Preface |
|
xii | |
|
|
1 | (15) |
|
|
4 | (1) |
|
|
4 | (1) |
|
Connection: Seeing Through the Fifties |
|
|
5 | (2) |
|
History = The Past + Historiography |
|
|
7 | (2) |
|
|
8 | (1) |
|
|
9 | (2) |
|
|
9 | (1) |
|
|
10 | (1) |
|
Connection: The Strange Case of Dr. Brinkley |
|
|
11 | (4) |
|
|
15 | (1) |
|
|
16 | (18) |
|
Social Context: The Progressive Era |
|
|
17 | (3) |
|
|
18 | (1) |
|
Progressive Intervention, Popular Resistance |
|
|
18 | (2) |
|
|
20 | (1) |
|
The Rise of Popular Media |
|
|
20 | (4) |
|
|
21 | (1) |
|
|
22 | (1) |
|
Music, Vaudeville, and Film |
|
|
22 | (2) |
|
|
24 | (1) |
|
Progression and Repression |
|
|
24 | (1) |
|
The Invention of Mass Culture |
|
|
24 | (1) |
|
High and Low in the Culture Wars |
|
|
25 | (1) |
|
Connection: The Scandal of Jazz |
|
|
25 | (2) |
|
From Radiotelegraphy to the Wireless |
|
|
27 | (2) |
|
Connection: Radio Hackers: Hugo Gemsback and Hiram Percy Maxim |
|
|
29 | (4) |
|
|
33 | (1) |
|
Broadcasting Begins, 1919 to 1926 |
|
|
34 | (25) |
|
Social Context: The Jazz Age |
|
|
35 | (4) |
|
Restrictions and Backlash |
|
|
35 | (1) |
|
|
36 | (1) |
|
|
36 | (1) |
|
|
37 | (1) |
|
|
38 | (1) |
|
|
39 | (6) |
|
RCA: The Radio Corporation of America |
|
|
39 | (2) |
|
|
41 | (1) |
|
|
41 | (1) |
|
|
42 | (1) |
|
Principles and Precedents |
|
|
43 | (1) |
|
|
44 | (1) |
|
Connection: Bertha Brainard and NBC |
|
|
45 | (4) |
|
|
47 | (2) |
|
Connection: ``Eveready Red'' Wendell Hall |
|
|
49 | (4) |
|
Other Important Early Stations and Programs |
|
|
52 | (1) |
|
|
53 | (4) |
|
Utopian Hopes, Dystopian Fears |
|
|
53 | (3) |
|
Public Service versus Commercialism |
|
|
56 | (1) |
|
|
57 | (1) |
|
|
57 | (2) |
|
The Network Age, 1926 to 1940 |
|
|
59 | (25) |
|
Social Context: Depression and a New Deal |
|
|
59 | (3) |
|
|
60 | (1) |
|
|
61 | (1) |
|
|
62 | (7) |
|
|
63 | (2) |
|
The Communications Act of 1934 |
|
|
65 | (1) |
|
The Romance Hits a Few Bumps |
|
|
66 | (3) |
|
|
69 | (1) |
|
Connection: CBS: ``We Try Harder'' |
|
|
70 | (6) |
|
|
76 | (2) |
|
Connection: J. Walter Thompson, Radio Showmen to the World |
|
|
78 | (5) |
|
|
80 | (1) |
|
|
81 | (2) |
|
|
83 | (1) |
|
Radio for Everyone, 1926 to 1940 |
|
|
84 | (30) |
|
|
84 | (8) |
|
Radio Still Goes Hollywood |
|
|
86 | (1) |
|
The Afterlife of Vaudeville |
|
|
87 | (1) |
|
|
88 | (1) |
|
The Press-Radio Wars and the Birth of Broadcast News |
|
|
89 | (3) |
|
Magazine Chat and Women's Programs |
|
|
92 | (1) |
|
|
92 | (3) |
|
Connection: Jack Benny and His Radio Family |
|
|
95 | (9) |
|
|
100 | (1) |
|
|
101 | (1) |
|
|
102 | (1) |
|
|
102 | (1) |
|
|
103 | (1) |
|
|
103 | (1) |
|
|
104 | (2) |
|
Soaps: Serial Drama for Women |
|
|
104 | (2) |
|
Connection: All Irna's Children |
|
|
106 | (6) |
|
|
109 | (3) |
|
Critiques of Mass Culture |
|
|
112 | (1) |
|
|
113 | (1) |
|
War at Home and Abroad, 1940 to 1945 |
|
|
114 | (30) |
|
Social Context: The Winds of War Blow Change |
|
|
114 | (4) |
|
|
114 | (1) |
|
|
115 | (2) |
|
The Military-Industrial Complex |
|
|
117 | (1) |
|
Social Discourse: Thinking about Radio |
|
|
118 | (3) |
|
Industry Conceptions of the Audience |
|
|
118 | (2) |
|
The Rise of U.S. Media Research |
|
|
120 | (1) |
|
Connection: Father Coughlin and the Masses |
|
|
121 | (4) |
|
|
125 | (1) |
|
Connection: Americans All, Immigrants All |
|
|
126 | (5) |
|
Government-Industry Cooperation |
|
|
130 | (1) |
|
Connection: The Public Woman: The Story of Mary Marlin |
|
|
131 | (9) |
|
Pitching America Overseas |
|
|
135 | (2) |
|
|
137 | (3) |
|
|
140 | (2) |
|
|
140 | (1) |
|
|
141 | (1) |
|
|
142 | (2) |
|
At Last Television, 1934 to 1955 |
|
|
144 | (32) |
|
Social Context: Returning to Normalcy |
|
|
144 | (3) |
|
Labor Unrest and the Rise of Corporate Liberalism |
|
|
145 | (1) |
|
|
146 | (1) |
|
|
146 | (1) |
|
|
147 | (4) |
|
|
147 | (1) |
|
|
148 | (1) |
|
|
149 | (1) |
|
Advertising and Public Relations |
|
|
149 | (1) |
|
|
150 | (1) |
|
Connection: DJs, Black Radio, and the Rise of Rock `n' Roll |
|
|
151 | (2) |
|
|
153 | (2) |
|
|
155 | (1) |
|
|
156 | (2) |
|
|
158 | (10) |
|
High Art: The Live Anthology Drama |
|
|
160 | (2) |
|
|
162 | (1) |
|
|
163 | (2) |
|
|
165 | (1) |
|
|
166 | (1) |
|
|
167 | (1) |
|
|
167 | (1) |
|
Connection: Cold War TV: I Led 3 Lives |
|
|
168 | (4) |
|
|
172 | (2) |
|
``TV Is Bad for Kids,'' Phase I |
|
|
172 | (1) |
|
``TV Needs to Control Itself'' |
|
|
173 | (1) |
|
``Commercial TV Is Free TV'' |
|
|
173 | (1) |
|
|
174 | (2) |
|
The Domesticated Medium, 1955 to 1965 |
|
|
176 | (32) |
|
Social Context: The Way We Weren't |
|
|
177 | (4) |
|
The Civil Rights Movement |
|
|
178 | (2) |
|
``Women: Neglected Assets'' |
|
|
180 | (1) |
|
|
180 | (1) |
|
|
181 | (2) |
|
Hollywood Finds a Foothold |
|
|
182 | (1) |
|
Connection: Payola and the Rise of Format Radio |
|
|
183 | (2) |
|
The Classic Network System Emerges |
|
|
185 | (4) |
|
|
185 | (1) |
|
The Classic Network System |
|
|
186 | (1) |
|
|
187 | (1) |
|
National Educational Television and the Lure of Cable |
|
|
188 | (1) |
|
Regulation: Corruption, Crackdown, and Complacency |
|
|
189 | (2) |
|
|
189 | (1) |
|
|
190 | (1) |
|
TV and Violence, Phase II |
|
|
190 | (1) |
|
Slouching Toward Public TV |
|
|
191 | (1) |
|
Programming for Prosperity: American TV |
|
|
191 | (3) |
|
|
192 | (1) |
|
|
192 | (2) |
|
Connection: ``Just the Facts, Please, Ma'am'' |
|
|
194 | (7) |
|
|
196 | (1) |
|
|
197 | (1) |
|
|
198 | (1) |
|
|
198 | (1) |
|
|
199 | (1) |
|
|
200 | (1) |
|
|
200 | (1) |
|
Connection: The Whole World Is Watching |
|
|
201 | (3) |
|
|
204 | (3) |
|
|
204 | (1) |
|
|
205 | (1) |
|
|
206 | (1) |
|
|
207 | (1) |
|
The Classic Network System, 1965 to 1975 |
|
|
208 | (35) |
|
Social Context: Something's Happening Here |
|
|
208 | (5) |
|
Race: Again, with a Vengeance |
|
|
208 | (1) |
|
``One, Two, Three, Four, We Don't Want Your ****ing War!'' |
|
|
209 | (1) |
|
Peace, Love, and All That |
|
|
210 | (1) |
|
|
211 | (2) |
|
|
213 | (4) |
|
|
214 | (1) |
|
|
215 | (1) |
|
|
216 | (1) |
|
|
217 | (1) |
|
The Classic Network System and Its Discontents |
|
|
217 | (5) |
|
|
219 | (1) |
|
|
220 | (1) |
|
The Rise of the Independent Stations |
|
|
221 | (1) |
|
Connection: At Last, Public Television |
|
|
222 | (2) |
|
Regulation: Breaking the Bottleneck |
|
|
224 | (3) |
|
|
225 | (1) |
|
|
226 | (1) |
|
|
226 | (1) |
|
|
227 | (1) |
|
Connection: Sorry, We Are Experiencing Racial Difficulties |
|
|
227 | (3) |
|
Programming: The Age of Relevance |
|
|
230 | (6) |
|
Generational Politics and the American TV Family |
|
|
231 | (5) |
|
Connection: A ``Real'' American Family on PBS |
|
|
236 | (4) |
|
Drama, Talk, Movies: The Sixties Mix |
|
|
238 | (1) |
|
|
238 | (1) |
|
|
239 | (1) |
|
|
240 | (2) |
|
|
240 | (1) |
|
|
241 | (1) |
|
|
242 | (1) |
|
Rising Discontent, 1975 to 1985 |
|
|
243 | (36) |
|
Social Context: Crisis of Confidence |
|
|
243 | (1) |
|
|
244 | (3) |
|
|
245 | (1) |
|
|
245 | (1) |
|
|
246 | (1) |
|
Deregulation, Breakup, and Merger |
|
|
247 | (1) |
|
Connection: Mark Fowler's Toaster |
|
|
247 | (4) |
|
|
251 | (9) |
|
|
252 | (1) |
|
|
252 | (1) |
|
|
253 | (1) |
|
|
253 | (1) |
|
|
254 | (2) |
|
Public Service, Public Access |
|
|
256 | (1) |
|
|
257 | (2) |
|
|
259 | (1) |
|
|
260 | (1) |
|
|
261 | (1) |
|
Connection: The Many Qualities of Fred Silverman |
|
|
261 | (9) |
|
|
268 | (2) |
|
Connection: Female Trouble: Cagney & Lacey |
|
|
270 | (6) |
|
|
272 | (1) |
|
|
273 | (1) |
|
|
274 | (1) |
|
|
274 | (2) |
|
|
276 | (2) |
|
|
278 | (1) |
|
The Big Change, 1985 to 1995 |
|
|
279 | (46) |
|
Social Context: Extremes and Contradictions |
|
|
279 | (4) |
|
|
283 | (2) |
|
Media Matters: The Age of Synergy |
|
|
285 | (9) |
|
|
287 | (1) |
|
|
288 | (1) |
|
|
289 | (2) |
|
|
291 | (1) |
|
|
292 | (2) |
|
TV U.S.: Nothing Succeeds Like Excess |
|
|
294 | (7) |
|
|
295 | (3) |
|
Jurassic Park? The Big Three Survive |
|
|
298 | (1) |
|
|
299 | (2) |
|
Connection: ESPN = Entertainment and Sports Empire |
|
|
301 | (4) |
|
Programs: Pushing the Envelope |
|
|
305 | (3) |
|
|
306 | (2) |
|
Family Shows in the New Era |
|
|
308 | (1) |
|
Connection: The Postmodern Family: Cosbys, Conners, and Simpsons |
|
|
308 | (6) |
|
|
313 | (1) |
|
Connection: The Return of Unruly Women |
|
|
314 | (4) |
|
TV and Changing Culture around the World |
|
|
318 | (1) |
|
Connection: Taiwan Television and Hsiang-tu Hsi |
|
|
318 | (4) |
|
Social Discourse: The Net Effect |
|
|
322 | (2) |
|
|
324 | (1) |
|
Everything That Rises Must Converge: Regulation and Industry in a New Millennium |
|
|
325 | (37) |
|
Social Context: Falling Down |
|
|
325 | (3) |
|
The Framework for Digital Convergence |
|
|
328 | (2) |
|
Regulation: A New Act for the New Millennium |
|
|
330 | (3) |
|
Connection: Media Ownership Debates |
|
|
333 | (9) |
|
Intellectual Property in the Digital Age |
|
|
338 | (2) |
|
Regulating Global Convergence |
|
|
340 | (2) |
|
Connection: Television without Frontiers |
|
|
342 | (2) |
|
|
344 | (12) |
|
Converging Pressures on Network TV |
|
|
346 | (3) |
|
|
349 | (2) |
|
|
351 | (1) |
|
Hollywood in the Digital Era |
|
|
352 | (1) |
|
|
353 | (1) |
|
|
354 | (1) |
|
|
355 | (1) |
|
A Global Public Sphere? International Broadcasting Post-9/11 |
|
|
356 | (2) |
|
Connection: The Rise of Al-Jazeera |
|
|
358 | (3) |
|
|
361 | (1) |
|
Convergence Culture in the New Millennium |
|
|
362 | (26) |
|
|
363 | (1) |
|
|
363 | (1) |
|
|
364 | (5) |
|
Transmedia and Hyperdiegesis |
|
|
367 | (2) |
|
New Audiences, Fresh Faces, Different Stories |
|
|
369 | (6) |
|
|
369 | (2) |
|
|
371 | (2) |
|
|
373 | (1) |
|
|
374 | (1) |
|
|
375 | (1) |
|
Connection: Single Women and ``Family'' Men |
|
|
376 | (3) |
|
Global Culture in a Digital Era |
|
|
379 | (1) |
|
Connection: India Goes Global and Local |
|
|
380 | (4) |
|
Social Discourse: The Decline of Mass Culture |
|
|
384 | (4) |
|
|
388 | (6) |
|
Connection: Geeks Supreme |
|
|
389 | (2) |
|
|
391 | (3) |
|
|
393 | (1) |
Bibliography |
|
394 | (5) |
Index |
|
399 | |