Colton Elzey Core Post #3

 Studios, Stations, and Networks--Oh My!

Jennifer Holts chapter on the malleable landscape of television and broadcast media during the last 3 decades of the 1900s was surprisingly insightful. Titled: “Vertical Vision: Deregulation, Industrial Economy and Prime-time Design” the chapter dealt with the legal restraints that studio producers alongside network broadcasters dealt with during the early formative years of TV. While it wasn't necessarily uplifting, her piece did shed some good light into the complicated mess of politics and media on that side of the sandbox that I found useful. Particularly, I enjoyed understanding the dynamic relationship between Hollywood studios and broadcast networks, as well as the historical background to mergers and conglomerate creations that ultimately led us to where we are now. 

Television studies is a new field for me. I am familiar with the form, conventions, and even a little of the history, but my knowledge is minimal--especially in regards to the platform's connection to political engines. It was interesting to learn to what degree TV was dependent upon political maneuvers. For example, Holt discusses the reversals and repeals done in opposition to the contemporary trajectory of the FCC during Reagan's reign after a "closed door meeting" with his old agent friend--and MCA/Universal Chief--Lew Wasserman. In short, Reagan overstepping his appointed FCC director, and keeping such laws as the Fin Syn and PTAR in place, despite the momentum to have them removed. Politics and media are very connected, and this is just one example among many. 

I also enjoyed the historical outline of the various network-studio relationships, particularly Viacom's minnow return to absorb its mother company CBS. When the small studio was formed as a way to appease Fin Syn regulations in the 70s, it was a small company--but over time, combined with numerous small mergers, Viacom grew in content eventually buying out the company that gave it existence. Their rise to power was dependent upon the digital assets they acquired, which solidifies Viacom CEO Sumner Redstone's mantra: “Content is king.” This concept was especially powerful when discussing the combos that formed as Fin Syn regulations were repealed, such as the MGM classic films finding their way to Turner Classic Movies. Some mergers were exceptionally profitable--because the right content met the right audience. 

Overall, the chapter was an interesting overview of the relationship between networks, stations, and studios and how politics comes into play in shaping the style of media that is created and enters into our homes.