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 ...
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.
Good+ in Very Good-dust jacket. Ex-library with call label on DJ's spine. Library mrkings on ffep, title page, fore and bottom edges, and bfep. The dust jacket, which is protected by clear plastic, is glued inside the covers. The cloth is worn through to the boards on the back cover's lower fore corner, there is a light, 1/2" damp stain along the top of the front cover, otherwise minor soil and wear on the sound binding. Contents are clean and unmarked on easy-on-the-eye cream colored paper. Minor wear and soil on the complete dust jacket. Top edge's black coloring is uneven.; White cloth, black lettering. Index. MOVIES. Cantor interviewed 80 TV producers in Hollywood over a two-season period to discover whether the men they work for and where they wrok influence their choice of the stories they select for TV. Here she tells about the constraints, conflicts, and rewards of the day-to-day activities of the producers. At each stage of the selection process, producers must take into account the opinions of the network, their co-workers, and the audience; to remain in production, a producer must first please the business organization that finances production. Divided into two main sesctions, this book first explores the work setting and the professional background of producers and then shows how they function and how the networks, directors, actors, and free-lance writers influence the selection of content.; 8-1/2" Tall; 256 pages.
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