1. THE MEDIA OF MASS COMMUNICATION 11th Edition John Vivian
PowerPoint™ Prepared by Amy M. Carwile
Texas A&M University at Texarkana
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2. Chapter 6: Motion Media Thematic Chapter Overview Media Technology
Media Effects
Media Economics
Elitism & populism
Audience Fragmentation
Media & Democracy
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3. The Television-Movies Meld
Divergent Legacies
Synergies
Modern Mockumentary
Christopher Lloyd
Steven Levitan

4. What dynamic do you see as the single most significant explanation of the post-World War II battle between Hollywood and the television industry: Economics? Technology? Corporate culture? Acting styles? Or something else?
From your own experience, create a list of actors, television producers and movie directors who have succeeded in both movies and television. What do they have in common?
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5. Movie Industry Formative Era Adolph Zukor’s Paramount
Suspension of disbelief
Adolph Zukor’s Paramount
Mass production movies
Federal break-up
Studio system
Block booking
Paramount decision
Television as a rival
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6. Besides the novelty of media-depicted motion, what made movies a powerful new medium?
Who would you consider the Adolph Zukor of today’s movie industry? Why?
How would you as a media consumer have viewed the Paramount decision at the time? In retrospect?
How did the traditions and practices of the movie and television industry work against early compatibility?
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7. Television Industry Structure
Two-Tier Infrastructure
Federal Radio Act
Federal Communication Act
The Big Three
Corporation for Public Broadcasting
Public Broadcasting Service
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8. Television Industry Structure (continued)
Fragmented Television Industry
Terrestrial Television
Cable Television
Cable Networks
Gerald Levin & HBO
Ted Turner & CNN
Satellite Delivery
Dish Network
DirecTV
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9. Largest U.S. Television Markets
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10. What do you say to people who argue that tight regulation of terrestrial television doesn’t make sense anymore if the cable and satcom television industries are exempt?
What future role do you see for traditional television networks that have historically served local terrestrial affiliates?
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11. Movie Industry Structure
Post-Paramount Decision
Production
Distribution
Exhibition
Major Studios
Disney
Columbia
Paramount
20th Century Fox
Universal
Warner
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12. Movie Industry Structure (continued)
Independents
United Artists
Dreamworks
Miramax
Lions Gate
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13. How can it be argues Hollywood has regained dominance as a producer of motion-media products?
Has the absorption of major movie studios into conglomerates been a good things for movies?
Who are the newest entries into the independent film market? What are the chances they will soon be acquired by established studios?
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14. Motion Media Products Movie Genres Narrative Films Talkies Color
Computer-Generated Imagery
Animated
Documentaries
Little Movies

15. Television Genres Sitcoms Dramatic Series Reality Shows News
Television Documentaries

16. Small Screen Genres Video games Quick Drama Live TV
Webisodes
Live TV
Product and Advertising Quality
Do-it-yourself Quality

17. How is it that movies on television fall short of the experience of viewing the same movie in a theater?
Programming for the expanding cable television market continues. What might be the next genre for television programming and why?
What kind of moving-image works well on smartphones and other small-screen devices? Why?
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18. Platform Flux The Box Office Video on Demand Attendance Peak
1946 – 90 million tickets/week
Multiplexes
Video on Demand
Time shifting
Portable devices
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19. How many more tricks-up-the-sleeve does the move exhibition business have to address audience losses to television and new platforms? Or is the day of the movie-house doomed?
What is being lost with the miniaturization of devices for viewing movies?
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20. POINT COUNTERPOINT Bean-counters are the enemy of creative enterprise.
They put limits on artistry that prevent movies and television from attaining their potential.
COUNTERPOINT
A company in the media business must be a business first.
This means making money or at least breaking even.
It’s silliness to think that media products exist outside the reality of profit as an imperative.
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