By James Roman
The 20 th century should be effectively defined because the tv century. might be no technological invention in contemporary heritage has so tremendously affected the yank public. An related to mix of scholarship and nostalgia, this quantity deals an clever exam of the various ways in which American society has shaped—and been formed by—television. Roman presents thematic chapters on all of television's significant genres.James Roman, writer of affection, mild, and a Dream: Television's previous, current, and destiny (Greenwood, 1996), lines the evolution of yank tv programming from its beginnings as an experimental derivative of radio broadcasting to its present position as an omnipresent and, a few could say, all-powerful strength of media and tradition.
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Additional info for From Daytime to Primetime: The History of American Television Programs
Taking their lead from Warner Brothers Presents yielded MGM Parade and Twentieth Century Fox Hour. The studios, albeit reluctantly, were embracing the potential wealth of television, but still relegating it to B-list stars and secondary sound stages. But the rush was on to supply product for the many hours television had to ﬁll. One of the assets that Hollywood studios possessed was the vast ﬁlm archive stored in their vaults. RKO was the ﬁrst, in 1955, to sell its ﬁlm library and studio for $25 million to General Teleradio, which was an offshoot of General Tire and Rubber Company.
Therefore, ABC, under the guidance of Leonard Goldenson, proclaimed a ﬁve-year plan for building a prime-time schedule with a priority on developing new sources for programming and limiting the role of sponsors and advertising agencies. In the early 1950s, the television networks acted as repositories for programs developed by advertising agencies by merely selling them time with no creative or development control. Because ABC was the weakest of the major networks, the agencies would place programs with the least potential for success there, and if the program became popular, they would move it to either CBS or NBC.
It started with Arthur Judson’s Radio Program Corporation, a talent-booking ﬁrm that became United Independent Broadcasters and eventually merged with the Columbia Phonograph Corporation and was called Columbia Phonograph Broadcasting System. With the Judson Radio Corporation and United Independent Broadcasters on shaky ﬁnancial ground, and a loss of $100,000 sustained by the Columbia Phonograph Broadcasting System during the ﬁrst month, the record company opted out of the deal, and the name was changed to the Columbia Broadcasting System (CBS).