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<h1 id="scms-day-1">SCMS, Day 1</h1>
<ul class="post-metadata">
<li><time datetime="2004-03-04">04 March 2004</time></li>
<li><a href="/tags/conferences/" class="post-tag">conferences</a></li>
</ul>
<p>What follows are my notes from the first session I attended today. Theyre a little sketchy and a little incomplete (I got there about 10 minutes late), but theyll at least remind me of what I heard.</p>
<h2 id="session-1-thursday-march-4-12-00-noon">Session 1, Thursday, March 4, 12.00 noon</h2>
<h3 id="a6-it-s-just-business-institutional-strategies-of-global-media-networks">A6: Its Just Business: Institutional Strategies of Global Media Networks</h3>
<h4 id="jennifer-holt-university-of-california-los-angeles-regulating-reality-the-fcc-and-industrial-design">Jennifer Holt (University of California, Los Angeles), “Regulating Reality: The FCC and Industrial Design”</h4>
<ul>
<li>came in on commentary on AOL/Time Warner merger</li>
<li>Hollywood logic of removing AOL from corporate name, as if it will hide mergers failures</li>
<li>Viacom/CBS</li>
<li>recent revision of network station-ownership rules</li>
<li>“there was a media frenzy over the media frenzy”</li>
<li>NBCs parent (GE)s purchase of Vivendis entertainment arm (including Universal)</li>
<li>NBCs purchase of Universal (esp. Law &amp; Order) makes logic of such media mergers clear: why rent when you can own?</li>
<li>FTC is reviewing Vivendi purchase; nearly lost the right to do so when Ashcroft declared all media mergers to be solely the province of the justice department</li>
<li>since Reagan era, the justice department has viewed consolidation in media realm as benign (or even positive)</li>
<li>UHF discount: audiences on UHF stations count as half, not full stations; Viacom and News Corps 39% ownership is thus larger than the number makes it appear</li>
<li>FCC has become “lapdog” rather than watchdog</li>
<li>local market/community broadcasting have become nothing more than theoretical interest</li>
<li>large consolidated networks become immune to community protest</li>
<li>networks are now just a cog in much larger media machines; mode for advertising rest of conglomerate</li>
<li>regulations role in determining whether network broadcasting will become tail or dog</li>
</ul>
<h4 id="mike-budd-florida-atlantic-university-private-disney-public-disney">Mike Budd (Florida Atlantic University), “Private Disney, Public Disney”</h4>
<ul>
<li>Disney “aura”; conflicts between public image created by products and corporate image created by embittered labor relations</li>
<li>conflict between public image of company and carefully constructed aura</li>
<li>Disney products possess a certain immunity from critique in mainstream US imagination, including difficulty getting students to read critically</li>
<li>derives in part from Disneys appropriation of childhood innocence</li>
<li>more people becoming aware of contradictions, however; some have come to view corporation as behaving in greedy fashion; perceptions of corporate hypocrisy</li>
<li>shift in print-media coverage of Disney; now at times critical — and the contrast between corporate practices and the aura make such critical stories news-worthy</li>
<li>excessive executive pay, exploited workers, aggressive litigiousness over copyright</li>
<li>“Mickey Mouse Protection Act” — Lawrence Lessig</li>
<li>such stories are more than just headaches for public relations: symptoms of larger issue: skirmishes over boundaries of definition of public and private — Disneys appropriation and privatization of public spheres, while others attempt to hold the company publicly accountable</li>
</ul>
<h4 id="christine-becker-university-of-notre-dame-from-high-culture-to-hip-culture-transforming-the-bbc-into-bbc-america">Christine Becker (University of Notre Dame), “From High Culture to Hip Culture: Transforming the BBC into BBC America”</h4>
<ul>
<li>commercials read like “its not TV, its BBC America” — ad campaign seems to connect BBC to HBO (brand has previously been connected to PBS)</li>
<li>marketing and programming choices that separate BBC from PBS; larger strategies for corporate survival</li>
<li>traditional positioning of British TV as superior to American (<em>And Now for Something Completely Different</em>); inclusion of British programming on US cable channels as mode of creating sense of cultural value</li>
<li>high culture/low culture split created between BBC and US tv as mode of marketing and corporate distinction</li>
<li>development of BBC America — began 1998; originally PBS-like; now shifting from an A&amp;E model to an HBO model; airs solely on digital cable</li>
<li>explicit distancing from BBC brand in advertising</li>
<li>“distinctive” qualities (marketing modes): risk, realism, refinement</li>
<li>“The Office” as prime mode of realism; “Faking It” as mode of refinement</li>
<li>original BBC mode — bring high culture to masses (“high pop”); mode of BBC America: embrace popular culture, but elevate to higher level of cultural understanding (“poplifting”)</li>
<li>BBC America has set forth model for successful digital cable channel — rehetoric of quality separating channel from traditional network broadcasting</li>
<li>impact of strategies reverberates back in Britain; BBC under fire there for abandoning original mandate; accused of becoming “too American”; in trying to retain position, argues that only they, as publicly funded, can provide successful (i.e., both popular and culturally important) programming in global era</li>
<li>The Office as ultimate success: won Golden Globes; outdoes US programming; couldn”t be done by US networks — BBC thus not becoming Americanized, but instead leading US networks in new directions</li>
</ul>
<ul class="links-nextprev"><li class="links-nextprev-prev">← Previous<br> <a href="/scms-ward-bound/">SCMS-ward Bound</a></li><li class="links-nextprev-next">Next →<br><a href="/the-scariest-plenary-ever/">The Scariest Plenary Ever</a></li>
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