Understanding the Origins of the Shift
Entertainment programming, as we know it today has undergone numerous iterations over the past 70 years ever since its inception during the early days of radio. In this instance, what will be focused on are the transitions in programming brought about through the influence of advertisers and sponsors.
What must be understood is that radio and television programming is “free” only from the perspective of the viewer/listener. Behind the programs is an assortment of contractual obligations that beholden a network to a series of brands and corporate sponsorships that pay to have their brand or company at the forefront of the public consciousness.
Schwoch (1990) explains that unlike the early years of radio broadcasting, which were characterized by little to no thought being placed on advertising sponsorship or commercialism, television programming from its very inception focused on the use of commercial support from the very start (Schwoch, 56).
This was one of the early signs of the transition where commercialism would dictate entertainment programming given the level of control that was developed into television network culture at its very onset.
On the other end of the spectrum, the culture of radio broadcasting advertising was far different wherein the approach was less “aggressive and bombastic” and instead focused on a softer and more cautious approach (Schwoch, 57).
Instead of the desire to control, what was present was a form of careful “reverence” involving advertising through radio as a medium wherein it was thought that an overly aggressive attitude would have resulted in a negative reaction not only from the audience itself but from the broadcasters.
Not only that, early advertising culture involving radio broadcasts were thought of as not only vehicles for the promotion and sale of products, but actually enabled a certain manner of self-improvement on the part of the listener through the broadcasted message.
Examples of this can be found on classic advertising spiels (i.e., scripts) utilized during the 1920s to the 1930s wherein the brand name of a company was mentioned after which it was followed by some manner of uplifting message (ex: Kellogg’s cereal wishes you a pleasant evening, drive safe and be sure to kiss your children goodnight).
The culture of broadcasting was less “in your face” and more focused on the projection of a positive brand image through association with a respectful and caring company. This changed in the coming years as advertisers transitioned from utilizing uplifting messages to aspects related to the present-day materialistic culture (i.e., utilizing visual mediums to show the use and advantages of products.
Due to the lack of sufficient early network infrastructure for television during the early 1940s (i.e., no major networks, stars, performers, etc.), this necessitated more “drastic” means of wooing advertisers to switch to television.
What you have to understand is that advertising agencies at the time became more accustomed towards having major roles in the production process of radio commercials through with their own sets, equipment, talent, etc. (Schwoch, 58).
When it came to television and the high costs associated with building their own advertising sets with no means of determining whether the ad would be effective or not (i.e., there was no means of measuring the number of television viewers at the time), this created a considerable degree of hesitance among advertisers to utilize television as a medium.
It was only when technological improvements arrived that improved the ability of broadcasts to reach a larger audience range and the fact that broadcasters mentioned to advertisers that television broadcasting was the “wave of the future” and would be thought of as “new, hip and exciting” that advertisers entered into mainstream television broadcasts.
When examining this section, it can be seen that the fundamental infrastructure for commercialism to be the driving force behind American television was laid out at the onset of creating television as a broadcasting medium.
By making the system more “beholden” to advertisers and ensuring that the advertising culture at the time focused more on product advertisement and less on uplifting messages as seen during the prime years of radio broadcasting, this in effect changed the entire system.
As it will be shown in the succeeding sections, the culture of electronic advertising changed wherein advertisers became increasingly aggressive with their product placements and means of getting the public to be more aware of the company to the extent that they in effect dictated television programming to a certain degree.
Integration into Television Programming
In American television history, one of the most pivotal examples of how commercialism became the driving force behind television programming can be seen in the 1950s sitcom “The Goldbergs”.
From its early success a radio sitcom, the series branched out into television programming at which point the style and message of series changed from being a working-class sitcom to being a television series that in effect glorified materialism and focused on “keeping up” with neighbors and friends alike in terms of having a certain lifestyle and being able to purchase particular types of products.
As explained by Brook (1999), while advertising during radio programming was expected by audiences during the 1920s to the late 1940s, it was not as overt as the process utilized in television programming by the 1950s. When it came to radio station programming, advertisements acted more as by-lines or even an afterthought to the main program itself.
While present, it was not at the immediate forefront of the perception of the listener at the time and could be considered as being relatively passive.
However, Brook (1999) explains that during the early iteration of television sitcoms, commercials became more integrated into the very show that was being presented as evidenced by the manner in which Molly, one of the titular characters from the Goldbergs, openly advertised a particular product at the start of every show with various types of product placement being integrated into scenarios as deemed fit by the producer (i.e., coffee cans with brand labels, pictures of the product, etc.) (Brook, 47-48).
Television stars in effect became hawkers of products with the programming often shifting in order to accommodate the type of product that was being hawked at the time.
For example, when the sponsors of “The Golbergs” shifted from the Sanka coffee company to Rybutol (a division of a vitamin company) the normal opening scene of Molly presenting a product on a window sill immediately shifted to looking at a vitamin bottle that was placed on a window sill with a sudden close-up of the bottle with a line of dialog extolling its virtues.
This type of “in your face” advertising signified a distinct shift in the advertising culture at the time wherein instead of being camouflaged, skillfully integrated into the storyline of the program or hyper-realized in some way, the consumerist aspect of it now became openly embraced and forced directly into the forefront of the viewing experience.
Brook (1999) explains that while standalone commercials did eventually come into being wherein direct product advertisements were not as obvious in television programming, the fact remains that this just gave way to passive advertising in programs wherein the materialistic culture espoused by advertising was integrated into their scripts (Brook, 49 -53).
Brook (1999) points to the episodes of “The Goldbergs” wherein a distinctly materialistic orientation can be seen where the actors extol the virtues of particular consumer goods, present the notion that materialism is a social concept that is normal and should be lived up to and that excess consumption was no longer the domain of the rich and famous, rather, it extended to ordinary people as well (Brook, 51-55).
From a certain perspective, it can be stated that television programs in effect became one long commercial program which employed subversive and indirect means of bringing a particular product or lifestyle to the forefront of the thoughts of the American public that was viewing the program.
Evidence of this can be seen in glorification of certain types of suits and leisurewear, showing characters as having a distinct patronage towards particular types of products as well as showcasing how particular products became symbolic emblems of particular social classes (i.e. fur coats for the rich, petticoats for the middle class, as well as different models of cars, etc.).
This degree of cultural symbolism can be considered a manifestation of influences of advertisers in getting their respective brands and products out there in order to develop greater consumer interest through symbolism (Nelson, 333-340).
What this entailed was that when consumers saw a particular product being utilized and extolled by the social class that they belonged to, this in effect created a reaction wherein the came to associate that product as a symbol of their class and actively attempted to incorporate such a status symbol in their own lives.
This is one of the primary reasons behind the development of particular types of fashion trends over the years wherein items associated with “the working man”, “the hipster” and “the rich” were inspired by their counterparts on television that caused people to believe that they needed such products in order to be associated with their respective social class.
In a rather apt analogy regarding the shift towards commercialism controlled programming, Brook (1999) had stated the following:
“They were no longer a bridge to the white suburban middle class; they had become that class. The American Dream they had so ardently sought-and sold-had enfolded them, The Goldbergs, in its 1955-56 season, was for all intents and purposes a new show.” (Brook, 55-56)
While such a phrase was meant to encapsulate the change in the show “The Goldbergs”, it is also a rather apt way of showing how television programming had in effect “shifted” towards a more “overt” means of direct advertising where, through control of the creative process, advertisers in effect helped to shape television programming towards a method that influenced consumer purchasing decisions by presenting methods of product symbolism, cultural analogy and showcasing how a materialistic culture was perfectly acceptable.
Mass Media and Commercialism
From the perspective of MacDonald et al. (1980), mass media whether in the form of radio or television showcased a profound effect on influencing the culture that it was set in (MacDonald et al., 303-14).
This came in the form of cultural predilections, social terminologies, ideas regarding social conditions and even themes associated with politics becoming aspects that could invariably be influenced through mass media and how viewers associated their everyday attitudes with what they heard on the radio or saw on television (MacDonald et al., 303-14).
In effect, their concept of social identity was influenced by what they saw on television and this had a profound impact on the development of American culture at time. Television and radio (to a certain extent) became a source of emulation and it still is as a matter of fact.
Popular culture (pop culture), as it is known today can be considered as a manifestation of mass media that was intentionally created by producers for the sole purpose of selling and advertising particular goods and services.
While on the surface, there may not seem to be any overt forms of advertising being done through pop culture, what you have to understand is that there are usually extensive systems in place meant to monetize nearly every single aspect of it.
For example, one of the classic icons of mass media popular culture is the average music star. Showcasing himself/herself as being hip, trendy and popular on television is a type of pop culture entertainment; however, what you have to understand is that such an individual is for all intents and purposes a product that was meant to be displayed to the general public in order to create a certain desire for emulation among viewers.
As a result, people that view the program are likely to purchase that music star’s records, pay for tickets to go to their concert, buy their merchandise, purchase the products they endorse and an assortment of other activities that puts money into the pockets of television producers and advertising executives.
Mass media has been recognized by advertisers as a perfect tool for creating public interest for whatever product they deem necessary and, based on the popularity of pop culture, showcases how yet again commercialism is one of the driving forces behind the development of American television as we know it today.
Advertising and the Depiction of Ethnic Minorities
Lipsitz (1986) states that “Television delivers audiences to advertisers by glorifying consumption, not only during commercial breaks but in the programs themselves “ (Lipsitz, 355).
He attempts to showcase this by showing how despite ethnic working-class households being an inappropriate setting for depicting indulgence in materialism, a program’s producers during the 1950s get around this by showing ethnic families in urban working-class neighborhoods during historical periods where there are rising standards of living and better conditions for the working class and the rich alike (Lipsitz, 356-358).
In effect, the glorification of materialism is justified under the context that the conditions that the ethnic urban working class find themselves in are conducive towards such a means of consumption.
Lipsitz (1986) implies that ordinarily such a depiction would normally be counterintuitive to how ethnic working households at the time were really like given the economic hardships encountered by immigrants during this period. Shows such as “Mama” and “The Goldbergs” exemplified consumerist characteristics that advertisers wanted to depict.
The focus on consumer spending on some episodes, of conforming to the particular ideals of a social class as well as usage of particular types of products were all meant to do one very basic thing: sell products. The shows, while hilarious up to a certain point, were basically cleverly crafted commercialized advertisements meant to sell products and a particular lifestyle choice that advertisers wanted viewers to emulate (Nelson, 333-340).
Works Cited
Brook, Vincent. “The Americanization of Molly: How Mid-Fifties TV Homogenized.” Cinema Journal. 38.4 (1999): 45-67. Print.
Lipsitz, George. “The Meaning of Memory: Family, Class, and Ethnicity in Early Network Television Programs.” Cultural Anthropology. 1.4 (1986): 355-387. Print.
MacDonald, Fred, Michael Marsden, and Christoper Geist. “Radio and Television Studies and American Culture.” American Quarterly. 32.3 (1980): 301-317. Print.
Nelson, Richard. “Sources for Archival Research on Film and Television Propaganda in the United States.” Film History. 3.4 (1989): 333-340. Print.
Schwoch, James. “Selling the Sight/Site of Sound: Broadcast Advertising and the Transition from Radio toTelevision.” Cinema Journal. 30.1 (1990): 55-66. Print