle the enemy. 306 B.PICT NM HC C 21. Movies THE SWINGLES The story of life inside one of those new apartment houses built especially for swinging young singles. The story is built around those humorous and unpredic table incidents in the palace of "sv/ingledom". B.PICT NM HC S 22. Movies THE CRY FOR HELP The story of the events in the life of a once beautiful and prominent, but now fading movie star who tries to commit suicide by taking an overdose of sleeping pills. B.PICT NM LC C 23. Movies COMPUTER MATE A young couple meets through a computer. They find that each other are not what they had put down as the "ideal date". The computer made a mistake. The story is built around those humorous incidents that arise from the computer's mistake. The couple goes from initial disappointment to real love. B.PICT NM LC S 24* Movies THE D. I. The story of how a tough Marine "Brill Instructor" takes a group of raw recruits and molds them into a fighting platoon ready for battle. U.PICT MI HC C 25. Movies MISSION: TIME A crew of astronauts is sent into outer-space for several years of exploration. They discover when they return that because of the time difference in space, their friends and families on Earth have aged much faster than they have in space. This is the story of the often humorous and unpredictable events that occur to the crew in getting readjusted to life on an Earth which has aged faster than they. 307 U.FICT MI HC S 26. Movies THE DOOMSDAY MACHINE Unknown to the public, American scientists have developed the dread new "Doomsday Machine" which is powerful enough to destroy the whole world. The danger is supposed to be minimal because "any President would know that to push the button would be to destroy hitnself and everyone else," This is the story of an American President who develops suicidal tendencies. It centers on the race to stop him before he pushes the button. U.FICT MI LC C 27. Movies VIVALDI This film presents a modern dance interpretation of Vivaldi's classical music. The choreography includes several humorous sequences and generally has a surrea listic or dream quality. U.FICT MI LC S 28. Movies "IMPOSSIBLE" This film tells the story of nuclear war in the U. S. Its main charactors are a group of young people who believe nuclear war is 'impossible", who manage to survive the destruction of Hew York City, and then begin to rebuild their lives in the ruins. The scenes of nuclear explosion and destruction have a ghastly and fantastic quality to them. U.FICT MS HC C 29. Movies THREE WISHES A late-thirtyisli husband finds himself restless in his marriage. He dreams of intrigue and adventure with other women. A genie gives him 3 wishes. He uses each wish on a different "dream girl", one to complement each of his three "ideal selfs". He has a romance with (l) an outdoors-type sportswoman, (2) a showgirl-actress, and (3) a wealthy heiress. 308 U.PACT MS HC S 30. Movies THE BALLOON MIT A balloon man in Central Parle sells magic balloons to some children. They ride off through the air to unusual places where they capture the joys of childhood. The story is built around the unpredictable incidents in this "great escape" from the real world of adults. U .PICT MS LC C 31. Movies OUR GANG This story tells the adventures of a boy, his horse, and his dog. V/hat makes it unusual is that all three can talk with each other. Their observations on the "grown up" world of people are often humorous. U.PICT MS LC S 32. Movies THE INVISIBLE MA1T This story is about the exploits of a man with the ability to make himself invisible whenever he wants to. He uses this ability to help solve crimes. U.PICT NM HC C 33- Movies SUPER-BABY During her pregnancy a mother uses an amazing new invention which produces super babies. This is the story of those often humorous and unpredictable events which take place in adjusting to life with a super baby. U.PICT NM HC S 34. Movies THE STORY OP THE UNIVERSE No one knows for certain how the Universe came into being, or where it is going. This is a fictionalized representation of the theories of one of our best scientists. It is staged, including use of cartoons, etc. The story is fantastic, and most interesting. 309 U.PICT NM LG C 35. Movies THE STORY OF MAN This is an often amusing story of man's evolution as told by leading anthropologists. Of course, it is purely theoretical and speculative. Cartoons are freely used. Projections are also made concerning man's future evolution. It is an almost unbelievable story. U.PICT NM LC S 36. Movies SMOKY THE BEAR In this film Smoky the" Bear takes us on a tour of his forest homeland. We meet many of his friends and learn about life in the forest. B.PACT MI HC C 1. Mag. THE DIPLOMAT Reports on humorous incidents from the world of international politics and diplomacy. Usually the humorous incidents are pretty involved, and our Western diplomats are as often embarrassed as the neutrals or Communists. B.PACT MI HC S 2. Mag. OTHER PEOPLES Factual reports of explorations and visits to different civilizations here on Earth. Jungle tribes, South Sea Island cultures, Asian cililizations, etc. As we come to understand these non-Western, sometimes even primitive cultures, v/e realize that there are many important, still unsolved problems in our own civilization. B.PACT MI LC C 3. Mag. BERKELEY This article describes the behind-the-scenes moves and the reasons for the free speech demonstrations at Berkeley in 1964 and 1965. The author is very witty in phrases and penetrating in .observation. The article attempts to be objective and fair to both sides. B.PACT MI LC S 4. Mag. ECONOMIC REVIEW Examination of the difficult, mentally challenging economic problems which face our country, yet interpreted and presented in a simplified, graphic fashion. Pictures, graphs, cartoons, drawings, etc. are used where helpful. The object is to help the layman reader to get a better understanding of the difficult economic problems of our times. B.PACT MS HC C 5. Mag. THE HAPPY COOK Each week this feature column brings us the wacky, funny culinary adventures of "the Happy Cook" herself as she tells about preparing some new meal suggestions and recipes from out of America's past and from around the world. With her help, even the most amateur cook can conquer the most difficult obstacles for making the finest dishes. B.PACT MS HC S 6. Mag. THIS WEEK IN THE HEWS The week's major news stories, including some pic tures. These thorough and detailed news stories cover a wide range of areas and topics political, military, economic, books, theatre, personalities, etc. The view point generally supports traditional American values. B.PACT MS 1C C 7. Mag. SEE Reports the major news stories for this week--- well illustrated with lots of pictures. Besides the major stories about war and politics, etc. there are usually several human interest picture stories. Often there are quite humorous things which happened to other wise quite typical Americans. The editorial viewpoint generally supports traditional American values. B . FAC I1 MS LC S 8. Mag. MY ROMANCE True stories of people in love. People write in and tell their true stories. Their lives are threatened hy various difficulties and obstacles but in the end, their love triumphs. B.PACT NM IIC C 9. Mag. THE CANDID OBSERYER Pictures and stories of the humorous, if sometimes embarrassing predicament people get themselves into. These are stories of people from all walks of life--- even celebrities. Often, there is a sequence of pic tures showing the involved and complicated web of events that led to the predicament. B.PACT NM HC S 10. Mag. HOY/ TO BUILD IT Articles to help the homeowner stretch his or her dollar and have fun doing it by building yourself some of those things you've always wanted stereo, color TY, furniture, fireplace, lawn furniture, toys, vacation cabin, etc. Some of the projects are very complex, and each month brings a surprise. B.PACT NM LC C 11. Mag. SPORTS WEEK The newsweekly of the sports world. Reports from all the different areas of sports spectator, collegiate, professional, amateur, camping, hunting, fishing, etc. There are quite a lot of pictures, and the reports usually show a good sense of humor by the writers. B.PACT NM LC S 12. Mag. OUR HOME Articles of interest to homemakers, wives and hus bands alike. The articles .are mostly written to help families have more successful homes tips on furniture and decorating, yard work, meals, clothes, even budgeting for the family so as to have the most home for the money. B.FICT MI 1IC C 13. Mag. LEADER Fictitious, humorous stories about leading personal ities and institutions of our times. The stories get pretty involved sometimes, and they are usually written to make some point about American life and times. B.FICT MI HC S 14. Mag. THE TASTE OF LIFE Fiction stories of mystery and adventure on a global scale, featuring bright, sensitive, resourceful, ques tioning heroes. Besides the adventure, these heroes question the things they see in life around them. B.FICT MI LC C 15. Mag. "THE BEST OF ALL POSSIBLE WORLDS" The stories in this series poke gentle fun at some of our institutions and the difficult problems they face-- such as the rising cost of medical care, the lengthy wait for "speedy justice" in our courts, etc. Each article in the sei'ies follov/s the same pattern. B.FICT MI LC S 16. Mag. SUCCESS STORY Fictionalised stories of modern men who have succeeded in business, politics, sports, and other areas of life. Sometimes their success involves difficulties and crises of the conscience and morals as well as traditional hard work. B.FICT MS HC C 17. Mag. THE GOOD GUYS The stories in this series usually feature charac ters who are trying to do some good in the world, but find themselves caught up in a series of surprising and often humorous events which make it difficult for them. B.FICT MS HC S 18. Mag. GOVERNMENT* AGENT Fiction stories of our foreign agents working in South America, Asia, Africa, and behind the Iron Curtain. The people and stories are believable enough, but the plots are very suspenseful and intriguing. The U. S. agents invariably win, but the.se stories keep us in sus pense until the very end as to how the adventures will turn out. B.FICT MS LC C 19. Mag. OUT WEST Humorous western stories and parodies of V/esterns. These stories tend to follow the classic pattern of Y/estern stories, easy to follow and the good guy always wins. But there is the added note of humor. B.FICT MS 1C S 20. Mag. ROMANTIC STORY Fiction stories of people in love, and the diffi culties which beset them. Their love is threatened, but love triumphs in the end. B.FICT m HC C 21.' Mag. THE O'HENRY JOURNAL A collection of short stories in the 0 'Henry manner. The stories usually feature ordinary folks who find themselves caught up in an intriguing set of events which usually has a humorous surprise ending. B.FICT NM HC S 22. Mag. WANDERLUST A new feature of your favorite travel magazine. These fictionalized travel-adventure stories represent the dreamed-of vagabond life. In addition, they provide interesting information about places around the world. 33. PICT NM LC C 25. M a g . SPORTS STORY A collection of the best in sports fiction. These are usually straight-forward, hard-hitting stories, and the authors usually include a touch of the humorous. 33 .PICT HM LC S 24. Mag. OUR STATE'S HISTORY A weekly feature appearing in the Sunday supplement of tlie local newspaper. It. tells somewhat fictionalized accounts of the people and events in our state's history. Pictures usually accompany the story. U.PICT . MI HC C 25. Mag. SATIRE With its fanciful, fantasy kind of humor, this new magazine satirizes almost every aspect of m o dem American life---politics, religion, education, business, sports, etc. Traditional values are questioned in the process. U.PICT MI HC S 26. Mag. MEW WORLDS Science fiction stories of space explorers discover ing new worlds. There is plenty of adventure and danger in these explorations to discover new civilizations, new ways of organizing life and society. This all results in making us think more about our own way of life here on Earth. U.PICT MI LC C 27. Mag. CRAZY Each month's issue contains cartoon satires and parodies on American life and politics. The cartoons for each issue are usually built around the major events in the news for that particular month. 315 U.PICT MI LC S 28. Mag. MIRACLES FROM THE WORLD'S RELIGIONS In each issue this feature tells a different story from the world's religions. It centers, on the mystical, miraculous accounts of man's encounter* with, his God. These stories are from all religions from jungle tribes to the modern organised religions such as Christianity, Judaism, Hinduism, Moslem, Bhuddist, etc. U.PICT MS HC C 29. Mag. SUPER-EYE A parody of the private-eye detective stories. Our hero is endowed with extra-ordinary physical powers and modern gadgetry. Yet, he proves to be a collosal bungler. Somehow, in some crazy way, the good guy cops win and "crime doesn't pay". But we're never quite sure how. U.PICT MS HC S 50. Mag. MODERN MIRACLES Here are told in fictionalized form the stories of ordinary people's modern miracles of health, good fortune, etc. resulting from deep religious faith. The stories are often quite involved. U.PICT MS LC C 51. • Mag. SCREEN STAR Fictionalized and glamorised stories about the lives and times of the biggest of the movie and TV stars. They seem to live in a dream v/orld of glamor and adven ture. Many of the episodes are humorous. U.PICT MS LC S 52. Mag. KNIGHTHOOD AND LOVE Stories of romance and love in the days of knight hood. Always, the dashing, young knight must overcome great dangers, usually super-natural, to win his beauti ful maiden. In the end, knighthood and love triumph. 316 U.PICT irn HC C 33. Mag. UPO REPORTS These are fictionalised reports of UPO ("flying saucer") citings. It includes the whole range from the serious to the ludicrous. Most of them are hard for the average person to believe. U.PICT NM HC S 34. Mag. WOULD YOU BELIEVE? Reports on the unusual, the bizarre, the unbelievable in this world. U.PICT NM LC C 35- Mag. THE LAUGH-WORD PUZZLE This feature is a crossword puzzle type of word game with a humorous twist. The words to the puzzle tell a short, funny story. U.PICT NM LC S 36. Mag. MODERN ART Each issue features the work of a different modern artist. The work represents a'variety of mediums, such as paintings, photography, sculpture, etc. These works have an unreal, surrealistic quality to them. B.PACT MI HC C 1. TPC "HOUSEPARTY" In an Art Linlcletter "Houseparty" type of interview, several youngsters are asked to tell what they think causes bad teeth and what they recommend to save teeth. They touch on many subjects eating sweets, not brushing, etc. Generally speaking, the interviews are funny and the kids really do "say the darndest things". We are reminded that new Shield toothpaste helps. 317 B. PAC'D MI IIC S 2. TPC TEETH AND SURVIVAL In a series of scenes we are reminded how important good teeth are to animal and human survival. We see pirana i'ish.eating meat, see the powerful teeth of certain wild animals, and see references to the saber-tooth tiger. We even see some unique human uses such as Eskimo women chewing leather to make it soft and workable. V/e are then reminded that using Shield toothpaste will help to keep our teeth healthy. B.FACT MI 1C C 3. TPC THE LITTLE DENTIST In this "Candid Camera" type scene, a little boy is dressed up like a dentist and asked to imagine that he is a dentist giving advice in his own words to a patient on how to take care of his teeth. He is quite a "haw", and in his funny way tells the cause of tooth troubles. Shield is identified as the sponsor of the message. B.FACT MI LC S 4. TPC A SOUTH SEAS BEAUTY This documentary type film shows a beautiful native South Seas Island girl dancing. Her dancing creates a scene of beauty. Then, she opens her mouth! The lack of good, healthy teeth, etc. destroys the illusion of beauty. V/e are told that "unhealthy teeth are the great destroyer of beauty". And v/e are reminded that Shield when used in a program of teeth care, can help keep our teeth healthy. B.FACT MS HC C 5. TPC BOYS’ VIEWS OF SHIELD A number of school boys each are interviewed about their new toothpaste, Shield. In their own words they talk about its taste, the smaller number of cavities since using Shield, etc. Often, their comments are humorous and the boys themselves appear to be relaxed and having fun. But, through it all, Shield comes through as the champion toothpaste 'for youngsters who care about having good teeth. 318 B.FACT MS HC S 6. TPC MOTHER, TEACHER, DENTIST . V . Several people important in the life of a growing bo5r are interviewed and in their own words talk about the.-importance of having healthy teeth and the results of using Shield. Mother, teacher, dentist, etc. are all interviewed and in their own way end up endorsing Shield as a champion of healthy teeth. B.FACT MS LC C 7. TPC A MODEL'S TEETH.AND HER CAREER A beautiful, friendly, talkative young fashion model with a good sense of humor is interviewed about her feelings on new Shield toothpaste. She tells us in her own often humorous v/ay how important bright, sparkling teeth are to her career. She has been very happy with new Shield. She thinks it has made the difference in her career. B.FACT MS LC S 8. TPC A MOTHER'S WORD A mother, photographed with her son, is interviewed about the toothpastes her son has used. She tells us in her own words how important it is to her that her son have healthy teeth, and how pleased she is that Shield has reduced the number of her son’s cavities. B.FACT NM HC C 9. * TPC HOW DO YOU BRUSH YOUR TEETH? Here we see candid shots of many differentpeople brushing their teeth. It has a humorous note in that it shows many surprisingly different ways people brush their teeth . . . and the sometimes funny expressions on people's faces. Everyone photographed, of course, is using Shield. We are reminded, "No matter how you brush your teeth use new Shield!" B.FACT KM HC S 10. A TALK WITH THE SCIENTISTS We see interviews with a number of research sci entists who worked at the Dental Research Center which developed the new anti-cavity ingredient in Shield. They talk in their own way about the new ingredient from a scientific standpoint. B.FACT NM 1C C 11. TPC GIVE IT YOUR OWN TEST This short commercial focuses our attention on a graph showing how Shield reduced cavities for a test group. In the bacIEground v/e hear an interview with one of the youngsters in the test. The interview is ■humorous. In the same light note, the announcer asks us to try new Shield give it your own test. B.FACT NM LC S 12. TPC WHAT ARE THE CHANCES? In this commercial v/e are presented the stark, simple statistics what percent of the people v/ill lose their teeth before age 35, what percent by age 45, etc. The question is then asked, "What are you doing to protect your teeth?" Shield is identified as the sponsor of the message. B.FICT MI HC S 14. TPC A man representing an authoritative sounding, pro fessional looking teacher is talking to a classroom. He is talking about the many things v/hich contribute to tooth decay and periodontal diseases. Then, he makes the point that regular, proper toothbrushing contributes most to good dental health. And he recommends a tooth paste like new Shield. B.FICT Ml HC C 13. TPC In this take-off on many modern toothpaste commer cials, the children hove just returned from the dentist and have an unusually good record for reduced cavities this trip. Father is scratching his head trying to figure out what accounts for the remarkable new record. He checks in on the children to see what they're eating--- no, not much change there. He checks a couple more leads. Still no clue.' Then he checks the bathroom where he sees the new Shield they've been using. "Yep! That must be it!" ho says with a wink to the camera. The effect is tongue-in-checck and humorous. The announcer chuckles and says, "V/e 11, new Shield alone may not make all the difference but for the family that really wants to cut down on cavities it can be a big help!" B.FICT MI IC C 15. TPC THE SKELETONS SPEAK In this tongue-in-cheek commercial, an attractive pair of young college boys are seen talking good- naturedly in a biology lab. While Prof. is out, they begin playing around with a couple of the skeletons in the room. One of the boys is an amateur ventriloquist. They begin manipulating the jaws of the skulls as if they are puppets. "Notice my bright shinny teeth?" one of the skeletons says. "Yes! And how do you do it?" the other asks. "It must be the toothpaste I use," the first voice replies good-naturedly. The boys laugh. The announcer assures us its all in good fun, reminds us that there are several steps to healthy teeth, and suggests that Shield might help after all. B.FICT MI LC S 16. TPC A young man reirresenting a teacher is lecturing to his college class. They are discussing why the teeth of a skeleton survive so much longer than anything else. There is some talk about what makes for good, strong, healthy teeth in the first place, and some suggestions for maintaining good, healthy teeth. V/e are reminded in the end that new Shield.has brought the message and can help. 521 B.FICT MS HC C 17. TPC LITTLE JILL'S FOOL In this humorous staged interview, a mother comments on "how difficult it is to get my little Jill to eat what's good for her if she doesn't like the taste." The camera passes over all kinds of recommended, but not especially tasty foods. Then she adds, "And you know I used to have trouble getting Jill to brush her teeth until new Shield came along. Didn't like the taste of her old toothpaste. But Shield changed all that." B.FICT MS IiC S IB. TPC "THAT'S IT!" In this "slice of life" drama, Mora and Lad are excitedly happy over their 4 children's latest dental check-up. It seems they have fewer cavities. The talk centers around what could have caused the improvement--- and the several benefits in other ways resulting from the improvement. Finally, like a surprise ending, Lad says, "Golly! Lo you think it could be the new Shield v/e switched to?" Mora say, seriously, "Why, of course. That's it!" B.FICT MS LC C 19. TPC A STAR IS BORN The rise to stardom of an aspiring young actress is traced in this tongue-in-cheek commercial. A point is make of her choice of a toothpaste. Then, the announcer tells us, humorously, that "Shield alone may not make you a star. But when looks are important to your career, new Shield can be a strong friend in the right place--- something like having a good agent." B.FICT MS LC S 20. TPC A TIMELY TIP Here is the short story of an aspiring young model who was having a hard time breaking into the big league of modeling. A top photographer seriously gives her the tip to "try new Shield." She does. And then we see her soon afterwards being photographed for the top maga zines in the country. She tells us she has new Shield to thank for her success. B.FICT NM HC C 21. TPC A HEALTHY, HAPPY WORLD This message consists of a series of short scenes of happy, healthy people doing things--usually in some way involving their mouth. They are eating, talking, laughing, smiling, playing sport3, partying, even kissing. The message ends with the phrase, "Healthy people have more fun in life." Shield is briefly identified as the sponsor. B.FICT NM HC S 22. TPC Y/HAT'S HEW III SHIELD In a series of interviews, actors representing research scientists in the laboratory tell us about the new ingredients in Shield toothpaste. They tell the story of how these new ingredients were discovered and what they are intended to do for your teeth. B.FICT NM LC C 23. TPC A VIBRATING ELECTRIC TOOTHBRUSH In this early-morning toothbrushing scene, a young working man is sleepily trying to get toothpaste onto his new vibrating electric toothbrush. He has all sorts of difficulties--he misses his aim, he squeezes too much, it falls off the vibrating brush, etc. finally he makes it. A big grin breaks over his face. His toothpaste, of course, is new Shield. The voice-over says, "Hew Shield a good v/ay to start the day," B.FICT NM LC S 24. TPC THE BIG PICTURE A man representing a teacher is seen showing a group of grade-school children a large picture of a tooth. He explains the different parts of the tooth and tells why brushing is important. Shield is briefly identified as the sponsor of the message. u.pict hi hc c 25. PUT UP A SHIELD In a sequence oi* cartoon scenes, several different villains of the vaudeville type appear, each representing a different one of the several causes of bad. teeth, such as tobacco stain, lack of time to brush after every meal, etc. The sound track reads something like, "That old villain tobacco stain trying to dull your healthy teeth? Put up a Shield, and defend your good teeth." Then, the cartoon shield jjops up, and the villain is foiled. U.PICT MI HC S 26. TPC THE VIEW PROM INSIDE An actor representing a scientist is telling us about the several causes of tooth decay. Through a bit of film magic, we are able to go inside the mouth and the teeth appear man-sized. Thi'ough speed-up techniques, v/e see the process of decay in action. The scientist then tells us that proper brushing is one of the ways that help. Shield is briefly identified as the sponsor of the message. U.PICT MI LC C 27. TPC A TIRANA'S ADVICE Two live pirana fish, with their teeth glistening, appear to be having a conversation. The dubbed-in voices provide a conversation about how important teeth are, and ways to keep them healthy. The announcer reminds us that, "Whenever teeth are important you find folks using new Shield toothpaste." The treatment is tongue-in-cheek humorous. U.PICT MI LC S 28. TPC THE STRENGTH OP GIBRALTER The scene opens with a picture of Gibralter. The announcer says, "Imagine that Gibralter were a tooth." 524 At this point, Gibralter appears transformed into a giant tooth, Then, the comparison is made about erosion and decay, etc. Finally, the commercial ends with the theme "To give your teeth the strength of Gibralter--- use new Shield." The treatment is serious throughout. U.PICT MS HC C 29. TPC THE FANTASTIC VOYAGE In this take-off on the Fantastic Voyage kind of movie, a dentist and his assistants are inside a cavern ous mouth trying to save a .tooth. The experience is full of surprises and dangers but the dental party finally concludes that the only thing that will help now is new Shield. They want to tell this to the j/atient if they can ever get out! U.PICT MS HC S 50. TPC THE QUEEN OF LIGHT In a series of scenes, Glistenanna, the Queen of Light and Brightness, solves several different crises of love by brightening up dull teeth. She tells us seriously v/e can do the same with new Shield toothpaste. All the people except the Queen appear real rather than as cartoon or fantasy characters. U.FICT MS LC C 51. TPC GOLDILOCKS In a cartoon take-off on "Goldilocks and the Three Bears" v/e see Goldilocks about to brush her teeth after finishing the porridge and before she goes to bed. She tries three brands of toothpaste Pappa Bear's, Mamma Bear's, and Baby Bear's. "This one tasts to bad," she says of the first. "And this one stings too much," she says of the second. "Ah! But this one is just right," she says of the third. The third, of course, is new Shield. 325 U.PICT MS LC S 32. TPC CINDERELLA Cartoon characters enact a "Cinderella" type story in v/hich Prince Charming fall3 in love v/ith and asks Cinderella to marry him. He confesses that he was over come by her smile. At the end, v/e're reminded how much beautiful teeth can help your smile and "Who knows--- nev/ Shield may even help you get a smile that will conquer a prince." All in all, the treatment is one of fantasy and romance, charmingly presented. And it is presented as a serious message. U.PICT NM HC C 33. TPC SHIELD AND THE SEVEN DWARFS In a cartoon story v/ith a Walt Disney quality, the Seven D.varfs are seen marching dov/n the trail from the castle-like Shield toothpaste factory in the background. V/ith toothbrushes slung over their shoulders, they march along singing, "Hi Ho, Hi Ho, A-Brushing we will go-o-o!" In a series of comical scenes, they stop along the v/ay to help brush the teeth of various animal charac ters in this enchanted forest. Especially funny is v/hen Dumpy tries to help the frog bubbles everywhere! The treatment is charming and humorous. U.PICT NM HC S 34. TPC A TOUR OP THE PLOURIDE PLANT In this cartoon, a scientist in a lab coat takes us on a tour of the plant where the flouride active com pound is made for new Shield. It is an interesting and educational tour. U.PICT NM LC C 35. ■ TPC THE PAINTERS The scene opens on v/hat appears to be a pair of painters in their white cover-all uniforms who appear to be painting a strip down the center of a highway using a painting machine. On closer look, however, we see that the painting machine is laying dov/n a big round 326 strip of toothpaste---the color of new Shield. The characters are exaggerated and are "cutting up" quite a bit. We are then told it would take a continuous strip of toothpaste x number of inches in diameter circling around the world X number of times to equal the total output of Shield toothpaste in a year. "That's how popular new Shield is worldwide." U.PICT NM 1C S 36. TPC LAKE SHIELD Through the magic of the camera, we see a small lake being filled up v/ith new Shield toothpaste. By the end of the commercial, the lake appears to be filled up. The announcer says, "Every year, Shield makes enough toothpaste to fill a small lake. That's enough to brush an awful lot of people's teeth. Why don't you try new Shield and see why it’s the world's largest selling toothpaste." B.FACT MI IIC C 1. POL JOHN PHILLIPS WITH LATIN AMERICAN LEADERS Newsfilms are shown of the time when he was a young Undersecretary of State attending a conference of Latin American leaders. In each scene he is relaxing, talking, and laughing v/ith a different leader. The point is made that in this world of "real politics" an effective leader must have good personal relations and be able to rally the support of both popular democratic leaders and dic tators alike in the struggle to defend democracy from Communism. B.FACT MI HC S 2. POL NATURE’S BALANCE We see many different scenes, each showing abundant flocks of ducks, geese, -or herds of deer and other such animals feeding, etc. Then the narrator tells us about the delicate balance in nature between the food supply and the number of animals. If the number of animals out runs the natural food supply, the animals will starve. John Phillips has proposed larger game quotas for hunters in order to prevent, starvation and at the same time pro vide sport for hunters. 327 B.FACT MI LC c 3. POL Phis is a short excerpt taken from the time when Sen. Phillips was a guest on the Johnny Carson Show. In the interview Sen. Phillips is friendly, relaxed, and has a good sense of humor. This particular excerpt centers on a discussion about dissenters from students to clergy to Congressional leaders. He is very knowledg able in his defense of the right to dissent, in a democracy, even in time of national trial. B.FACT I'll LC S 4. POL HELP FOR THE AMERICAN INDIAN We see the life of one Indian family on a reserva tion. Life is hard. They live in poverty. Something must be done. Our usual methods may destroy the tribal traditions of the people. John Phillips wants to find new ways to help the Indians so that they may preserve their tribal heritage. B.FACT MS IIC C 5. POL A B O Y ’S BREAI-IS John Phillips is in a low-income neighborhood, talking and laughing with little children. In a series of scenes, he asks different ones what they would like to be when they grow up. In each case, the child has big ambitions. But the odds are against him. John Phillips cares what happens to these children, and wants to help them reach their ambitions. B.FACT MS HC S 6. POL THE SOUNDS OF HAMMERS AND SCHOOL BELLS We see numerous scenes of schools being built in different parts of the country. These are scenes of workmen and construction. These schools were built v/ith financial aid from Sen. Phillips’ committee in Congress. But getting the money wasn't easy. Superimposed on the construction scenes are graphs showing the difference between the amount of money the opposition was willing to allow, and the greater amount John Phillips was able 528 to appropriate through vigorous leadership. The sounds of the hammers gives way to the sound of the school hell as the message ends on a serious note--- theimportance of schools for our country's future. B.FACT MS 1C C 7- POX/ "NO MORE RECESS . . . .» In this nev/s-reel type of film, John Phillips is ad dressing an auditorium full of grade-school children. Jokingly, he says, "... and you know what will happen if my opponent wins more homework, school on Saturdays, no more recess ..." The children laugh and applaud. They seem to love him. He is interested in children and their schools. B.FACT MS I/C S 8. POL LITTLE PAUL GOES TO SCHOOL Little Paul lives in a big-city, low-income neighbor hood. V/e see him crossing the playground and entering a sub-standard old school building. His chances of finish ing school and getting a good job are way below average. John Phillips wants every child to have a good education. B.FACT NM HC C 9. POL THE MAN ON THE STREET TALKS ABOUT JOHN PHILLIPS In a series of "Man on the Street" interviews, a wide variety of people talk about some of the different reasons they intend to vote for John Phillips. They mention such, things as his experience, his voting record in the Senate, his views on important issues, his fine personal qualities, etc. Sometimes the answers are a bit humorous, but they reflect the views of real people. B.FACT NM HC S 10. POL THE IMPORTANT ISSUES John Phillips talks about the bills he has sponsored in the Senate on a variety of subjects education, prices, housing, peace, crime and corruption, protecting consumers, etc. He makes the point that these are important issues we must seriously consider in making our voting decisions. He uses a series of charts and graphs to illustrate his points. ______B.FACT NM LC 0 11. POL THE GROCERY BUDGET— INCLUDING FIDO A typical-looking, real-life young housewife is being interviewed in her "kitchen. In her own words she tells how rising food prices have affected her family budget. Occasionally she points to food items in the kitchen to illustrate her point. She has a good sense of humor, and even mentions how rising prices have affected Fido, the faithful family dog's eating habits. B.FACT NM LC S 12. POL THE SUPER-TRAIN The film opens as the new super-speed experimental electric train comes racing toward the camera. The sights and sounds are those of speed and moderness. John Phillips tells us in his own words v/hy he envisions a nationwide network of these new super-trains as part of his plans for a more modern, more efficient America. B.FICT MI HC C 13. POL In this staged film a college professor is talking informally with a few of his students. In the scripted conversation they discuss John Phillips' position on several of the most complex and difficult problems of the day. They are a friendly, relaxed group, and their conversation is filled with wit. They often bring into their conversation quotations from Sen. Phillips which indicate that he is very knowledgable on the issues and has a good sense of humor, as well as high purpose. B.FICT MI HC S 14. POL THEY PAY FARMERS NOT TO GROW THINGS A series of scripted interviews with actors repre senting farmers, warehousemen, bankers, grain brokers, etc. is staged in a series of scenes of farm fields, warehouses, banks, grain exchanges, etc. It is all part of a sequence to explain v/hy our farm policy pays farmers not to grow things. John Phillips favors continuing the present farm policy of price supports and soil bank plan, even though these policies seem based on an otherwise strange logic. 33. PICT MI LC C 15. POL THE FREE AIR A New York City taxicab driver is talking v/ith a pompous society matron who is accompanied by her pet poodle. lie frecpiently makes the statement: "Yes, Sir! About the only thing free these days is the air we breathe!" The camera shows fumes from buses, cars atad smokestacks. The driver's eyes are watering, the matron has a speck in her eye, and even the dog's eyes are watering. They are coughing. John Phillips' voice is heard saying: "The free air v/e breathe costs us millions of dollars each year in damage to property and health. Yes, it will cost us in taxes and inconvenience to clean up the air. But can v/e afford to wait?" B.FICT KI LC S 16. POL 01TE INNOCENT MAI? Actors portray the famous historic case of an in nocent man who was falsely convicted of a crime he didn't commit, largely on the basis of evidence falsely ob tained by denying him his legal rights. John Phillips warns that at a time like this, when v/e are so anxious to protect society from crime, we must show restraint and preserve individual rights so that an innocent man will not be falsely convicted. B.FICT MS HC C 17. POL "I CAN TRUST HIM ..." In a series of scripted interviews, persons rei/re- senting voters from all walks of life tell why they intend to vote for John Phillips. One major reason that comes through all of this is the fact that "he is sincere, honest, and I can trust him." These are friendly people, and their conversation is often humorous. B.FICT MS HC S 18. POL J01H? PHILLIPS' CRUSADE AGAINST CRIME Here several different scenes relating to the crime problem are enacted. In each of these are portrayed 331 the moments just before a crime is committed. We see, for example, a young housewife shopping, neighbors talking on a street corner, a businessman v/aIking into a subway. They are all people very much like ourselves. Newspaper headlines tell the tale of what happened to them. We hear John Phillips calling for a "national crusade against rising crime." B.FICT MS LC C 19. POL JOHN PHILLIPS CHAMPIONS NATIONAL PAHICS Actors portray a typical-looking young American family on vacation in Yellowstone National Park. In their scripted conversation, they talk about what a beautiful place this is, how much fun the children are having, and how they wish there were more such places. The announcer reminds us that John Phillips has been a vigorous champion of more such places. B.FICT MS LC S 20. POL JOHN PHILLIPS FIGHTS FOB HIGHWAY SAFETY We are riding at night along a highway in a car with a young family. It is raining. They can't see clearly the warning sign on the highway, partl5r covered with underbrush. They have an accident. The announcer asks, "Was this necessary?" The answer is that "John Phillips believes that needless deaths on our highways can and must be stopped. John Phillips is fighting for the safety of you and your family on our highways." B.FICT NM HC C 21, POL In a series of scripted interviews, persons repre senting many different voters talk about different jobs John Phillips has held in the past. Each of these examples helps make the point that he has had broad experience in government administration, well qualifying him to fill the job. Those are friendly, relaxed people who have a good sense of humor. B.FICT NM IIC S 22. POL STRETCHING THE FAMILY DOLLAR Several young women representing and. looking very much the part of typical 5roung American housewives are seen in a series of different shopping situations. One is buying meat at the grocery store; another is looking through the dress rack at the department store; and a third is watching her children try on shoes at the shoe store. In each case a point is made that prices have gone up on a wide range of items. Finally, one woman turns to another and says, "Even with rny husband's raises, it seems as if we can just barely keep up with rising prices." B.FICT NM LC C 23. POL. "WHO CAN YOU BELIEVE . . . .?" A couple of men in their late thirties, representing and looking like young American family men, are out fishing together in a boat. They are having an often humorous conversation about politics, and especially about the war. They find that they have heard different versions of our progress in the war. Finally, about to cast his line, one turns to the other and says, "Boy, you just don't know who to believe any morel" B.FICT NM LC S 24. POL A CONVERSATION AT LAKE POWELL John Phillips and a young man of college age are standing on a hilltop overlooking the newly completed Glen Canyon Dam and the Lake Powell reservoir behind it. Their scripted conversation tells the impact that this project and others like it will have in terms of added electric power, more water for irrigation, and new re creational facilities. U.FICT MI HC C 25. POL EVEN IN WHEELBARROWS We see different scenes in which people are carrying enormous quantities of money in order to shop. Money in wheelbarrows, in potato sacks, bulging suitcases, etc. The question is then asked,* "How much inflation is safe inflation?" 333 U.PIC 0? MI HC S 26. POL "WHAT WENT WRONG . . . In the opening v/e see a couple of men, one por traying a high-ranking military officer, the other a high- ranking civilian, sitting in an underground bomb shelter somev/here in Washington, D.C. When they emerge, they see total iihbelievable destruction. They are then fol lowed walking in several scenes at the ruins of different landmarks such as the capitol, the White House, etc. One asks the other, "What went wrong?" At the close, John Phillips' voice is heard saying, "The issues that make for war and peace in our time are difficult and complex. The- line between small v/ars and great wars, between friend and foe grows dim. There are few eternal truths in this world . . . but one of them is the complete devastation of nuclear war." U.PICT MI LC C 27. POL THOSE ROMANTIC GANGS This filmed message looks like it could have been a scene taken from the popular musical "West Side Story". The members of the young gang are seen snapping their fingers to the rhythmn of the music and dancing their way dov/n a New York City street. The announcer's voice over the scene reminds us that the big city gangs are more than just a romantic gang of singing and dancing victims of misfortune. Nor can the problem be solved simply v/ith more police measures. The roots of the problem are deep and something must be done to help these youngsters. John Phillips wants to help solve this challenging, often confusing problem. U.PICT MI LC S 28. POL THE GRAND CANYON PILLS UP Through a bit of film magic, v/e see the Grand Canyon rapidly filling up with v/ater. Soon v/e see a picture of what the Grand Canyon would look like all filled up with water. We then hear John Phillips say, "There are some values which are hard to measure in terms of dollars and cents efficiency. True, the dam would provide cheaper electric pov/er and more irrigation water. Put how do you measure the worth of a great phenomenon of nature?" U.PICT MS HC c 29. POL A PI sirs GUIBEI) TOUR A fish takes us on a guided tour of his home, a river. He is a very talkative fellow with a good sense of humor. He begins by apologising for "What a mess the place is today". On the tour we meet several of his friends. Each conversation points up another cause of river pollution. "It wasn't always like this," he tells us. "And we'd sure like to get it cleaned up." The announcer then asks xis to "Join John Phillips in his fight against the causes of water pollution! Let's clean up our water!" U.PICT MS IIC S 30. POL THROUGH THE POG Running forms are barely seen through a thick, blowing smog. The smog finally breaks a bit and we see little children running through the park, playing on jungle gymn bars, jumping rope, etc. wearing gas masks. Through it all, the announcer talks about the several causes of air pollution, including autos, in dustry, incinerators, etc. He concludes, "Although powerful interests resist his efforts, John Phillips has been a strong leader in the fight to clean up the air for our families. This is a fight we must not lose." U.PICT MS LC C 31. POL THE CHIMNEY SWEEP Here a "Mary Poppins" type of chimney-sweep is being interviewed. He is complete with high hat,broom, soot, and all. All around him smoke is billowing out of chimneys, incinerators, plants, etc. In this humorous interview, he talks about how busy he's been, and con cludes by saying "Yes, Sir! Business is better than ever!" Then he flies off to his next job. The announcer chuckles and says, "Well, it will take more than a busy chimney-sweep to take careof all the pollution in the air today. Join John Phillips in •Operation Chimney Sweep', his imaginative new program to clean up the air. Por the sake of your family, you can't afford not to." U.PICT MS LC S 32. POL THE SHOPPER'S MAZE This message has a surrealistic, or dream quality to it. A housewife is pushing a grocery cart through a giant maze and can't find her way out. On the shelves around her are all kinds of products packaged in many different size boxes v/ith different labels and prices. The point is made that ’'John Phillips wants to help the housewife out of the shopping maze. He is sponsoring consumer legislation to standardize packages and quan tities to make the shopper's job easier." U.PICT NM IIC C 53. POL THE AMAZING NEW ANTI-MISSLS DEFENSE SYSTEM At Defense Headquarters v/e see all the tense drama of an alert. The warning is out that enemy missies are are headed for American cities in great numbers. The command goes out to activate America's new Anti-Missle Defense System. We see some rather comical figures going through all the complex series of events. To all the dramatic sights and sounds of flashing lights, buzzing horns, etc. the silos open and up and out come giant sized, automatic bow-and-arrow machines. U.PICT NT-I I-IC S 34. POL 2068 This is a fictionalized story of what life will be like in the year 2068, a century from now. While based on sound projections of science, it nevertheless seems fantastic. Sen. Phillips reminds us that we must begin now to take measures which will make our world better in the future. U.PICT NM LC C 35. POL A YOUNG AMERICAN TAXPAYER A typical young American family man sits at his desk at home working on his taxes, bills, etc. Through out the film great quantities of forms, envelopes, reports, receipts, bills, and assoi*ted other red tape are being dumped on him much as in a ticker-tape parade. At the very end, the room is filled with paper and he is literally about to drown in it. The announcer says, "Here's a message from a young American taxpayer." "HelpI", cries the young American taxpayer. U.PICT NM 1C S 36. POL Through a bit of film magic, we see what appears to be a space ship flying through the heavens on its way to a distant planet. It approaches and rendevous's v/ith an inter-planetary station.' The point is made that space exploration continues to be an important part of our scientific effort and John Phillips feels that our efforts today must be outstanding in order to assure our success tomorrow. APPENDIX D INTERVIEW SCHEDULE AND QUESTIONNAIRE 337 338 Name______Date INTERVIEW SCHEDULE This is a study to find out more about what people like and don’t like in the programs they watch on tele vision, the things they hear on the radio, the movies they go to, the magazines they read, and the commercials they see on television. Each of us, of course, has his own idea about what is "good" and what is "bad" in television or radio or whatever. Each of us has his own preferences, his own likes and dislikes. This study is designed to give you an opportunity to tell us what you personally "like very much", or "don't like very much", and how you feel about the ones in the middle. Some of the choices you can make are similar to what's already available. And there are some choices that border on the "really new and different". The main thing to remember is to tell U3 what you per sonally like and don't like. Give youi'self a free rein and don't let anyone else or anything else interfere with your own preference. TELEVISION PREFERENCES (Instructions to Interviewer: as you read through the following questions, make a judgment regarding which alternative statement in each case is most appropriate. Circle it. Ask the person to expand on the answer if he so desires). I suppose you most often watch television at home? I guess you generally watch the set in (the living room/in another room)? Do you generally watch television by yourself, or with other people? You probably (often/do not) have other things on your mind when you're watching TV? 559 I asurae you (sometimes/seldom) do other things while watching IV (such as writing letters, looking at the paper, sewing, doing some paper work, eating, drinking)? You probably (are/seldom are) interrupted while watolling TV? Now, at this time I want you to imagine that you are in (the above setting). You are seated in your favorite chair, and in front of you is your television set. You are asked to pick the programs that you per sonally want to watch. If anyone else is present, they will be happy to go along with your choice. You have nothing else on your mind. No phone is going to ring, the day's work is all done,-no one is going to "barge in" on you, and nothing will happen to bother you. You are perfectly free to watch whatever programs yoii personally would most like to see. Let your own personal preferences determine your choice here. Described on these cards are ideas for new television programs. Look through them and react to them as quickly as possible. Y/e want your initial reaction to them. You are free to pick the ones you personally would most like to see. First, divide the programs into three piles as you read through them. Put the programs you like most in a pile on the left. Put the programs you like least in a pile on the right. Programs you don't feel strongly about one way or the other, or that you're unsure about, put in a pile in the middle. Now, from the programs in the pile on the left, select the 2 programs you would most like to watch and place them in pile number 1. Then, from the programs in the pile on the right, select the 2 programs you would least like to watch and place them in pile number 9. Then, continue doing this same thing, working from the ends toward the middle. (Comments). Could you tell us why you liked these two jjrograms the most? What is there about these two programs that made you like them the most? 1. i ______- . 2. # 540 (Comments). Could you tell us why you liked, these two-programs the least? Y/hnt is there about these two programs that made you like them the least? 2 . " RADIO PREFERENCES As you know, people differ according to their radio listening habits. Where would you say you do most of your radio listening? What other things would you say you are likely to be doing at the same time that you're listening to the radio? Wow, I want you to imagine that you are in (the above setting). You are asked to pick the programs that you personally want to listen to. You are perfectly free to listen to whatever programs you personally would most like to hear. let your own personal preferences determine your choice here. Described on these cards are ideas for new radio programs. look through them and react to them as quickly as possible. We want your initial reaction to them. You are free to pick the ones you personally most prefer. Follow exactly the same procedure in sorting these ideas for new radio programs that you followed before in sorting the ideas for new television programs. (Comments). Could you tell us why you liked these two programs the most? What is there about these two programs that made you like them the most? 1. # ______ 2 . # 341 (Comments). Could, you tell us why you liked these tv/o programs the least? Y/hat is there about these two programs that made you like them the least? jt I a ______ MOVIE PREFERENCES I suppose you see most of your movies in a theatre? You probably go to the movies (alone/with somebody else )? Sometimes we go to the movies on an impulse, some times because w e ’ve read about it in the paper, sometimes because other people recommended it to us, and sometimes just to have an excuse for a night out. Yfhich reason do you suppose best describes you? You probably (usually/do not) have other things on your mind when you go to a movie? Going to the movies is probably just one of several things you do in the course of the night out? Now, I want you to imagine that you are in (the above setting). You are seated comfortable and in front of you is a wide-screen wired with stereo sound. You are asked to pick the movies that you personally want to see. You are perfectly free to watch whatever movies you personally would most like to see. let your own personal preferences determine your choice here. Described on these cards are ideas for new movies, look through them and react to them as quickly as pos sible. Y/e want your initial reaction to them. You are free to pick the ones you personally most prefer. Follow exactly the same procedure in sorting these ideas for new movies that you followed in sorting the two previous sets of cards, for television and radio programs. 342 (Comments). Could you tell us v/hy you lilced these two movies the most? Y/hat is there ahout these two movies that made you like them the most? 1 . # ■ _____ 2 . IT11 (Comments). Could you tell us why you liked these two movies the least? Y/hat is there ahout these two movies that made you like them the least? 1. # 2 . # MAGAZINE PREFERENCES I suppose you do most of your magazine reading at (home/work/the library/school). Some magazines we subscribe to, some we pick up at the newsstand, some are given to us by friends. Y/hich do you suppose best describes your sources? Probably most of the magazines and articles you read are ones which (yoii (select yourself/are suggested to you by friends). Probably (some of/very little of) your magazine reading is from business, trade and professional journals. You probably (often/do not) have other things on your mind while you're reading. X assume you (sometimes/seldom) do other things while reading magazines (such as eating, watching TV, listening to the radio, listening to records, making notes). You probably (are/seldom are) interrupted while reading. Nov;, I v/ant you to imagine that you are in (the above setting). You are comfortably seated, and on the table in front of you is a pile of magazines. You are asked to pick the magazines and articles that you per sonally v/ant to read. You are perfectly free to read whatever magazines or articles you personally would most like to read. Let your own personal preferences deter mine your choice here. Described on these cards are ideas for new magazine new articles, or new "series" of articles. Look through them and react to them as quickly as possible. Y/e v/ant your initial reaction to them. You are free to pick the ones you personally most prefer. No Ho w exactl5r the same procedure in sorting these ideas for magazines that you followed in sorting the previous sets of cards. (Comments). Could you tell us why 3rou liked these two magazines the most? Y/hat is there about these two magazines that made you like them the most? 1. # _ 2 . // (Comments). Could you tell us why you liked these two magazines the least? Y/hat is there about these two magazines that made you like them the least? 1. i______'______. 2 . # TELEVISION COMMERCIALS PREFERENCES You've undoubtedly noticed that most programs on TV are accompanied by sponsors' "commercials"? You probably know that a great deal of money and effort sometimes goes into producing some of these commercials? 544 I suppose that some of these commercials you probably like better than others? I guess that some of them you may even find enter taining, or artistic, or even informative about some subjects? You've undoubtedly also noticed that these commer cials come in a wide assortment of kinds and contents. Nov/, I want you to imagine that you are in (the above IV setting). You are seated in your favorite chair, and you are watching your favorite l'V programs. You are asked to pick the commercials that you would personally like to see accompany your favorite TV programs. You are perfect^ free to watch whatever commercials you personally would most like to see with your favorite TV programs, let your ov/n personal preferences determine your choice here. Described on these cards are ideas for new television commercials. All of them are about one product, Shield, an imaginary new brand of toothpaste. look through them and react to them as quickly as possible. V/e want your initial reaction to them. You are free to pick the ones you personally most prefer. Follow exactly the same procedure in sorting these ideas for new commercials that you followed in sorting the previous set of cards. (Comments). Could you tell us why you liked these two commercials the most? Y/hat is there about these two commercials that made you like them the most? i • it ______■______ 2 . # (Comments). Could you tell us why you liked these two commercials the least? What is there about these two commercials that made you like them the least? 1. # . . 2 . # 345 POLITICAL MESSAGE PREFERENCES I suppose you're noticed that there's been quite a bit of political activity lately. I'm sure you've heard that a number of candidates are running for the Presidency this y^ear. You probably have personal preferences about the kind of candidate you'd like to see. I'm sure you've also noticed from previous cam paigns that these candidates all will be using television. You probably have liked some of their political messages betther than others. IJow, I v/ant you to imagine that you are in (the above TV setting). You are seated in your favorite chair, and you are watching your favorite TV programs. You are asked to pick the political messages that you would personally like to see accompany your favorite TV programs. You are perfectly free to watch. whatever political mes sages you personally would most like to see with your favorite TV programs. Let your own personal preferences determine your choice here. Described 011 these cards are ideas for new televised political messages. All of them are about one imaginary candidate, Senator John Phillips, who has been nominated by a majoi' party as its candidate for President of the United States. Look through these political messages and react to them as quickly as possible. V.'e want your initial reaction to these political messages. You are free to pick the messages you personally,would most prefer. Follow exactly the same procedure in sorting these ideas for new political messages that you followed in sorting the previous sets of cards. 346 QUESTIONNAIRE Name______Sex______Age__ Address______Phone______ Eamily role______Size of family; 0 c cupa t1on______ Education______ Religious Affiliation______ Political Affiliation______ Pavorite Candidate in 1968______ Other Affiliations APPENDIX E CORRELATION MATRIXES FOR THE SIX Q SORTS 547 50 59 11 12 01 11 35 18 38 43 -30 -18 -50 -14 -21 -26 -21 -27 -10 -14 -10 -16 r“ * 33 56 10 47 21 43 -rl? 33 42 44 41 01 -30 -03 -24 -06 -12 -21 -26 -34 -31 -19 -04 -29 -01 -03 XI 9 54 51 04 21 33 08 -18 -50 32 05 27 23 4-6 06 11 20 22 03 00 -02 -12 -11 -10 -13 54 16 21 25 21 34 00 42 06 20 8 03 06 548 -51 -55 -05 -05 • -19 -09 -22 -28 -25 -35 -43 -39 -03 -13 13 -02 48 18 37 39 38 49 00 35 09 7 00 16 49 06 02- 41 06 -32 -26 -21 01 -10 -04 -17 -06 -22 -22 -2- V. . 38 -04 6 31 26 45 48 56 38 45 06 11 00 -40 -05 -15 -32 .AO -15 -04 ”*v> -02 -21 -11 -15 -26 -19 -22 -11 12 26 'jj 5 45 5917 55 43 22 12 20 60 15 46 28 20 35 00 00 00 -01 -08 -21 -16 -18 -27 -17 -06 -17 -25 -53 -35 51 57 52 28 52 16 4 00 15 45 56 07 27 55 41 05 22 11 07 07 -20 -57 -15 -19 -52 -59 45 ■57 -10 -10 57 55 0110 -18 10 54 5 42 51 21 20 OS 11 18 42 06 02 02 ■ 25 14 55 16 20 23 05 26 26 06 -01 -06 11 18 -09 -07 52 2 15 53 -05 14 52 57 57 LL 42 16 10 44 40 16 14 -05 01 (Decimal point not provided) -17 -05 -16 16 -10 -05 -15 -'17 25 47 -2.2 -02 -09 -29 -24 -52 <*. o 1 <~v <~v 52 i G 51 55 15 57 53 15 48 45 55 55 50 46 OS 01 66 44 25 49 2.5 55 09 09 05 00 05 -11 -15 -50 -01 -24 -15 05 -14 -26 -01 Person to Person Correlations on Television Q Sort 22 12 02 61 81 11 91 SI tl SI 21 II C t 1 ! f i 19 20 21 22 23 24 25 26 27 28 29 30 51 .6 29 ,1 Go 54 0 10 34 33 0 39 45 A1 43 s 02 -11 -08 35 n 35 c* -08 00 03 21 38 14 0 -'•b -06 -11 -20 05 00 43 0 -08 -14 -21 -30 -13 -20 12 36 7 04 -18 00 -31 -13 -10 -01 17 -04 0 11 04 -01 06 09 13 40 13 15 03 1 -17 -13 -28 -16 -21 01 10 07 -03 06 -07 2 02 07 36 16 , 37 23 04 -09 -16 07 -16 -15 L -15 -01 -11 00 l 02 -15 30 11 05 21 18 15 7 “30 05 -05 28 ' 11 10 50 23 04 12 29 22 5 -27 -12 -06 -31 -26 -06 22 33 23 34 45 06 24 25 26 27 23 29 30 31 32 33 34 35 35 38 14 05 00 43 -13 -20 12 35 -13 -10 -01 17 -04 09 13 40 13 15 Co -21 01 10 07 -03 06 -07 37 23 04 -09 -16 07 -16 -15 02 -15 30 11 05 21 IB 15 05 ’ 11 10 50 28 04 12 29 22 06 32 -26 -06 22 33 23 34 45 06 -06 25 21 349 Person to Person Correlations on Radio Q Sort 'tl'1* ITrlrt. — X 2 3 4 0 6 7 8 9 1 0 l_k 30 53 07 4 -19 05 -07 5 53 51 32 14 Or 43 26 53 01 51 7 71 35 35 -07 41 38 3 68 31 30 -06 51 42 56 0 51 28 11 -05 10 11 42 09 10 36 36 46 04 56 63 43 20 30 ■> 1 56 30 39 -24 55 20 28 52 23 12 13 15 11 35 04 10 06 -03 29 15 11 09 -13 19 -01 -22 13 00 31 14 -02 00 04 35 -15 13 03 -10 -16 15 -17 09 09 25 -01 15 -28 -03 -13 16 -14 -11 09 35 -10 -01 -24 -26 -06 17 -06 11 26 25 26 28 -21 OS -11 13 41 24 25 -20 10 38 40 21 n 0 19 10 21 -24 -11 13 05 16 08 24 20 13 25 05 -18 -38 39 05 26 -01 21 43 20 03 -15 25 13 60 56 23 o ■ -- 43 48 28 -01 61 40 58 50 17 *3 '2 17 15 40 07 41 43 15 45 -04 24 00 55 17 -01 42 35 08 25 -10 O -07 43 -10 -04 38 37 -11 11 -03 26 16 -17 03 -18 -13 -01 28 -04 22 t*O'? [ 16 -03 08 15 -07 12 -12 04 22 7 8 56 54 08 -2.2 43 28 19 35 17 /*« a 31 26 15 23 16 10 16 26 43 50 00 -05 -09 -10 . - 1? -05 -08 07 -08 "T"U 06 01 -08 -8 -6 -10 05 02 09 15 10 17 -16 16 26 00 04 00 53 0? 13 -03 -02 01 13 17 06 -04 54 10 -22 09 -13 -21 -20 10 -3 - 23 55 -10 -17 -23 13 434 -2.6 -15 -32 15 10 11 12 13 14 15 16 17 18 24 18 01 -11 23 47 -01 -13 20 15 -04 -15 28 38 41 00 -01 43 -04 39 03 25 21 21 28 16 59 15 42 18 32 23 -01 03 -09 05 15 13 -23 -16 05 -21 -13 -10 -11 19 23 -15 -28 -06 -11 01 05 01 17 31 -13 00 -13 -41 -39 -13 27 31 43 56 -05 27 13 01 -15 33 31 30 31 20 05 -15 -06 21 -11 36 12 11 22 23 -02 -12 00 12 00 21 -25 25 36 08 01 -23 -06 00 12 30 00 SO -08 -04 14 19 19 02 14 -15 -08 12 -04 -03 15 -07 10 13 28 03 -10 25 13 43 -09 14 -01 03 -09 07 15 42 03 21 25 21 21 23 10 10 -02 02 -15 -06 07 -09 07 15 19 00 -21 04 -22 27 -2- 02 02 -28 -05 -21 -06 21 16 27 -10 -11 08 05 10 11 20 26 02 -03 01 -15 11 -13 01 -09 05 32 -02 -12 18 -08 -11 -20 06 -18 -05 12 -27 -32 12 -05 00 -20 16 -28 -18 09 ! : 20 21 22 25 24 25 26 27 28 29 30 31 31 30 46 11 05 21 25 -07 12 44 60 00 14 20 43 12 02 04 -19 06 -20 25 -05 -22 01 -21 03 -10 42 20 58 -09 09 15 -08 01 02 07 18 39 11 -03 -02 34 28 04 -04 -18 -05 . 13 -01 41 26 -13 -05 21 28 00 -18 01 -06 -07 -06 10 10 -26 26 01 25 26 06 23 -23 -09 24 • 20 -53 -01 32 25 03 00 01 37 -12 24 -07 03 04 15 12 01 -31 -29 -32 -23 19 21 -29 -11 23 -02 09 -09 -37 -29 -23 04 -20 39 -06 20 -12 05 54 55 40 55 22 48 32 -30 -01 51 15 05 -07 -02 -01 50 04 23 -26 -38 10 29 03 -05 -11 • • 20 28 10 28 24 -15 -29 -06 20 -12 26 54 59 27 21 24 -07 -06 -09 19 41 26 -07 -23 -20 -12 -10 -08-02 01 O CO Lf\ t<~\ r-i K.0 \*ji ^,*1 v.'i v ) f*.’ to ro fo i\i ro ro ;*•/ *o ro m j**1 m i--* }-^ t-** \j\ -r* v*j W HOOcrj^oiai -r-*us iv» h o\d co -a o ^ n * r - v>j ro *-•* q v d c ?ouiv?j - J ro m Sort Q Movie on Correlations Person to Person 0 -04 -02 -05 -06 -02 -05 -31 -07 -32 -06 -20 -27 00 8-12 08 03 026 09 00 11 08 2-11 05 22 23 52 41 17 64 05 52 12 25 26 14 13 10 33 63 31 51 1 -13 -23 -16 -15 -35 -27 -18 -16 0 45 -07 -16 -23 - JO 03 23 38 16 22 26 22 00 13 13 11 11 14 11 38 2 -17 -18 -30 0 -22 -01 2 12 -20 -03 -26 -01 -04 04 01 06 033 04 -33 19 10 13 206 31 32 25 38 33 15 -24 23 12 09 42 30 31 0-22 00 5-35 25 4 3 -16 -07 -06 -24 -40 -15 -11 -28 -28 -24 -18 05 0-11 00 19 16 03 25 17 07 35 13 21 00 03 . -06 1 28 -03 -16 -20 0 00 -01 -41 -04 -09 -37 01 19 110 01 00 35 11 08 09 36 01 17 35 35 19 32 14 53 24 5 12 -07 -06 -05 -38 -03 0 23 -06 4 11 -42 -20 2 06 -22 -05 05 25 11 41 04 20 14 25 29 10 11 12 6 30 26 23 14 2 -11 -20 -16 -04 2 -11 -21 -31 -24 -05 -16 -18 -45 04 5-15 05 63 37 07 00 17 7 8-12 18 0-16 00 62 28 10 32 531 55 62 56 350 -25 -43 -09 -10 -10 8 05 24 £-31 1£ 54 34 00 28 23 26 15 18 33 31 20 33 -19 -04 -06 -08 -01 -12 -03 -29 -03 05 9 02 16 17 18 20 06 18 08 08 06 00 02 20 20 -05 9 10 11 12 13 14 15 16 17 18 19 'd'j 17 -04 10 16 -02 -25 05 -25 02 04 -19 -08 -07 13 32 13 -11 -41 00 31 28 02 21 -13 10 -07 31 31 20 07 -14 25 15 13 17 37 06 25 26 -07 . 10 16 24 16 -45 18 -01 52 -10 00 03 00 -04 -22 35 -06 03 52 -01 -24 00 -46 -08 -09 IS 49 -05 08 40 11 19 -02 -08 10 -08 16 32 35 -03 03 06 00 43 22 IS 01 02 31 -18 00 -12 15 12 -30 -20 05 -09 -11 -10 03 -08 -02 -01 26 01 -03 -29 -04 05 26 22 -16 05 01 08 20 21 -18 -18 -03 -30 04 01 -15 35 34 -31 07 -05 05 -03 13 -01 13 -19 ‘ 05 -02 04 08 -09 00 01 15 03 28 -09 -05 14 38 -03 02 15 03 06 33 56 18 -03 01 32 28 24 20 50 15 -05 -03 40 10 15 06 23 20 13 -08 -30 -01 -50 -03 -05 -10 -18 10 -40 -19 -11 00 -10 -23 -12 17 11 55 10 03 33 -10 -35 -05 08 14 -07 -18 31 05 05 05 00 16 10 06 -03 -08 -21 -10 03 08 -19 03 -11 -06 -08 20 01 08 16 16 24 16 14 11 28 09 -05 -29 06 -01 08 ' 10 24 10 23 19 Ob -25 -11 . . „ !■—>«»■—.... - ■ ■ ------— ---- 21 22 23 24 25 26 27 28 29 30 31 >:? 00 16 -02 00 28 01 11 -30 13 34 35 -32 08 31 04 05 -23 -13 02 10 -08 16 -10 13 18 22 16 24 21 28 18 -09 -05 -06 -03 13 13 11 48 14 11 -12 05 63 -11 -38 -14 16 -05 -12 -06 -22 -09 05 r » #-* -35 -25 25 -17 - -41 -23 10 -09 -15 -01 10 -03 -09 32 3o -05 10 12 20 29 -04 -11 -08 13 OS 15 -05 03 30 25 -20 -31 -28 11 -03 -06 13 11 04 -19 00 28 20 36 05 01 -11 08 26 38 28 -05 -05 01 10 41 04 -01 ■ — ' ■" ■ ‘ ' — — ■ ^, 25 26 27 28 29 30 31 32 35 34 35 j 10 22 16 05 -06 -03 11 -12 05 63 12 -06 -22 -09 05 AT -23 10 -09 -15 -01 03 10 12 20 29 -04 -11 03 30 25 -20 -31 -28 11 00 19 00 28 20 36 05 01 10 05 -05 01 10 41 04 -01 ' -04 351 Person to Person Correlations on Magazines Q Sort x 2 3 4 5 6 7 8 9 ] 1 2 51 Jt 43 41 'f 21 08 r* 31 > 51 30 38 26 0 41 43 56 33 63 ni 59 53 45 21 51 52 8 55 46 42 26 34 63 61 Q 41 35 -12 20 25 17 27 36 32 40 12 50 08 iO 15 41 33 27 f 33 24 48 -09 & il 51 17 43 55 55 r 12 00 26 15 31 23 35 01 28 36 — t 13 50 13 42 10 23 39 21 50 -07 1 48 14 33 25 22 31 15 34 23 25 * 15 05 00 16 01 -28 11 -12 17 -06 15 -40 -26 -31 04 -10 -10 -36 -40 00 *• K 17 -17 11 02 10 13 37 -02 13 13 - 48 19 31 27 34 16 9C, 23 13 "tI? n 51 04 32 31 51 38 39 48 33 ?.o 31 33 46 26 50 53 52 35 05 21 50 26 21 43 -03 32 35 33 37 r 22 45 47 65 42 27 54 55 60 11 C 4 2 -17 13 22 24 33 43 41 25 -04 » P Ji -11 13 -19 -06 09 -01 13 08 15 ( t; 02 17 08 -17 31 36 26 00 05 25 -01 18 19 10 -16 -01 07 12 14 ( - t 13 25 ■ 20 44 05 21 05 20 20 ( 73 32 29 42 22 62 36 63 - 29 14 29 14 51 11 33 13 17 19 31 11 - ;0 -52 -35 -25 -05 00 -23 -28 -26 01 - 51 -01 12 08 03 32 21 09 03 -01 32 -22 -15 -10 -24 -08 -04 16 -08 -20 53 01 23 -01 -01 -26 -10 CO -05 -05 21 08 -OS 35 13 13 29 04 -08 17 1 35 -14 -23 -21 16 -03 -23 -24 -08 -01 9 10 11 12 13 14 15 16 17 18 19 20 03 -09 27 36 -22 17 -07 15 49 OS 25 13 29 21 33 -05 -16 -05 26 27 43 00 -41 -42 19 -55 -27 06 15 -35 10 63 -10 25 43 40 15 41 29 -18 43 20 -08 -38 -38 33 35 43 21 52 21 08 -55 -05 53 05 43 48 26 33 14 -01 -26 08 31 36 21 55 30 -03 28 18 -01 -55 -22 49 59 30 11 26 57 28 30 31 11 -36 19 21 51 51 -04 14 35 10 00 00 -17 09 18 -05 07 28 15 07 -09 23 -28 -14 -23 11 07 06 00 10 05 18 02 08 -05 -27 -26 -05 08 -21 03 23 14 00 -25 00 10 -03 13 -02 -19 • -06 04 -13 20 04 02 04 21 23 06 -21 00 24 22 01 14 49 46 13 12 -02 -17 -23 05 41 49 61 11 -13 38 22 13 30 -08 -16 14 19 11 20 01 -15 -10 02 -05 -16 00 22 03 -22 05 -09 -01 18 -04 -10 00 20 -10 -03 00 15 -12 03 -20 10 -19 -30 -28 08 -16 04 -01 -03 -16 -11 -05 -31 -04 21 -13 -01 33 10 18 -38 -28 -01 17 -15 -06 08 26 -14 -06 03 -15 30 15 02 -01 -21 -03 13 • 16 00 15 12. -11 25 16 04 . ----- ,------— ---- ■>Lw-wr^W',TV;-'nTO->1TTg.-™.__. — ------ 20 21 22 23 24 25 26 27 28 29 30 31 30 51 37 28 25 35 10 -13 -11 09 28 11 09 39 29 -13 04 -01 11 00 09 01 19 11 09 -31 -16 24 61 32 38 16 33 23 -08 -05 20 19 52 37 05 02 03 31 06 -09 -06 -40 07 ., -24 04 -20 23 -16 -28 03 -09 11 -04 -21 -15 -25 01 -01 -08 -10 -11 -07 -25 11 39 13 01 -25 06 -23 -18 10 -01 -26 23 11 00 10 13 03 -24 25 01 -18 02 00 -08 -11 -24 -16 16 50 -04 -11 30 06 04 -02 -14 -11 -15 -33 -24 13 -08 14 31 1 1 - 5 26 27 23 29 50 31 52 35 34 5 5 24 5 -08 -05 > 03 31 06 !• -20 23 -16 -28 5 -25 01 -01 -08 -10 > 01 -25 06 -23 -18 10 ) 13 03 -24 25 01 -18 -31 > 16 50 -04 -11 30 06 -36 -05 » -24 13 -08 14 31 11 ■ -40 -08 i 352 Person to Person Correlations on Toothpaste Commercials Q Sort 1 c 3 4 5 6 7 8 9 1 2 14 *-r -36 28 A -15 40 63 l~0 01 23 22 32 6 -24 • 59 55 51 11 7 50 28 -19 14 15 10 3 33 32 30 46 16 26 32 9 33 24 -07 23 OS 16 56 37 10 52 14 -30 -13 12 -15 42 30 31 11 51 16 -31 -16 -10 -25 ?1 25 11 12 26 31 17 33 25 38 35 46 31 13 26 02 -05 04 -10 -11 33 23 17 14 00 21 31 47 10 30 18 4 3 04 15 13 19 01 32 08 26 31 57 32 -i f x . O -08 37 38 31 -23 51 -12 00 04 i n * 1 18 38 47 18 45 00 23 20 13 19 08 03 -04 50 -09 03 -13 -13 19 -05 08 08 -06 05 27 13 -01 03 20 -13 23 31 26 10 53 05 17 22 21 -25 26 60 56 18 33 -18 40 -06 C. I. -05 41 60 73 41 58 23 56 33 0 7 55 55 36 49 29 46 36 68 45 24 22 21 10 41 00 40 60 43 • s c : 25 -25 11 16 08 46 17 -13 -25 -22 26 10 08 -15 22 24 -03 38 09 30 27 15 -11 -08 -01 13 -24 17 -13 -11 28 11 13 19 10 19 22 21 38 25 29 01 37 29 09 09 23 -06 25 -16 30 05 -08 04 18 00 16 32 07 18 -11 07 21 16 -15 07 -02 -14 05 ■* .* *-* 03 25 42 56 31 23 -09 L -03 33 -02 -14 05 03 14 23 08 14 .15 34 -16 05 07 -08 . -09 15 -06 -14 00 23r— 03 . -12 -24 -18 -16 -30 03 -07 -09 10 11 12 13 14 15 16 17 18 19 20 % 31 11 11 31 11 04 17 07 16 -20 04 29 -06 26 00 I 32 22 22 12 10 28 04 -01 -22 17 -03 14 -01 20 03 -04 24 06 40 20 28 -13 35 -05 -11 09 -15 -16 09 -02 08 04 -05 03 00 -23 01 24 -23 33 22 -10 01 35 -06 05 21 33 -03 60 -06 -14 -14 20 16 18 23 23 30 06 05 17 33 -04 -20 40 -03 43 15 30 61 01 -09 26 45 33 23 44 08 38 50 23 33 01 03 36 28 -04 33 09 27 36 26 23 -08 01 03 -22 -10 -11 -13 06 18 -11 00 40 36 -16 03 30 17 -36 12 11 11 -07 -17 -04 12 -05 -22 -11 20 16 -11 -01 -04 -11 13 -11 38 13 03 25 21 15 11 17 27 38 -08 34 -02 14 07 -16 00 24 -25 36 00 26 13 02 27 39 . 26 18 -12 00 05 02 14 22 10 -23 -27 05 14 05 -16 -13 -25 -19 16 -18 14 01 -05 00 -01 -03 08 -03 09 06 24 43 25 12 26 09 23 .15 16 03 08 20 30 15 27 26 14 21 33 00 -18 -18 -04 22 -33 16 21 -10 11 28 22 -09 20 09 -12 • 13 -01 07 -35 -15 00 -15 -16 20 21 22 23 24 25 26 27 28 29 50 31 17 26 29 56 35 50 03 05 37 52 03 04 28 -04 -13 22 “07 15 -06 20 04 03 “19 -13 01 25 05 -06 07 10 11 44 22 11 -10 00 26 32 03 26 -10 13 “31 -04 41 14 -02 16 16 34 -21 02 19 -12 -14 01 “23 36 02 10 11 14 -04 -31 -22 20 23 60 25 46 IS -05 -11 00 16 40 01 -11 33 05 15 21 10 28 11 14 31 17 28 -13 22 12 -09 04 -01 17 -24 -08 15 32 -04 -14 16 02 -23 -13 -20 -08 08 -12 -28 -06 -16 -08 26 27 23 29 50 31 32 33 34 35 553 Person to Person Correlations on Political I-lessages Q Sort 1 2 3 4 5 6 7 8 9 43 * i 07 03 Li 39 -05 -01 T> 23 ' LiA ifA 03 -04 6 32 61 20 -03 27 7 61 56 11 • -32 31 41 6 14 40 -23 01 31 20 34 9 69 48 26 -06 32 42 58 33 10 46 08 -06 -21 -15 23 29 09 15 11 16 -01 23 -22 11 15 11 -20 05 12 -20 22 26 22 21 24 06 -06 -02 1^ 06 53 OS -08 36 32 21 17 20 "i / 38 53 00 -10 37 38 54 45 33 —1 >£ 07 -10 -15 05 -24 -13 -21 -14 -25 16 -01 -18 20 -13 -17 -03 -01 -03 -16 17 42 -OS 08 -05 20 13 26 05 37 ia 32 03 22 -17 16 29 29 -10 20 15 A /f A 30 16 -11 42 48 49 23 49 20 is 29 25 -28 13 30 23 -08 25 21 02 -01 26 00 21 -17 -OS -34 -06 v o ■ . j "> 27 18 11 -24 21 35 -08 28 ■— V 34 08 14 -40 17 15 25 -13 21 i.. 22 21 19 07 32 20 18 14 25 2 5 16 20 -09 31 -01 -1.5 09 15 03 26 05 00 -02 -20 -01 -11 -07 00 -06 27 07 16 -14 21 07 -11 -13 16 03 r. Cl i:.'.j 23 40 15 -1C 25 17 33 07 15 ? '' -08 -14 19 -08 12 -15 -01 — 1 *> -02 - Q -04 05 -06 -12 14 03 06 41 -06 11 25 35 -03 -13 09 23 01 -IS 10 12 34 21 04 -01 08 05 05 00 29 * y y -21 06 00 13 -34 00 -19 -18 -10 74 13 -10 05 -22 09 -13 08 -26 -11 15 11 10 -14 -10 12 03 10 21 -05 9 10 11 12 13 14 15 16 17 18 19 20 15 05 15 -02 -34 26 20 -10 46 43 53 31 03 18 22 -25 -05 -01 24 02 -01 -16 OS 03 15 11 17 18 37 59 06 -23 -24 25 -17 27 20 09 33 23 . 14 41 03 18 20 49 -08 -13 -01 08 30 -06 03 27 36 25 00 25 21 44 00 -04 00 -19' 18 09 -06 07 35 25 22 -16 -06 -09 -11 25 -18 36 28 32 40 03 27 19 -14 -15 33 07 06 4 3 21 47 41 -12 13 19 -17 03 24 11 -09 19 25 -10 12 32 15 35 01 33 24 38 28 06 0*3 01 0*1 -12 -14 10 25 -24 -03 00 -17 03 -06 03 -10 -09 01 25 -20 17 04 -12 -01 > *** 03 -01 -01 19 11 07 18 08 00 -06 -19 -16 15 -27 -01 10 -15 25 06 -11 10 16 44 OC -02 05 00 11 -20 -05 -10 -04 22 -06 -06 -10 -06 08 12 02 08 09 -03 00 13 -13 -03 -05 10 -09 01 20 -02 00 00 -18 -10 -03 07 13 29 10 -14 09 -18 22 12 02 05 20 33 05 -10 -57 -13 26 14 -13 16 -07 -53 -10 -14 ✓'41 ■*“ -11 03 56 08 09 04 06 -01 -11 26 01 22 -05 11 11 22 30 19 29 25 -04 17 -01 17 ...I m .Iin -y,«-iw » j t t r t i W ' g 19 20 21 22 25 24 25 26 27 28 29 30 31 09 ■13 36 06 4 3 32 09 19 14 46 28 06 -05 -10 02 17 03 01 -19 -13 12 01 -31 -28 -17 13 21 -25 19 -16 03 -13 -16 04 20 18 44 00 -09 12 -21 18 02 01 -05 06 -10 14 32 34 -10 -11 -18 -39 00 03 -05 05 10 -14 -11 -13 06 04 20 07 07 13 -01 20 -15 01 -05 20 15 41 -05 00 33 05 -03 05 10 07 -01 05 -06 27 10 00 22 14 ■-n -10 -18 _ 01_ 00 05 11 01 00 -06 -10 23 01 22 27 23 35 \ 15 01 08 -06 '12 -03 -10 -03 01 17 06 12 17 ■ 16 -09 -10 22 ■01 -07 06 -18 APPENDIX P PRACTIOITAI. CONTRIBUTIONS OP ROTATED Q PACTORS 354 355 Television Factor iTumber & Designation Fractional Contribution 1 (V) .0747 2 (I) .1021 3 (III) .0854 4 (IV) .0851 5 (II) .0936 6 .0520 7 .0527 8 .0482 9 • .0578 10 .0589 11 .0560 12 .0617 Radio Factor Kuinber & Designation Fractional Contribution 1 • .0591 2 .0654 5 (ID .0800 4 • 9677 5 (III) .078/] 6 .0579 7 (I) . 1047 8 (IV) .0706 9 .0446 10 .0558 11 .0440 12 .0410 15 .0477 14 .0475 357 Movies Factor Number & Designation Fractional Contribution 1 (I) .1149 2 (III) .0756 3 (II) .0786 4 .0653 5 .0634 6 .0644 7 .0525 8 .0535 9 .0630 10 .0532 11 .0493 12 .0485 13 ' .0398 14 .0474 358 Magazines Factor Number & Designation Fx-actional Contribution 1 (I) .1625 2 .0531 3 (IX) .0784 4 .0575 5 .0616 6 .0664 7 .0466 8 .0513 9 .0637 10 .0634 11 (III) .0704 12 .0567 359 Tooth-paste Commercials Factor Number I.!: Designation Fractional Contribution 1 (I) .1515 2 (II) .1135 3 . 0656 4 .0646 5 .0496 6 .0628 7 .0480 8 .0535 9 .0474 10 .0453 11 .0390 12 .0490 13 .0478 14 .0331 360 Political Messages Pactor Number & Designation Fractional Contribution 1 (I) .1152 2 (II) .0814 3 .0549 4 .0521 5 .0527 6 .0467 7 .0471 8 .0671 9 .0494 10 .0561 11 .0498 12 (III) .0738 13 .0444 14 .0421 APPENDIX G CORRELATION MATRIXES POR CASE STUDIES 361 362 Mary Goodwin TV Had Mov Mag TPO Pol TV 41 ‘ 10 26 24 16 Had 41 20 20 52 15 Mov 10 20 17 25 21 Mag 26 20 17 32 -10 TPO 24 52 25 32 15 Pol 16 15 21 -10 15 363 John Olson TV Rad Mov Mag TPC Po: TV 20 15 26 19 00 20 19 14 44 24 Mov* 15 19 03 10 19 Mag 26 14 03 17 09 IPO 19 44 10 17 35 Pol 00 24 19 09 35 364- Pat Baker TY Rad Mov Mag PPC Po; rpy 33 40 -07 02 -30 Rad 33 23 11 06 26 Mov 40 23 07 05 24 i o Mag -o 11 07 08 10 PPC 02 06 05 08 -10 Pol -30 26 24 10 -10 365 Jack Hathaway TV Rad Mov Mag TPC Pol TV 08 13 0 1 01 11 Rad 08 17 43 10 27 Mov 13 17 23 12 32 Mag 01 43 23 14 17 TPC 01 10 12 14 00 Pol 01 10 12 14 00 APPENDIX II FRACTIONAL CONTRIBUTIONS OP ROTATED 0 FACTORS 366 367 Mary Goodwin Factor Dumber & Designation Fractional Contribution 1 (I) .2560 2 (IV) .1857 3 (III) M 9 1 8 4 (II) .1978 John Olson Factor Dumber & Designation Fractional Contribution 1 (I) .2515 2 (II) .2030 3 (III) .1831 4 (IV) .1746 368 Pat Baker Factor Humber & Designation Fractional Contribution 1 (I) .2801 2 (II) . 2132 5 (IV) .1679 4 (III) .1688 Jack Hathaway Factor Humber & Designation Fractional Contribution 1 (I) .2282 2 (II) .1965 3 (IV) .1696 4 (V) .1676 5 (III) .1847 BIBLIOGRAPHY Atwood, L. 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"Elementary Linkage Analysis for Isolating Orthogoiial and Oblique Types and Typal Relevancies." Educational and Psychological Heasu.rement, XVII (IT) [Summer, 1957), 207-29. Merton, Robert K.; Piske, Marjorie; and Kendall, Pa tricia L. The Eocused Interview. New York: The Pree Press,”1956^ Monaghan, Robert R. "Creative Strategies in Audience Analysis." Educational Broadcasting Review, II (2) (April, 1 9 6 8 J, 29-37. t and Titchener, Campbell. "EBR Readership Profile Analysis." Educational Broadcasting Review, III (3) (June, 1969), 31-42. ______j Plummer, Joseph; Rarick, David; and YALlliams, Dwight. Recommended Target Audience and Appeal Elements for the Girl from U.N.C.~LVs7 OhTo^State University, Columbus, I966. (Mimeographed.) ______. "Repertory Uril Method for Communication Research." Paper presented at the annual confer ence of the Speech Association of America, Chicago, December 29* 1966. ______. "Television Preference and Viewing Behavior." Unpublished Ph.D. dissertation, Michigan State University, 1964. 371 , and Plummer, Joseph. "The Broadcaster's Dilemma." Unpublished research study, Ohio State University, 1966. Plummer, Joseph T. "A Systematic Research Approach to Television Program Development." Unpublished Ph.D. dissertation, Ohio State University, 1967. ______. "Audience Research in Television Program Development." Educational Broadcasting Review, II (3) (June, ______. "Q-Metliodology in Radio Audience Research and'the Analysis of Formula Radio." Unpublished M.A. thesis, Ohio State University, 1965. Rarick, David L. "Predicting Viewer Preferences for Visual Appeals in Television Programs." Unpublished M.A. thesis, Ohio State University, 1967. Runes, Dagobert D., ed. Dictionary of Philosophy. Ames, Iowa: Littlefield, Adams & Co., 1955. Schneider, Lawrence. "Television in the Lives of Teenagers and their Parents." Unpublished Ph.D. dissertation, University of Iowa, 1967. Stephenson, V/illiam. "Scientific Creed 1961." The Philosophical Record, 11 (1) (January, 1961), 1^25. ______. The Play Theory of Mass Cummunication. Chicago: University of Chicago Press, 1967. ______. The Study of Behavior. Chicago: University of Chicago Press, 1953* Williams, Dwight. "The Concept of 'Target Programming' in Recent Television History." Ohio State Univer sity, Columbus, Autumn Quarter, 1966. (Mimeo graphed.)