and the more expansive distribution some have experienced also strengthens them through added richness. I have moved the discussion of The Shield’s early advertising struggles from the advertising chapter and incorporated it into the case study, and also moved the discussion using Arrested Development as an ideal text for a post-network distribution method to its case study. I’ve addressed the “progeny” of the different cases in the conclusion to each case study, including addressing Off to War as a precursor to YouTube original content.
The conclusion now looks ahead more than the previous version did, as I imagine what television might be like at the point when the post-network era has truly arrived. I extend my personal use anecdotes to identify the extensive ways my own television use has changed in the last seven years, and return to the discussion of the distinctions of prized content, live sports and contests, and linear television.
Without doubt, the most satisfying part of returning to this project was coming to find that the “end of television” discourse had finally abated and that considerable evidence existed suggesting that the moving pictures and sounds we’ve long characterized as “television” are enjoying expanded storytelling possibilities and integration into the lives of those who consume them. I know that this terrain will continue to evolve, and I am not interested in tying the future of television to its continued distribution by broadcast network or cable wire and channel. The passing of these technologies does not mark the death of television, but the passing of inferior distribution systems that were the best technologies available in another era. Exploring how new distribution technologies enable new ways of financing and producing the moving pictures and sounds we know as television provides much to consider in the years ahead.
ACKNOWLEDGMENTS
Second Edition
As much as I’d like to claim that I managed the task of a revised, second edition on my own, this was decidedly not the case. As The Television Will Be Revolutionized reached its fifth birthday, I thought I’d do a blog post updating it. That developed into a new introduction. After breakfast with Eric Zinner, it became a revised, second edition. Thanks for giving me the opportunity to really extend the life of the book, Eric.
A fabulous cohort of students in my graduate Analyzing Media Industries class had what was either the curse or the blessing of applied learning: they helped provide feedback on what was most needed for the update and identified preliminary data sources. The perspectives of voices outside my head were important for pushing me toward the considerable revision contained within. Special thanks to Derek Granitz and Amanda Cote for struggling with the more challenging chapters, and extra special thanks to my indomitable research assistant, Kitior Ngu, whose exceptional diligence is graciously matched with patience.
The scope of revisions required new research. I’m very thankful for the time and insight provided by Evan Shapiro, Jon Weiser, Jon Mandel, Brendan Kitts, Frances Croke Page, and Brian Fuhrer. The additional research was funded by a grant from the University of Michigan Associate Professor Support Fund, for which I’m also thankful. And a note of appreciation to the Cable Center’s Barco Library for permission to use the late 1980s cable program guide image.
I offer personal thanks to those who reached out with kind words after reading the first edition. Even a second edition can be a long and mostly solitary process, and it was a tremendous motivator to know that the work had proven helpful, been appreciated, and reached a broad audience. The scope of the revision and the speed with which it came together were enabled by the patience of Wes, Sayre, and Calla and our it-takes-a-village mates, Beth and Jay Ellis, who are largely responsible for any work and life balance we’ve achieved. Finally, I offer sincere thanks to family and friends who have made life rich outside my fascination with television.
First Edition
The examination of the operation of cultural industries is a less common pursuit among media studies scholars; perhaps one reason is that this type of research poses particular challenges. Executive offices and the day-to-day operation of cultural industries are not easy for critically minded academics to access, but over the last five years I’ve attended a wide range of industry events and forums that offered meaningful glimpses into these worlds and informed this research in crucial ways. This research is built upon four weeks of participant observation of media buying, planning, and research departments and immersion in a number of industry conferences, including the Academy of Television Arts and Sciences Faculty Seminar, November 2002; the National Association of Television Program Executives (NATPE) Conference and Faculty Seminar, 2004–2007; the Future of Television Seminar sponsored by Television Week, September 2004; the International Radio and Television Society Foundation Faculty/Industry Seminar, November 2004; the International Consumer Electronics Show, January 2006; the National Cable and Telecommunications Association National Show, April 2006; and the Future of Television Forum, November 2006. Visiting these industry meetings and extensive reading of trade press provided more information about the industry than I could meaningfully report. The precise sources of all of the anecdotes, cases, and analysis in the following chapters are not always explicitly acknowledged, but my understanding of industry operations and struggles derives primarily from these sources. Immersing myself in the space of these industry events helped me understand the paradigm of thought that dominated the industry at various points in this adjustment, as everything from formal conference presentations to casual conversations overheard in hallways and ballrooms contributed to my sense of industry concerns and perspectives.
Many organizations, individuals, and funding sources enabled my research in crucial ways. I am incredibly grateful to the National Association of Television Program Executives Educational Foundation, expertly managed by Greg Pitts, for the various ways a Faculty Development Grant, Faculty Fellowship, and the organization’s educator’s rate and programming provided firsthand access to many of the executives making decisions about the industrial changes chronicled here. The Faculty Development Grant, and generous hosting by Mediacom, also offered invaluable perspective on the upfront buying process.
The Advertising Education Foundation’s Visiting Professor Program allowed me to spend two weeks observing the operation of the media buyer Universal McCann, and a schedule carefully arranged by Charlotte Hatfield exposed me to the many dimensions of buying, planning, and research, information that was exceptionally helpful in composing the advertising chapter. Thanks also to Sharon Hudson for her work on this great program and all those in the industry who support it.
I was honored by the International Radio and Television Society Foundation in November 2004 as the Coltrin Professor of the Year as a result of a case study exercise I wrote to explore the issues examined in this book with my students. In addition to providing a fine honor, IRTS constructed a number of excellent panels of industry executives who spoke to many of the central issues and provided valuable information and perspective. I am also grateful to the faculty who joined me in New York and participated in the case study. Thanks to IRTS, Joyce Tudryn, Stephen H. Coltrin, and all those who support IRTS for these opportunities.
Funding and support from the Denison University Research Foundation, NATPE Educational Foundation, and a University of Michigan Rackham Faculty Grant and Fellowship all supported various aspects of travel and industry conference fees upon which my research heavily relied. Course release in the winter of 2006 and a summer stipend allowed my attendance at a marathon of industry conferences and enabled focused and fast work, which has aided in the timely contribution of this book.
Many working in the industry offered insight in formal and informal interviews and responded to e-mail queries. The detail of description I offer here would have been impossible without their generous explanations. Thanks to Laura Albers, Pamela Gibbons, Todd Gordon, Heather Kadin, Deb Kerins, Michele Krumper, Jon Mandel, Mitch Oscar, Rob Owen, Frances Page, Brent Renaud, Shawn Ryan, Andy Stabile, Stacy Sullivan, and Susan Whiting for their time and insights.
