1) “A decision to develop a series for prime time simultaneously a choice about a commercial commodity, an aesthetic endeavor, and a social institution. As a result, those making programming decisions will be variously evaluated according to perceptions of their business judgment, their aesthetic tastes, and the values they impart” (Bielby and Bielby 1994:1290).
“in a mass-culture industry with a high level of market concentration such as network television, brokers are more directly accountable to commercial interests than to creative interests” (Bielby et al. 1994:1291).
2) The main argument William and Denise Bielby seem to make is that the development of a prime time program is rather complicated and there are many factors involved. …show more content…
It is all very foreign to me. I seem to agree with the reading because I think of many TV shows I remember growing up and how many of them were advertised before being aired for their series premiers, only a few would ever make it to prime time and most would get canceled. It seemed to make sense that television networks would have certain “rhetorical strategies” when it came to shows that would air in hopes that it would become popular. “Our case study of prime-time television applies to a context in which the brokered relationship between creators and business interests is highly centralized, commercial and critical success cannot be predicted in advance, and critical and commercial assessment are decoupled from one another” (Bielby et al. 1994:1311). This quote seems to dive right into the heart of what Bielby and Bielby were trying to accomplish with their reading.
This “rhetorical strategies” theory seemed to have some similarities to the production of culture perspective from Richard A. Peterson’s readings. For example the industry structure and organization structure from production of culture perspective, industry structure states that, “Industry structure oligopolistic when a few firms effectively control the style, amount and price of products produced” (Peterson 1990:103). Similarly there are a few programmers
“in a mass-culture industry with a high level of market concentration such as network television, brokers are more directly accountable to commercial interests than to creative interests” (Bielby et al. 1994:1291).
2) The main argument William and Denise Bielby seem to make is that the development of a prime time program is rather complicated and there are many factors involved. …show more content…
It is all very foreign to me. I seem to agree with the reading because I think of many TV shows I remember growing up and how many of them were advertised before being aired for their series premiers, only a few would ever make it to prime time and most would get canceled. It seemed to make sense that television networks would have certain “rhetorical strategies” when it came to shows that would air in hopes that it would become popular. “Our case study of prime-time television applies to a context in which the brokered relationship between creators and business interests is highly centralized, commercial and critical success cannot be predicted in advance, and critical and commercial assessment are decoupled from one another” (Bielby et al. 1994:1311). This quote seems to dive right into the heart of what Bielby and Bielby were trying to accomplish with their reading.
This “rhetorical strategies” theory seemed to have some similarities to the production of culture perspective from Richard A. Peterson’s readings. For example the industry structure and organization structure from production of culture perspective, industry structure states that, “Industry structure oligopolistic when a few firms effectively control the style, amount and price of products produced” (Peterson 1990:103). Similarly there are a few programmers