學術產出-Periodical Articles
Article View/Open
Publication Export
-
題名 The nature of convergence of the U. S audiovisual industry: Political economic context after finsyn and PTAR 作者 Chang, Shih Chen
張時健貢獻者 新聞系 關鍵詞 美國影視產業;好萊塢;電視網;財務利益與辛迪加規定;生產體制
U. S. audiovisual sector;Hollywood;networks;Financial Interest and Syndication Rules;PTAR;production regime日期 2010-01 上傳時間 29-Jun-2015 17:13:48 (UTC+8) 摘要 The U.S audiovisual sector has been monopolized by a few entertainment giants after several merger and acquisitions in the past 20 years. The process is known as "convergence". However, if the industry is identified as being composed by the three sectors of production, distribution and exhibition, and then trace the movement of the capital around them, the concept of "monopoly" or "convergence" may not be the exact description of the process. After reviewing the history between 1970 and 1995 during the application of FCC`s Financial Interest and Syndication Rules (Finsyn) and Prime Time Access Rules (PTAR), this article specifically indicates that Hollywood studios have concentrated on distribution of AV products since the collapse of the "studio system", and have treated television industry as an important exhibition channel. When the television networks tried to produce programs and challenge the studios` position, Hollywood studios canvassed and pushed the pass of Finsyn and PTAR, which limited the capital accumulation of networks and allowed studios to dominate the syndication market. While studios kept creating and merging with the new exhibition channels in the 1980s, they were hoping to have their own networks as well. This article in addition points out that whether or not Finsyn and PTAR are accepted still very much dependent on the political-economic conditions. Furthermore, since the capital concentrates on either distribution or exhibition sectors, there should be an attention on the problem of the fragile production sector. U.S. audiovisual sector, Hollywood, networks, Financial Interest and Syndication Rules, PTAR, production regime. 關聯 Mass Communication Research, 102, 327-364 資料類型 article dc.contributor 新聞系 dc.creator (作者) Chang, Shih Chen dc.creator (作者) 張時健 zh_TW dc.date (日期) 2010-01 dc.date.accessioned 29-Jun-2015 17:13:48 (UTC+8) - dc.date.available 29-Jun-2015 17:13:48 (UTC+8) - dc.date.issued (上傳時間) 29-Jun-2015 17:13:48 (UTC+8) - dc.identifier.uri (URI) http://nccur.lib.nccu.edu.tw/handle/140.119/76097 - dc.description.abstract (摘要) The U.S audiovisual sector has been monopolized by a few entertainment giants after several merger and acquisitions in the past 20 years. The process is known as "convergence". However, if the industry is identified as being composed by the three sectors of production, distribution and exhibition, and then trace the movement of the capital around them, the concept of "monopoly" or "convergence" may not be the exact description of the process. After reviewing the history between 1970 and 1995 during the application of FCC`s Financial Interest and Syndication Rules (Finsyn) and Prime Time Access Rules (PTAR), this article specifically indicates that Hollywood studios have concentrated on distribution of AV products since the collapse of the "studio system", and have treated television industry as an important exhibition channel. When the television networks tried to produce programs and challenge the studios` position, Hollywood studios canvassed and pushed the pass of Finsyn and PTAR, which limited the capital accumulation of networks and allowed studios to dominate the syndication market. While studios kept creating and merging with the new exhibition channels in the 1980s, they were hoping to have their own networks as well. This article in addition points out that whether or not Finsyn and PTAR are accepted still very much dependent on the political-economic conditions. Furthermore, since the capital concentrates on either distribution or exhibition sectors, there should be an attention on the problem of the fragile production sector. U.S. audiovisual sector, Hollywood, networks, Financial Interest and Syndication Rules, PTAR, production regime. dc.format.extent 2449187 bytes - dc.format.mimetype application/pdf - dc.relation (關聯) Mass Communication Research, 102, 327-364 dc.subject (關鍵詞) 美國影視產業;好萊塢;電視網;財務利益與辛迪加規定;生產體制 dc.subject (關鍵詞) U. S. audiovisual sector;Hollywood;networks;Financial Interest and Syndication Rules;PTAR;production regime dc.title (題名) The nature of convergence of the U. S audiovisual industry: Political economic context after finsyn and PTAR dc.type (資料類型) article en
