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Committee Serial No. 91-6. pt. 1: Considers general review of FCC activity on various subjects, including: domestic satellites, the fairness doctrine, public broadcasting, cable television, and violence on television. pt. 2: Considers the need for FCC regulation of the content of television programs. Focuses on the problem of violence on television programs and its detrimental effect on the public

Public Broadcasting Report

United States. Congress. House. Committee on the Judiciary. Subcommittee on Courts, Civil Liberties, and the Administration of Justice

Published: 1980

Total Pages: 120


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February issue includes Appendix entitled Directory of United States Government periodicals and subscription publications; September issue includes List of depository libraries; June and December issues include semiannual index
Except for accounts of journalists, dissident employees, and an occasional congressional committee focusing on crime and unethical practices, we have known very little about how television programs are produced. The Hollywood TV Producer, originally published in 1971, was the first serious examination of constraints, conflicts, and rewards in the daily lives of television producers. Its insights were important at the time and have not been challenged. Using as her framework the social system of mass communications, Muriel G. Cantor shows how producers select stories for television series and how movies end up in prime time. In order to get a comprehensive look at the inner workings of the TV industry and its producers, the author interviewed eighty producers in Hollywood over a two-season period. She probed to discover how the people producers work for and where they work influences their decision-making. As Cantor shows, critics of television who suggest that to remain in production, a producer must first please the business organization that finances his or her operations, are largely correct. Cantor shows that content is determined by a combination of artistic and professional factors, as well as social, economic, and political norms that have developed over time in the industry.
Television is an integral part of the lives of American families. By the time most children begin the first grade, they will have spent the equivalent of 3 school years in front of the TV set. The Fed. Communications Comm. (FCC) received a congressional request to undertake an inquiry on television violence. This report contains the FCC¿s examination of the problem. Contents: Introduction; The Effects of Viewing Violent Television Programming on Children; Law & Policy Addressing the Distribution of Violent Television Programming; Defining Violent or Excessively or Gratuitously Violent Programming; & Conclusions & Recommendations.
Media Diversity: Economics, Ownership, and the FCC provides a detailed analysis of the regulation of diversity and its impact on the structure and practices within the broadcast television industry. As deregulation is quickly changing the media landscape, this volume puts the changing structure of the industry into perspective through the use of an insider's point of view to examine how policy and programming get made. Author Mara Einstein blends her industry experience and academic expertise to examine diversity as a media policy, suggesting that it has been ineffective and is potentially outdated, as study after study has found diversity regulations to be wanting. In addition to reviewing diversity research on the impact of minority ownership, regulation of cable and DBS, duopolies, ownership of multiple networks and cross ownership of media on program content, Einstein considers the financial interest and syndication rules as a case study, due to their profound effects on the structure of the television industry. She also poses questions from an economic perspective on why the FCC regulates structure rather than content. Through the presentation of her research results, she argues persuasively that the consolidation of the media industry does not affect the diversity of entertainment programming, a conclusion with broad ramifications for all media and for future research about media monopolies. This volume serves as a defining work in its examination of the intersection of regulation and economics with media content. It is appropriate as a supplemental text in courses on communication policy, broadcast economic and media management, broadcast programming, political economy of the mass media, and media criticism at the advanced and graduate level. It is also likely to interest broadcast professionals, media policymakers, communication lawyers, and academics. It is a must-read for all who are interested in the media monopoly debate.