U.S. History
1st EditionJohn Lund, Paul S. Vickery, P. Scott Corbett, Todd Pfannestiel, Volker Janssen
567 solutions
The Language of Composition: Reading, Writing, Rhetoric
2nd EditionLawrence Scanlon, Renee H. Shea, Robin Dissin Aufses
661 solutions
Tonal Harmony, Workbook
8th EditionByron Almen, Dorothy Payne, Stefan Kostka
1,387 solutions
Ways of the World: A Global History
3rd EditionRobert W. Strayer
232 solutions
Recommended textbook solutions
The Language of Composition: Reading, Writing, Rhetoric
2nd EditionLawrence Scanlon, Renee H. Shea, Robin Dissin Aufses
661 solutions
Edge Reading, Writing and Language: Level C
David W. Moore, Deborah Short, Michael W. Smith
304 solutions
Technical Writing for Success
3rd EditionDarlene Smith-Worthington, Sue Jefferson
468 solutions
Technical Writing for Success
3rd EditionDarlene Smith-Worthington, Sue Jefferson
468 solutions
Recommended textbook solutionsU.S. History
1st EditionJohn Lund, Paul S. Vickery, P. Scott Corbett, Todd Pfannestiel, Volker Janssen
567 solutions
The Language of Composition: Reading, Writing, Rhetoric
2nd EditionLawrence Scanlon, Renee H. Shea, Robin Dissin Aufses
661 solutions
America's History for the AP Course
9th EditionEric Hinderaker, James A. Henretta, Rebecca Edwards, Robert O. Self
961 solutions
Tonal Harmony, Workbook
8th EditionByron Almen, Dorothy Payne, Stefan Kostka
1,387 solutions
early TV programs were often developed, produced, and supported by a single sponsor
many of the top-rated programs in the 1950s even included the sponsor's name in the title (e.g. Colgate Comedy Hour)
having a single sponsor for a show meant that the advertiser could easily influence the program's content
in the early 1950s, the broadcast networks became increasingly unhappy with the lack of creative control in this arrangement
David Sarnoff, then head of RCA/NBC, and William Paley, head of CBS, saw an opportunity to diminish the sponsor's role
Sarnoff appointed Weaver as the president of NBC
previously an advertising executive, Weaver undermined his former profession by INCREASING PROGRAM LENGTH from 15 minutes (then the standard for radio programs) to 30 minutes or longer, substantially raising program costs for advertisers and discouraging some from sponsoring programs
in addition, the introduction of two new types of programs -- the MAGAZINE FORMAT and the TV SPECTACULAR -- greatly helped the networks gain control over content
the magazine program featured multiple segments -- news, talk, comedy, and music -- similar to the content variety found in a general interest or newsmagazine of the day such as Life or Time
NBC introduced the Today show as a 3 hour morning talk-news program and then later introduced the 90 minute Tonight Show. Because both shows ran daily rather than weekly, studio production costs were prohibitive for a single sponsor.
Consequently, NBC offered spot ads within the shows: advertisers paid the network for 30 to 60 second time slots. The network, not the sponsor, now produced and owned the programs or bought them from independent producers
the television spectacular is today recognized as the television special. At NBC, Weaver bought the rights to special programs, like the Broadway production of Peter Pan, and sold spot ads to multiple sponsors
class notes: extend shows, time slots for commercials instead of sponsoring whole show, lots of sponsors instead of one sponsor pressuring content