The Changing Television Audience in America

The Changing Television Audience in America

The Changing Television Audience in America

The Changing Television Audience in America


If you're not a tree lover now, this pocket-sized gem -- dedicated to the idea that every species of tree has a story and every individual tree has a history -- will make you one. Produced in consultation with the City's Parks and Recreation department and the New York Tree Trust, this book is a reference to the stories of New York City's trees, complete with photographs, tree silhouettes, leaf and fruit morphologies, and charming and informative explanatory texts. It is divided into four sections: "The Best Places to See Trees," full of insider's tips and helpful maps; "New York City's Great Trees," a directory of the oldest, strangest, most beautiful trees; "The Tree Guide," arranged for ease of identification by leaf shape and size; and, finally, "Sources and Resources" for future investigation.

With over 700 beautiful color photographs, drawings, and detailed maps, this is the ultimate field guide to the trees of the Big Apple and the metropolitan region.


This book reports on a longitudinal series of studies that began with Gary Steiner's 1960 survey, published as The People Look at Television (1963). As that title suggests, Steiner's main concern was with the audience of the medium--with the "whom" in the old paradigm of communication research: "who says what to whom through what channel with what effect." Television ownership and control, and the content its producers provided, were pretty much taken for granted. Effect came into the picture only to the extent that audience attitudes might serve to enhance or limit the impact of the medium on its viewers. in his attention to the audience, Steiner was not even particularly interested in how many people watched how much; the final word on that question he was happy to leave to the rating services, who were already operating at full force in 1960. Steiner was interested in what the audience--as a whole and in its various constituent parts--thought about television in general: what in particular they liked and disliked about it; how important they felt it to be; and how it fitted into their lives. He says in his introduction:

If this book speaks for anyone, we would like to think that speaks for the audience(s)--not on behalf of, but in echo to. To the extent that we have measured what we set out to measure, these pages should reflect the point of view of the viewer. It is his responses that constitute the data.

Setting the Stage

Steiner designed his study in the late fifties at Columbia University's Bureau of Applied Social Research (BASR), at a time when the Bureau had already experienced two productive decades of audience . . .

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