Journal articles: 'Early television'

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Mäkikalli, Maija. "Television in hiding: Early television sets in Finland." Journal of Popular Television 7, no. 2 (June 1, 2019): 161–76. http://dx.doi.org/10.1386/jptv.7.2.161_1.

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Huxtable, Simon. "The Problem of Personality on Soviet Television, 1950s-1960s." Television Histories in (Post)Socialist Europe 3, no. 5 (June 24, 2014): 119. http://dx.doi.org/10.18146/2213-0969.2014.jethc062.

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This article analyses the role of the television personality on Soviet television in its early years in the 1950s and 1960s. Using primary source materials from Russian archives, articles from the professional press, and analysis of a number of television shows, the article argues that television’s appearance in Soviet everyday life brought about a key change in the form of mass communication from a Stalinist model that focused on the pre-prepared and based on written Russian to a more spontaneous model that was closer to everyday speech forms. Analysing the role of continuity announcers, programme hosts, and ordinary individuals on Soviet television, the article suggests that while early television professionals held high hopes for the possibility of television to democratise the post-Stalin Soviet Union, these hopes were in fact riven with contradictions.

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Keinonen, Heidi. "EARLY COMMERCIAL TELEVISION IN FINLAND." Media History 18, no. 2 (May 2012): 177–89. http://dx.doi.org/10.1080/13688804.2012.663868.

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McCracken, Chelsea. "Regulating Swish: Early Television Censorship." Media History 19, no. 3 (August 2013): 354–68. http://dx.doi.org/10.1080/13688804.2013.817839.

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Keinonen, Heidi. "Arts and Advertising: Aesthetics of Early Commercial Television in Finland." Acta Universitatis Sapientiae, Film and Media Studies 6, no. 1 (August 1, 2013): 165–77. http://dx.doi.org/10.2478/ausfm-2014-0010.

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Abstract Finnish television was launched by a commercial company in 1956. TES-TV, the first television station, was later followed by a programming company called Tesvisio and joined by the television channel of YLE, the Finnish Broadcasting Company. The TES-TV/Tesvisio years are a unique period in television history, since they witnessed the creation of a connection between commercial television and the arts. In this article I aim to study early Finnish television aesthetics by analyzing television as art and also the relations between television and other art forms. My focus is on the representations of high and low culture and the search for a television style. TES-TV aired both popular programmes and high culture, like ballet, while on Tesvisio, these cultural extremities were gradually replaced by a middle-brow culture. The early programming included both filmed and live material, which had a contribution to the evolution of Finnish television aesthetics. The television style was further developed by Tesvisio’s first professional set designer and his experimental work. Therefore I claim that in these commercial companies television was seen as an art form in its own right, not only as a mediator of art

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Barber, Sian. "Discovering film on Irish television: fragments from RTÉ archives 1960–5*." Historical Research 91, no. 254 (October 22, 2018): 791–809. http://dx.doi.org/10.1111/1468-2281.12242.

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Abstract This work explores film and television in Ireland in the early nineteen-sixties. Focusing on national broadcaster Telefís Éireann (RTÉ), it uses archival programme footage and broadcast listings to examine television's relationship with film and cinema. This material, which includes excerpts from arts and culture programmes and interviews with actors, suggests an intersection between film, cinema and television in nineteen-sixties Ireland.

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Crawford, Robert. "Changing the Face of Advertising: Australia's Advertising Industry in the Early Days of Television." Media International Australia 121, no. 1 (November 2006): 105–18. http://dx.doi.org/10.1177/1329878x0612100114.

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Long before Australia's first commercial television broadcasts in 1956, advertising agencies and advertisers had been preparing themselves for what they believed would be the greatest ever selling medium. The creation of a new outlet for advertisements was not the industry's sole cause of excitement. Having dominated commercial radio, the advertising industry looked forward to extending its influence. These dreams, however, were only partially fulfilled. While television enabled the industry to broadcast its commercial messages in a more effective way, legislation prevented it from controlling television in the way that it had with radio. This would have a significant impact on the relationship between the two industries. By examining television's impact on the advertising industry, this paper demonstrates that the medium of TV not only altered the face of advertising; it also caused a fundamental change in the structure and operation of Australia's advertising industry.

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Moran, Albert, and Karina Aveyard. "Vocal Hierarchies in Early Australian Quiz Shows, 1948–71: Two Case Studies." Media International Australia 148, no. 1 (August 2013): 107–17. http://dx.doi.org/10.1177/1329878x1314800112.

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This article examines the complexities involved in transferring content and genre from one media platform to another by emphasising the shifting, fragile yet stabilising part that sound can play in such a transformation. Early television is often labelled as a period of ‘radio with pictures’, and this intriguing designation directs our attention to this ‘moment’ of changeover. This analysis explores the parameters of sound in television's displacement of radio as the primary broadcasting medium in Australia in the 1950s. We focus in particular on the role of the human voice (host, audience and contestants) in two early quiz shows – Wheel of Fortune and Pick-a-Box – that began on radio and were both successfully remade as television programs.

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Duby, A. "Early Formative Evaluation of Educational Television." Journal of Educational Television 14, no. 1 (January 1988): 43–51. http://dx.doi.org/10.1080/0260741880140104.

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Hampton, Mark. "EARLY HONG KONG TELEVISION, 1950s–1970s." Media History 17, no. 3 (August 2011): 305–22. http://dx.doi.org/10.1080/13688804.2011.591755.

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van den Ende, J., W. Ravesteijn, and D. de Wit. "Shaping the early development of television." IEEE Technology and Society Magazine 16, no. 4 (1997): 13–26. http://dx.doi.org/10.1109/44.642518.

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Imre, Anikó. "Adventures in Early Socialist Television Edutainment." Journal of Popular Film and Television 40, no. 3 (July 2012): 119–30. http://dx.doi.org/10.1080/01956051.2012.697790.

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Shandler, Jeffrey. ""This Is Your Life": Telling a Holocaust Survivor's Life Story on Early American Television." Narrativization of the News 4, no. 1-2 (January 1, 1994): 41–68. http://dx.doi.org/10.1075/jnlh.4.1-2.04thi.

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Abstract The appearance of Hanna Bloch Kohner on a 1953 episode of the series This Is Your Life is among the earliest presentations of a Holocaust survivor's personal history on American television. Analysis of the program explores how television—a collaborative, corporate medium—shapes the telling of an individual's life story, and how the program relates the story of the Holocaust in terms of personal history. The article also examines how the program's producers employed television's distinctive characteristics to enable, limit, or otherwise shape the presentation of the Holocaust, and how the episode indicates that its creators understood its subject as being somehow singular, even as the conceptualization of the Holocaust was emerging, before the term Holocaust entered American public discourse. The article also considers how the program reflects the social and political context of post-World War II America in general and postwar American Jewish life in particular. Finally, the article considers how analysis of this program offers insight into other, later presentations of the Holocaust on American television, especially those dealing with the life story of an individual survivor. (Yiddish Studies/Jewish ethnology)

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Ivala, Eunice. "Television audience research revisited: Early television audience research and the more recent developments in television audience research." Communicatio 33, no. 1 (July 2007): 26–41. http://dx.doi.org/10.1080/02500160701398961.

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Matei, Alexandru, and Annemarie Sorescu- Marinković. "The exceptionalism of Romanian socialist television and its implications." Panoptikum, no. 20 (December 17, 2018): 168–92. http://dx.doi.org/10.26881/pan.2018.20.11.

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During recent years, the study of European televisions has rediscovered socialist television, and we have witnessed a rapid rise in scholarly interest in a new field of research: socialist television studies. On the whole, this recent body of literaturę presents two main new insights as compared to previous studies in the field of the history of Western television: on the one hand, it shows that European television during the Cold War was less heterogeneous than one may imagine when considering the political, economic and ideological split created by the Iron Curtain; on the other hand, it turns to and capitalizes on archives, mostly video, which have been inaccessible to the public. The interactions between Western and socialist mass culture are highlighted mainly with respect to the most popular TV programs: fiction and entertainment. The authors give us an extraordinary landscape of the Romanian socialist television. Unique in the Eastern part of Europe is the period of the early 1990s. Upon the fall of the communist regime, after almost 15 years of freezing, TVR found itself unable to move forward.

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Loktіonova-Oitsius, Oleksandra. "POPULAR MUSICAL TELEVISION PROJECTS OF THE LATE XX – EARLY XXI CENTURIES." EUREKA: Social and Humanities, no. 5 (September 30, 2020): 3–8. http://dx.doi.org/10.21303/2504-5571.2020.001425.

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The article is devoted to the study of the general state of television in the field of music performance. The most popular musical television programs and vocal shows are considered. The purpose of the work is to identify the features of music TV projects, comparing with world models and highlighting the typical features of the musical television space. The research methodology consists in applying the general principles of scientific knowledge that correspond to modern cultural discourse. The formation of musical and television projects in the context of changes in the social mentality of the consumer of mass culture is considered. Television is interpreted as a means of approaching the global process closer to a person, that is, a consumer communicates with world-wide examples of popular art, music television projects, vocal show projects and etc. It creates the preconditions for imitation of the best world models of music TV projects in Ukraine. The article first analyzes the interconnection of Ukrainian music television projects as analogues to such worldwide shows as "The Voice", "The X factor", "American Idol". Vocal talent shows are considered as combining the elements of a “game show” and a “perfection / transformation show”, promoting the development of the educational component, namely, the formation of educational activity through comments and advice of judges, classes with participants between performances, determination of the most successful performances, concert practice and etc. It was determined, that the vocal repertoire consists of the most popular world and national hits, which reflects the demand of the audience. It was noted, that the viewer influences the selection of participants in a music television project and functions as an additional judge. So, the article focuses on the structure and content of musical television projects, defines the values of such projects as the communication space of culture between the audience, the artistic and performing component, and the national and world music culture as a whole. Music television projects are part of the general educational context for the development of media art and have a scientific, artistic and educational potential for study.

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McLeod, A. L., and H. H. Anniah Gowda. "The Idiot Box: Early American Television Plays." World Literature Today 62, no. 3 (1988): 462. http://dx.doi.org/10.2307/40144370.

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Wesolowski, Edward. "Early Television: A Bibliographic Guide to 1940." Technology and Culture 40, no. 2 (1999): 441–43. http://dx.doi.org/10.1353/tech.1999.0090.

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Pedersen, Sune Bechmann. "The Early Years of East German Television." Studies in Eastern European Cinema 7, no. 1 (January 2, 2016): 90–92. http://dx.doi.org/10.1080/2040350x.2016.1116213.

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Waters, Rob. "Black Power on the Telly: America, Television, and Race in 1960s and 1970s Britain." Journal of British Studies 54, no. 4 (September 2, 2015): 947–70. http://dx.doi.org/10.1017/jbr.2015.112.

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AbstractThis paper proposes the importance of television, the televisation of US and British race politics, and the framing of “Black Power” in this television coverage, for race politics in Britain in the late 1960s and early 1970s. British politics and culture was “re-racialized” in the postwar era, and television, for white and black Britons, became a site of racial knowledge, racial identification, and racial dislocation. The rise of television as a central medium of everyday life saw it emerge, too, as a central site for the imagination of community. As critics have long noted, the community imagined in British television programming of this era was overwhelmingly white, and black people were featured most often only as a marker of social difference or social “problems.” Many black Britons, excluded from the national “everyday” as it was constituted on television, and facing increasing institutional and interpersonal racism in daily life, found in coverage of the burgeoning black liberation movements of the United States a useable politics through which to articulate new sites of identification, community, and solidarity. For others, though, coverage of race politics in the United States could be a source of anxiety and alarm. The televisation of US race politics was central to the growth of cultures and politics of radical blackness in Britain, but it also reconstituted the politics of white racism, recasting blackness in Britain as a sign of violence and impending social disorder.

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Bignell, Jonathan. "Performing the Identity of the Medium: Adaptation and Television Historiography." Adaptation 12, no. 2 (July 25, 2019): 149–64. http://dx.doi.org/10.1093/adaptation/apz017.

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AbstractThis article focuses on how histories of television construct narratives about what the medium is, how it changes, and how it works in relation to other media. The key examples discussed are dramatic adaptations made and screened in Britain. They include early forms of live transmission of performance shot with multiple cameras, usually in a TV studio, with the aim of bringing an intimate and immediate experience to the viewer. This form shares aspects of medial identity with broadcast radio and live television programmes, and with theatre. The article also analyses adaptations of a later period, mainly filmed dramas for television that were broadcast in weekly serialized episodes, and shot on location to offer viewers a rich engagement with a realized fictional world. Here, film production techniques and technologies are adapted for television, alongside the routines of daily and weekly scheduling that characterize television broadcasting. The article identifies and analyses the questions about what is proper to television that arise from the different forms that adaptations took. The analyses show that television has been a mixed form across its history, while often aiming to reject such intermediality and claim its own specificity as a medium. Television adaptation has, paradoxically, operated as the ground to assert and debate what television could and should be, through a process of transforming pre-existing material. The performance of television’s role has taken place through the relay, repetition, and remediation that adaptation implies, and also through the repudiation of adaptation.

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Theodoropoulou, Vivi. "Convergent Television and ‘Audience Participation’." Convergent Television(s) 3, no. 6 (December 24, 2014): 69. http://dx.doi.org/10.18146/2213-0969.2014.jethc071.

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The paper focuses on the introduction of interactive digital television (DTV) in the UK at the turn of the millennium, and its take-up and use by early audiences. It discusses whether the processes of television technological convergence went together with ‘consumer behaviour convergence,’1 enhanced audience engagement with the interactive TV services offered, and participation. Based on findings from a UK-wide survey and in-depth interviews with early Sky digital subscribers conducted during the early days of the service, the article shows that early interactive DTV was taken up because of its multichannel offering and thematic orientation and, interestingly, was approached and appreciated mostly as a television content provider. It thus notes a divergence on industry’s attempts to promote convergence in broadcasting and on the level and pace with which users adopt and adapt to such change. In so doing it highlights the evolutionary nature and slow rate of change of cultural habits and forms.

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Muzdhalifah, Muzdhalifah, Muhammad Majdi, and Rahimah Rahimah. "MANFAAT MEDIA TELEVISI SEBAGAI SARANA PERKEMBANGAN KOGNITIF ANAK USIA DINI." WANIAMBEY : Jurnal Pendidikan Dasar Islam 2, no. 1 (August 10, 2021): 21–37. http://dx.doi.org/10.53837/waniambey.v2i1.54.

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Early childhood cognitive development is formed so quickly in the early stages of the start of human life from the age of 0-6 years, that age is categorized as the golden age or the golden age of the age range called early childhood. Therefore, in order to develop children's cognitive through television media in this digital era, teachers and parents have been widely used. And of course the use of television media as a source of children's learning has a positive impact with a record of proportions, and television channels must always be adjusted to the child's age, so that television media can provide educational pathways and provide benefits for early childhood. The data collection technique in this writing is the library looking at previous studies and then analyzed. From the results of previous research analysis, it can be concluded that television media can be used as a means for early childhood cognitive developmen

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Foot, John. "Television and the City: the Impact of Television in Milan, 1954–1960." Contemporary European History 8, no. 3 (November 1999): 379–94. http://dx.doi.org/10.1017/s0960777399003033.

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The early years of state television in Italy, which began transmission in 1954, have usually been viewed as crucial to the spread of mass culture through Italian society. In addition, these developments have essentially been seen in negative terms by historians and sociologists. This article explores these early years in detail for one, key, urban setting: Milan. Through an examination of the myriad and often hidden effects of television, the research attempts to draw out the contradictory and complicated impact of TV and its relationship with other media, the neighbourhood, the family, the home and daily life. The article also looks at the impact of one important quiz show in the 1950s and concludes with some reflections on the power of the media in the city in the 1990s.

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Kravcak, Peter. "Tv market and televiewers in Slovakia." Media, culture and public relations 10, no. 2 (September 30, 2019): 147–55. http://dx.doi.org/10.32914/mcpr.10.2.4.

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In the early of nineties the dual broadcasting system in the young country in the middle of Europe enabled to develop television broadcasting to the scale of what viewers previously even had not dreamed of. Commercial television broadcasting prevailed in five and a half million country. Private broadcasting gained control of the more than forty-year-old state-owned service of TV broadcasting and sent it to the role of a statistical margin. Confidence of the first one - and later followed by other private televisions - has grown faster than the numbers of audience. Directors with the influence of legislators, unbeatable managers determined the transmission time programs from a week to week. This is termed as finding the optimal time based on audience preferences. The result is today's big television chaos for the viewers, who, as a consequence of unpredictable changes in the broadcasting of televisions cease to be interested. For many years the most viewed channel has dropped to the level of underrated rivals and the panic, which it suddenly started, make them produce more fatal changes. All in the name of the audience and excellent numbers of boxes called people meters. The same problem also faces other post-communist country, the second part of the former Czechoslovakia, the Czech Republic. The paper focuses on analysis and evaluation of Slovak television sphere (partly in comparison with the Czech), which seems, after twenty years of dual broadcasting, to gather a real media competition. But not everybody likes it.

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Pagani, Linda S., Caroline Fitzpatrick, and Tracie A. Barnett. "Early childhood television viewing and kindergarten entry readiness." Pediatric Research 74, no. 3 (June 20, 2013): 350–55. http://dx.doi.org/10.1038/pr.2013.105.

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Fox, Andy. "Interactive television? A retrospective analysis of why red button content failed." journal of digital media & policy 10, no. 2 (June 1, 2019): 203–15. http://dx.doi.org/10.1386/jdmp.10.2.203_1.

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Interactive television was intended to provide the viewers with an enhanced experience of television. In the late 1990s and early 2000s, both public service and subscription-based television broadcasters provided the audience with a variety of ‘interactive’ applications. By 2012, most of the interactive applications had been either reduced in scale and ambition or withdrawn completely. This article is an overview of why the interactive television experiment failed. The methodological framework is a content analysis undertaken in the summer of 2012 which found a small amount of red button content supporting traditional broadcasts. The little found was either pre-existing content or entailed the button’s use as, effectively, the portal to a supplementary television channel. Moving forward, the article provides a discussion on why the optimism that television could be an interactive experience in the early 2000s dissolved in a relatively short period of time. The conclusion is that interactive television did not fit the political economy of the media landscape.

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WARD-GRIFFIN, DANIELLE. "Up Close and Personal: Opera and Television Broadcasting in the 1950s." Journal of the Society for American Music 13, no. 2 (May 2019): 216–31. http://dx.doi.org/10.1017/s1752196319000087.

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AbstractThis article examines early pedagogical experiments in opera on television that were meant to attract new audiences in the 1950s. The aesthetics of early television have often been thought to run contrary to opera, particularly in its grander iterations, but I argue that television producers capitalized upon the traits of early television to personalize opera, both on and off screen. Comparing two NBC pedagogical initiatives—a 1958 Omnibus program starring Leonard Bernstein and the 1956–57 visits of the NBC Opera Company to Saint Mary's College (South Bend, Indiana)—I explore how these efforts were meant to approximate the opera fan's experience as well as prepare audience members to enter the opera house. Ultimately, although opera on television failed to secure a strong foothold in the 1950s, it helped to re-envision the ways in which American audiences could relate to the art form and set the terms for the Metropolitan Opera Live in HD broadcasts today.

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Benson, Nicholas. "Apes on TV: Medium specificity and considerations of continuity in early transmedia storytelling." Critical Studies in Television: The International Journal of Television Studies 14, no. 1 (March 2019): 22–39. http://dx.doi.org/10.1177/1749602018809790.

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In 1974, CBS premiered a television series based on the popular Planet of the Apes films. Despite high expectations from the network, the series was a critical and ratings flop and CBS quickly canceled it in the middle of its first season. This article considers the short-lived Planet of the Apes (1974) series as an early attempt at transmedia storytelling and asks what its failure might reveal about certain pre-conglomeration, pre-franchising industrial logics, particularly as they relate to properties that transition from film to television. The Apes television series offers an opportunity to understand certain logics of transmedia textual management before they become entrenched in discourses of media franchising. Through a combination of industrial and textual analysis, I trace the history of the programme and ultimately argue that the industrial considerations (specifically those of network era broadcast television) heavily informed the intertextual relationships between the film series and the TV show.

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Baker, Djoymi. "Child’s play: Addressing the young Cold War audience in Captain Video and His Video Rangers (1949–1955)." Critical Studies in Television: The International Journal of Television Studies 15, no. 2 (May 22, 2020): 112–28. http://dx.doi.org/10.1177/1749602020911359.

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This article argues the early science fiction television programme, Captain Video and His Video Rangers (DuMont, 1949–1955), addressed its young target audience directly as Cold War citizens, while encouraging them to undertake imaginative play in a form of early television fandom. The moral panic about the programme’s perceived high levels of violence led to the negative portrayal of its young viewers in popular culture. Yet Captain Video’s modes of direct address reveal a concerted effort to constitute the early children’s television audience around a playful intertextuality, bringing together consumerism, Cold War ideology and imaginative multi-genre engagement through child’s play.

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Hendro W, Nur Cahyo. "PENGEMBANGAN MANAJEMEN PENYIARAN WALISONGO TV." Islamic Communication Journal 2, no. 1 (January 12, 2018): 1. http://dx.doi.org/10.21580/icj.2017.2.1.2097.

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Television is the media most widely consumed by the people of the world and especially Indonesia, with conditions like this the influence of television to be very large on the mindset and patterns of public attitudes. Faculty of Da'wah and Communications UIN Walisongo as an institution that is responsible for the success of Islamic propagation in Indonesia is very appropriate to use television as one of his da'wah media. The management of broadcast television is classified into modern management because all activities in preparing and producing broadcast can not be separated from computer technology. computers have an enormous influence in speeding up a product, with collaboration between software will create new innovation results in broadcast television. The programs that will be presented must be well managed, by conducting scheduling time management of the expected broadcast programs that will be served can be anticipated as early as possible. The production process of television broadcasting must be done before the program is aired. Through the process of film editing in which there is a payload of information a television program can be produced. TV broadcasting program is integrated with Walisongo TV broadcast management information system software.------------------------------------------------------------------------------------Televisi adalah media yang paling luas dikonsumsi oleh masyarakat dunia dan khususnya Indonesia, dengan kondisi seperti ini pengaruh televisi menjadi sangat besar terhadap pola pikir maupun pola sikap masyarakat. Fakultas Dakwah dan Komunikasi UIN Walisongo sebagai sebuah institusi yang ikut bertanggung jawab atas berhasilnya dakwah Islam di Indonesia sangatlah tepat untuk menggunakan televisi sebagai salah satu media dakwahnya. Managemen siaran televisi digolongkan kedalam manajemen modern karena semua aktivitas dalam mempersiapkan dan memproduksi siaran tidak bisa lepas dari teknologi komputer. komputer mempunyai pengaruh yang sangat besar dalam mempercepat menghasilkan sebuah produk, dengan kolaborasi antar software akan tercipta hasil inovasi baru dalam siaran televisi. Program-program yang akan disajikan harus dikelola dengan baik, dengan melakukan managemen penjadwalan waktu siaran diharapkan program-program yang akan ditayangkan dapat diantisipasi sedini mungkin. Proses produksi siaran televisi harus dikerjakan sebelum program tersebut ditayangkan. Melalui proses editing film yang didalamnya terdapat muatan informasi sebuah program tayangan televisi dapat dihasilkan. Program siaran televisi tersebut diintegrasikan dengan software sistem informasi manajemen siaran Walisongo TV.

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Williamson, John. "The kilt is my delight? Popular music on early television from Scotland." Journal of Popular Television 9, no. 1 (March 1, 2021): 105–22. http://dx.doi.org/10.1386/jptv_00044_1.

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This article explores the careers of the first three musical stars of television in Scotland: Jimmy Shand, Andy Stewart and Kenneth McKellar. With reference to the shows with which they were most closely associated, The Kilt Is My Delight (1956–63), The White Heather Club (1958–68) and A Song for Everyone (1957–62), it investigates popular music on television from Scotland during its formative years, highlighting the geographic and political issues that made this distinct in a wider context. Drawing on a range of archival sources, it argues the importance of these acts and shows them both as a counterpoint to existing accounts of popular music on early television and in the wider context of the music and entertainment industries.

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polan, dana. "James Beard's Early TV Work: A Report on Research." Gastronomica 10, no. 3 (2010): 23–33. http://dx.doi.org/10.1525/gfc.2010.10.3.23.

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Through the discovery at the Library of Congress of some surviving audio tapes and of NBC log books, this essay seeks to provide more detailed description than hitherto available of James Beard's contributions to cooking pedagogy on American television in the immediate postwar period (specifically, 1946––47). The essay examines the style and content of Beard's pedagogy on three series, Radio City Matinee, For You and Yours, and I Love to Eat. Beard's television efforts are situated in relation to his first efforts as a public propagandist for good American cuisine in his cookbooks of the first part of the 1940s.

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Pajala, Mari. "East and West on the Finnish Screen." Television Histories in (Post)Socialist Europe 3, no. 5 (June 24, 2014): 88. http://dx.doi.org/10.18146/2213-0969.2014.jethc059.

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Research on Finnish television history has so far emphasized Western influences. However, the Finnish television environment was also in many ways shaped by contacts with socialist television cultures. This article analyses the first volume (1960) of the television magazine Katso to trace the various transnational relations which shaped the early Finnish television environment and to discuss the cultural meanings of socialist television in this environment. Nearly every issue of Katso in 1960 discusses television in a transnational context. Transnational themes fall into four categories: (1) learning about television in other countries; (2) the Eurovision and Nordvision networks; (3) watching television across national borders (Swedish and Tallinn television but also television across surprising distances); and (4) visions of world television. Katso’s understanding of television emphasises the literal meaning of television, to see far. The magazine sets no clear limits to what television could do in terms of overcoming physical distance and ideological borders. The magazine avoids overt politics in discussing television from both the West and the East and represents Tallinn television as a potential source of popular television for Finnish audiences.

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Gozansky, Yuval. "Fifty Years of Drama on Israeli Children’s Television." Israel Studies Review 33, no. 2 (September 1, 2018): 123–47. http://dx.doi.org/10.3167/isr.2018.330208.

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This article analyzes the changes in drama series in the first five decades (1966–2016) of Israeli children’s television. Based on interviews with 27 central producers, this cultural-historical study seeks to explain the significance attributed to children’s drama over the years. Early children’s drama series in Israel were instructional or educational, but they also sought to control the representation of childhood under the direct supervision of the state. The neo-liberal privatization process in Israeli society led to the creation of locally produced, Hebrew-speaking daily dramas on private channels for children. In the multiscreen environment created by the age of multichannel television and digital media, original Israeli daily drama shows functioned as a central branding tool for children’s channels. The article contends that these shows became one of the producers’ key answers to the changes in children’s viewing habits and, more particularly, linear television’s strategy for success in a world of multiple online screens.

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Christakis, D. A., F. J. Zimmerman, D. L. DiGiuseppe, and C. A. McCarty. "Early Television Exposure and Subsequent Attentional Problems in Children." PEDIATRICS 113, no. 4 (April 1, 2004): 708–13. http://dx.doi.org/10.1542/peds.113.4.708.

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Healy, J. M. "Early Television Exposure and Subsequent Attention Problems in Children." PEDIATRICS 113, no. 4 (April 1, 2004): 917–18. http://dx.doi.org/10.1542/peds.113.4.917-a.

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Sydney-Smith, Susan. "Jason Jacobs, The Intimate Screen: Early British Television Drama." Journal of British Cinema and Television 1, no. 1 (May 2004): 168–70. http://dx.doi.org/10.3366/jbctv.2004.1.1.168.

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Healy, Jane M. "Early television exposure and subsequent attentional problems in children." Journal of Pediatrics 145, no. 5 (November 2004): 679–80. http://dx.doi.org/10.1016/j.jpeds.2004.08.034.

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Potts, Richard, and Jeff Seger. "Validity of Adults’ Retrospective Memory for Early Television Viewing." Communication Methods and Measures 7, no. 1 (January 2013): 1–25. http://dx.doi.org/10.1080/19312458.2012.760731.

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Virino, Concepción Cascajosa. "Narciso Ibáñez Serrador, an early pioneer of transnational television." Studies in Hispanic Cinemas 7, no. 2 (December 1, 2010): 133–45. http://dx.doi.org/10.1386/shci.7.2.133_1.

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MACCABE, COLIN. "Death of a nation: television in the early sixties." Critical Quarterly 30, no. 2 (June 1988): 34–46. http://dx.doi.org/10.1111/j.1467-8705.1988.tb00300.x.

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Kearney, Melissa S., and Phillip B. Levine. "Early Childhood Education by Television: Lessons from Sesame Street." American Economic Journal: Applied Economics 11, no. 1 (January 1, 2019): 318–50. http://dx.doi.org/10.1257/app.20170300.

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We investigate whether preschool-age children exposed to Sesame Street when it aired in 1969 experienced improved educational and labor market outcomes. We exploit geographic variation in broadcast reception derived from technological factors, namely UHF versus VHF transmission. This variation is then related to census data on grade-for-age status, educational attainment, and labor market outcomes. The results indicate that Sesame Street improved school performance, particularly for boys. The point estimates for long-term educational and labor market outcomes are generally imprecise. (JEL I21, I26, J13, J24, L82)

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Holmes, John R. "The Wizardry of Ozzie: Breaking Character In Early Television." Journal of Popular Culture 23, no. 2 (September 1989): 93–102. http://dx.doi.org/10.1111/j.0022-3840.1989.984343.x.

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Uchikoshi, Yuuko. "Early Reading in Bilingual Kindergartners: Can Educational Television Help?" Scientific Studies of Reading 10, no. 1 (January 2006): 89–120. http://dx.doi.org/10.1207/s1532799xssr1001_5.

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Heins, L. "The 'experiential community': early German television and media theory." Screen 52, no. 1 (March 1, 2011): 46–62. http://dx.doi.org/10.1093/screen/hjq051.

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Jacka, Liz. "Review: Groove Tube: Sixties Television and the Youth Rebellion, the Intimate Screen: Early British Television Drama." Media International Australia 109, no. 1 (November 2003): 185–87. http://dx.doi.org/10.1177/1329878x0310900118.

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Ellis, J. "John Corner, Critical Ideas in Television Studies; Jason Jacobs, The Intimate Screen: Early British Television Drama." Screen 42, no. 4 (December 1, 2001): 400–404. http://dx.doi.org/10.1093/screen/42.4.400.

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Bakøy, Eva, and Vilde Schanke Sundet. "‘Remember, it’s just television’." VIEW Journal of European Television History and Culture 6, no. 11 (September 22, 2017): 53. http://dx.doi.org/10.18146/2213-0969.2017.jethc123.

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This article discusses the corporate strategy of one of the most successful television production companies in Norway: Rubicon TV. Based on a historical analysis from the company’s establishment in the early 1990s until today, the article illuminates how Rubicon TV has navigated in and contributed to the changing Norwegian television landscape. Rubicon TV has gone from a supplier of popular and provocative programmes to a small group of Norwegian broadcasters to a truly digital and global industrial force which produces linear ‘flow’ programmes as well as web-TV and streaming series for both national and international players.

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Simon, Danielle. "From Radio to Radio-visione." Representations 151, no. 1 (2020): 1–25. http://dx.doi.org/10.1525/rep.2020.151.1.1.

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This article investigates a series of experimental television broadcasts undertaken by Italian Fascism’s national broadcasting entity, the Ente Italiano per le Audizioni Radiofoniche, in the years leading up to the Second World War. It explores both the official autarchical policies and the technological limitations that shaped the radio network’s early experiments with television to show that producers’ attitudes regarding medium specificity shaped decisions about programming and musical content. It then suggests that these early sorties into televisual broadcasting left traces that can be seen in the style and political clout of Italian television even today.

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Journal articles on the topic 'Early television'

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