Thursday, April 30, 2015

Final Exam Review Sheet

The exam contains a lot of information that we did not have a chance to go over in class. You'll have to read the text and the blog and make sure you prep for the exam. 

As a result, you'll be allowed one sheet of paper with hand-written notes (front and back). No typed comments will be allowed. Any typed comments will be confiscated and your penalty will be the loss of a sheet of paper with information written/printed on it. 

As a reminder, the Final Exam dates/times are listed on the course syllabus (the first post of the class blog). 

Good luck!

Jack

Intro to Media Industries Spring 2014—Final Exam Review Sheet
Media Law (Info from the blog and the book)
First Amendment
Prior restraint
Shield laws (reporter’s privilege)
Subpoena, Gag order
FOIA and Sunshine Acts
Law of Defamation: Libel vs. Slander
Thresholds of libel: publication, identification, defamation, fault
Summary judgment
Actual malice
Defenses of a libel suit: truth, privilege, fair comment and criticism
Public figures vs. private citizens
Privacy
Types—intrusion upon solitude, unauthorized release of private information, creating a false impression, appropriation of identity
Trespassing
Copyright-- Fair use provisions: purpose, nature, amount reproduced in proportion to whole, effect on the potential market value; life of author + 70 years; 95 years from time of publication or 125 years from time of creation, whichever is shorter.  Can't copyright an idea, only the expression of an idea. 
Law of Obscenity-- Miller v. California
Three-pronged test to determine obscenity:
      1) whether the average person, applying contemporary community standards, would find that the work as a whole appeals to the most prurient interest;
      2) whether the work depicts or describes in a patently offensive way certain sexual conduct that is specifically spelled out by state law
      3) whether the work as a whole lacks serious literary, artistic, political or scientific value
Indecency
FCC fines for indecency
FCC, in general
TV Content ratings (TV-Y, TV-Y7, TV-Y7-FV, TV-G, TV-PG, TV-14, TV-MA) 

Social Effects of Media
2 types of quantitative techniques used to study effects of media-- survey and experiment
Socialization
Cultivation
Mainstreaming
Resonance
TV ads and kids
Can the media set the priority of certain issues for the public? What’s this called? 
TV violence—what do the surveys tell us? What about the experiments? 
TV and prosocial (positive) behavior 
Exposure to pornography and callousness toward women 
Catharsis 
Stimulation 

Previous material that will be covered on the Final Exam:
Components of the American TV Systems (Broadcast and Cable)-- (networks, affiliates, production studios, syndicators, advertisers) 
Elements in the communication process (source, message, channel, receiver, noise, feedback)
Different communication settings (intrapersonal, interpersonal, small group, organizational, mass)
The major mass media (newspapers, books, magazines, radio, sound recordings, television, internet, movies, video games, etc.)
Functions of the mass media: surveillance; interpretation; linkage; transmission of values; entertainment
Categories of the uses and gratifications approach: cognition; diversion; social utility (conversational currency; parasocial relationships); withdrawal
Concentration of media ownership and possible concerns (be sure to know who owns each major studio and each major broadcast network) 
Organization of movie industry (production, distribution, exhibition)
Nielsen Ratings, shares
Concerns about the Internet—news model, gatekeepers, info overload, privacy, escapism
Dramatic structure
Convergence and Disintermediation
History/evolution of Communication (language, writing, printing, telegraph, photography/movies, broadcasting (radio + tv), digital revolution, wireless hand-held media)
Escaping "from" vs escaping "into"


How to make a screen recording using Quicktime

(Make sure the emulator is up and running with your app before you set up a screen recording).


1) Search for Quicktime on your MacBook Pro and open it.

2) Click on "File."

3) Select "new screen recording."

4) Click to record the entire screen, or drag to record just the emulator.

5) Hit the "stop" button when you're finished (located up by the wifi icon).

6) The quicktime movie will automatically be saved to the Desktop.

Sunday, April 26, 2015

I fear that continues in college, too...

Photo
CreditKeith Negley
PALO ALTO, Calif. — PALO ALTO HIGH SCHOOL, one of the nation’s most prestigious public secondary schools, is sandwiched between two stark and illusory paths. Across the street to the west, Stanford University beckons as the platonic ideal, a symbol of the road to Google, the White House, the mansion on the hill. To the east, across a bike trail, are the railroad tracks where three boys from the school district have killed themselves this year.
Suicide clusters are relatively rare, accounting for about 5 percent of teenage suicides. Startlingly, this year’s is the second contagion to visit this city. Five students or recent graduates of the district’s other high school, Gunn High School, killed themselves beginning in 2009.
Experts say such clusters typically occur when suicide takes hold as a viable coping mechanism — as a deadly, irrational fashion. But that hasn’t stopped this community from soul searching: Does a culture of hyperachievement deserve any blame for this cluster?
The answer is complex, bordering on the contradictory: No, the pressure to succeed is not unique, nor does it cause a suicide cluster in itself, but the intense reflection underway here has unearthed a sobering reality about how Silicon Valley’s culture of best in class is playing out in the schools.
In addition to whatever overt pressure students feel to succeed, that culture is intensified by something more insidious: a kind of doublespeak from parents and administrators. They often use all the right language about wanting students to be happy, healthy and resilient — a veritable “script,” said Madeline Levine, a Bay Area psychologist who treats depressed, anxious and suicidal tech-industry executives, workers and their children.
“They say, ‘All I care about is that you’re happy,’ and then the kid walks in the door and the first question is, ‘How did you do on the math test?’ ” Ms. Levine said. “The giveaways are so unbelievably clear.”
Denise Pope, an education expert at Stanford, calls this gulf between what people say and what they mean “the hidden message of parenting.”
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But here, and in lots of other ultrahigh-achieving communities and schools, Ms. Pope said that children are picking through the static to hear the overriding message that only the best will do — in grades, test scores, sports, art, college. “In everything,” she said.
“I hear students tell me that if I don’t get into X, Y, Z college, I’ll wind up flipping burgers at McDonald’s,” said Ms. Pope, who is working with Ms. Levine to counsel at the high schools.
Ms. Pope said that wrongheaded idea becomes an emotional and physiological threat when multiplied by at least three other factors: technology that keeps teens working and socializing late at night, depriving them of essential rest; growing obligations from test-prep classes and extracurricular activities; and parents too busy to participate in activities with their families.
“We are not teenagers,” Carolyn Walworth, a junior at Palo Alto High School, wrote in an editorial in the local paper in response to the suicides. She described students as “lifeless bodies in a system that breeds competition” and wrote of going to the emergency room to deal with stress, missed periods and having “a panic attack in the middle of a 30-person class and be forced to remain still.”
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There has been lots of talk in the community about what to do, she wrote, but action has not followed. (The district is providing counseling services, offering a suicide-prevention kit and urging teachers to limit homework hours.)
“Please, no more endless discussions about what exactly it is that is wrong with our schools, and, above all, no more empty promises,” she wrote, and noted: “We are the product of a generation of Palo Altans that so desperately wants us to succeed but does not understand our needs.”
THIS curious idea of a rhetorical divide came up in a number of recent discussions with parents and their children. In one conversation about the suicides, a mother at a Bay Area school in a similarly high-achieving community told me how little pressure she puts on her teens and noted by way of an anecdote how she had succeeded: Her daughter, she proudly recounted, was so well balanced that she decided last year not to go to the best college she got into but, rather, the school that best fit her passions. The school was Vassar.
In this subtle linguistic slip, Vassar qualified as a second-rate school.
Esther Wojcicki, the teacher who oversees the Palo Alto High School newspaper, lamented the competitive environment but noted seconds later that the school paper had just won a “Gold Crown” award from the Columbia University Graduate School of Journalism and that the two dozen students sitting at computer terminals at 4 p.m. that day were thrilled to stay until 9 p.m. to put out the school magazine because they have so much fun doing it.
Alan Eagle, a sales director at Google whose 17-year-old son, William, is a junior at Gunn, was frank about the distance between what he tells his son and what he means.
“I can say all I want that it doesn’t matter where my son goes to college,” Mr. Eagle told me.  But “I’m sure that as much as I preach that, I’m not being 100 percent authentic and frank.”
He added: “I personally went to Dartmouth and it did help. I look at the economy, the difference between haves and have-nots, and I believe a college education is critical.”
And a rich high school experience, too. A few minutes later, while acknowledging that his son had given up playing on the basketball team to study more, Mr. Eagle noted that “at least he’s still got track.”
Glenn McGee, the district’s superintendent, also seemed to struggle to walk the line between celebrating the exceptional nature of this area while urging students to relax. Sitting in his office and looking across the street at the Stanford campus, he mourned the fact that some parents feel that such a school is the only acceptable outcome.
“In many cases, people have made a big sacrifice to live in this community,” Dr. McGee said, referring to exorbitant housing costs (the median housing price last year was $3.3 million, making it the fourth most-expensive ZIP code in the country, according to Richard Florida, an academic who studies demographic trends). Characterizing the attitude of many parents, Dr. McGee said, “To be blunt, what is my return on investment?”
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“My job is not to get you into Stanford,” he said he tells parents and students. “It’s to teach them to learn how to learn, to think, to work together — learn how to explore, collaborate, learn to be curious and creative.”
Some parents hear it, he said, but “a lot of families and parents don’t hear the message and say: compete and compete.”
Dr. McGee said he had interviewed 300 students and found that half would be “really embarrassed” to tell their friends they got a B. But the truth is that it’s awfully hard to be the best here, given the curve: The SAT scores are so high on average that a student who finishes in the 75th percentile in the district has a 2,200, the 99th percentile in general for college-bound seniors.
Soon after lamenting the pressure, Dr. McGee raved about a student who was part of a math team that finished first in January in a national competition, and about the new performing arts center under construction, and about the coming $24 million athletic facility funded by a private family foundation. 
And why wouldn’t he rave? Why not be thrilled by achievement?
Because the bar for academic success here has become so high that solid performance can feel mediocre.
It puts enormous pressure on a school, or a community, when such consistent, across-the-board greatness becomes a baseline of sorts — what Mr. Eagle described as a culture of “not just excellence but uber-excellence.”
Perhaps that explains some of the doublespeak: Parents are searching for language to encourage their children, even push them, but not crush them.
One solution, said Ms. Pope of Stanford, is “downtime, playtime, family time.” For parents, too. In other words: Take a leap of faith (well supported by science) that downtime will lead to a healthier perspective.
Dr. Morton Silverman, a psychiatrist and senior science adviser to the Suicide Prevention Resource Center, suggested that another answer is recognizing that the doublespeak also betrays a sense of terror about the future among both students and parents.
With the economy in flux and the income gap growing, parents don’t see a clear path anymore to financial stability — even here, maybe especially here, where things move fast and competition is fierce. In addition, many of the fortunes made here have been based on creating things that destabilize traditional businesses and their workers.
So confront the new realities, Dr. Silverman suggested, urging parents to say something like: “I can’t tell you which path to take or how to get there, but I will support you,” he said. “I’m here to back you up.”
It’s a hard message to hear in a can-do place like this.
Walking near the train tracks where the children laid themselves down, Dr. McGee said this community, if any, should have answers.
“Can we put sensors up there?” he mused quietly to me, maybe to alert the train operators that someone has climbed onto the tracks. “This is Silicon Valley. There ought to be something we can do.”

Friday, April 24, 2015

Incredibly, I did not receive an Emmy nomination for this almost-invisible performance...

Here's a screenshot of me from The Odd Couple that aired last night on CBS.

The central character in the screen essentially blocks me out, but you can see me (barely).

For reasons that I can't comprehend, I've received no calls from the Academy informing me of my Emmy nomination.

Huh.

I'm sure it's just an oversight.

I mean, look at how I hold that bottle of beer! (I'm up against the wall, to the right of the guy's back. It's easier to find Waldo).




Tuesday, April 21, 2015

Extra credit opportunity for Thursday, April 23, 2015 at 7:00 p.m.

Good evening,

For anyone who attends the IC Stand-up comedy event on Thursday at 7 p.m. in Emerson Suites, +3 extra credit points will be awarded.

The show features our own Chris Ptak (TV-R sophomore) opening up for Ben Weger (TV-R senior).

Thanks.

Jack

Sunday, April 19, 2015

Online Assignment for Thursday, April 23, 2015 (due Tuesday, April 28, by midnight, PDT)

Rod Serling was the creator of The Twilight Zone and a TV-R faculty member at Ithaca College.

He was also, arguably, the most gifted writer that television has ever seen as is evidenced by his six, count them-- SIX!-- Emmy Awards.

(By the way, five of those awards are in the display case outside of Park Auditorium and the 6th one is on display in the library).

Way back in 1959, he gave an interview about "TV censorship" to Mike Wallace-- from "60 Minutes."

(As an aside, you'll notice a few things about the video. First, Rod Serling smokes on camera. That wouldn't happen today. Second, he uses the word "sponsor" repeatedly. Today, we would say "advertiser." Finally, you'll also notice other minor differences compared to today-- including his vocabulary).

Your online assignment is to watch Rod Serling's video about TV censorship, Seth MacFarlane's video about the same topic, and Seth's take on FCC censorship as portrayed on Family Guy.

Based on what you've read in the text and on the blog--and taking into account the videos-- what are your own thoughts on TV censorship?

Should the broadcast TV networks (NBC, CBS, FOX, NBC, CW) have to follow rules about what they can put on the air? Or should they have full First Amendment protection the way other media do?

Rod Serling talked a bit about "pre-censorship." How much of a role do you think that plays with today's television shows?

Post your reactions here (250 words or so) as comments.

The assignment is due by Tuesday, April 28 , 2015 by midnight PDT.

Here's the Rod Serling interview:

  

Here's Seth MacFarlane talking about the topic 50+ years later:



And here is Seth MacFarlane's take on the FCC's censorship rules as portrayed in an episode of Family Guy:

Media Law Notes

THE PRESS, THE LAW, AND THE COURTS

A Free Press

Partially as a result of their colonial experiences, but also as a hedge against potential future abuses, the Constitution's framers enacted a specific Bill of Rights. In it, the First Amendment says in part, "Congress shall make no law . . . abridging the freedom of speech, or of the press." As simple and straightforward as that may sound, people and the courts have been arguing over its interpretation for nearly 225 years.

Prior Restraint

When the government attempts to censor the press by restraining the media before something is printed or broadcast, that's called prior restraint. Though attempts to do so have been rare, the courts have held that the First Amendment is not absolute; the government can, under certain circumstances, restrain speech and the press, but the task of proving the necessity to do so is extremely difficult. In most cases, the Supreme Court has sided firmly with the press.

The Near Case
In the 1920s, the Minnesota legislature passed a law under which newspapers that were considered public nuisances could be curtailed by means of an injunction (an order from a court that requires somebody to do something or refrain from doing something). Even though the Minnesota law was designed, in part, to prevent press abuses against minorities, the Supreme Court held that good intentions did not supersede the greater danger of prior restraint.

The Pentagon Papers
In the early 1970s the Nixon administration attempted to suppress a story set to run in the New York Times. The nine-part series, illegally leaked to the press, described a top secret Defense Department study which had been commissioned to research the roots of the Vietnam conflict. Citing that the report would "cause irreparable injury to [our] defense interests," the Nixon administration successfully received an injunction against the Times to temporarily prohibit publishing that story. For the first time in history, a U.S. newspaper had been ordered to suppress a news story. Other papers (who by now also had copies of the report) began publishing the series; the administration countered with more injunctions, but very quickly the number of papers outpaced the administration's ability to keep up with injunction orders.

The Supreme Court, with unprecedented haste, heard the case only 17 days after the initial story appeared in the Times. In a 9-0 vote, the Court said the government had not proven a sufficient and significant danger to national security that would justify the need for prior restraint. On the other hand, the Court didn't rule that prior restraint could never be applied, simply that this time the government had not shown sufficient cause to merit that action.

Subsequent cases involving the CIA successfully getting parts of a book deleted because it contained classified information, restrictions on news coverage during the Gulf War, and an attempt to ban a Business Week article because the material for that article came from sealed court documents, have collectively shown the gray issue areas surrounding the First Amendment. Although there is a strong constitutional case against prior restraint of the press, significant unclear issues still exist wherein censorship might still be considered legal.


PROTECTING NEWS SOURCES

The press argues that if they are forced to disclose confidential sources, those sources will dry up and the public's right to know will be adversely affected. Government counters by citing it has a greater need to administer justice and to protect the rights of an individual to a fair trial.

The Reporter's Privilege

In the early 1970s the Supreme Court ruled that the First Amendment did not necessarily protect reporters from their obligation to testify before grand juries and to answer questions concerning a criminal investigation. The Court said that there were instances in which a reporter's claim to privilege could be valid. They also suggested that the states further define reporter rights by passing shield laws (legislation protecting a reporter from revealing his or her news sources). So far, 31 states have passed shield laws, but the differences between them and the variations in their interpretations have left these issues clouded and confused.

Search and Seizure

The ability to protect a reporter's notes and a newsroom's records from revealing a news source is also in a legal limbo. Here, the courts have offered even less protection. In response to the wide "fishing" net of a search warrant, Congress passed legislation in 1980 that required government to obtain a subpoena (an order to appear or present evidence) in order to obtain press records. A subpoena is more limited in focus than a warrant, and, more importantly, it can be challenged in the courts before being executed. These challenges suggest that reporters need to carefully consider potential problems before promising confidentiality to a news source.


COVERING THE COURTS

The Sixth Amendment guarantees a defendant the right to a trial before an impartial jury; on the other hand, the First Amendment guarantees freedom of the press. Trial judges are responsible for the administration of justice while reporters are responsible for informing the public about the workings of the legal system. Sometimes these responsibilities clash.

Publicity before and during a Trial

If a potential jury member has read, seen, or heard stories in the news media about a defendant that appears to indicate that person's guilt, it is possible that the defendant will not receive a fair trial. That's called pretrial publicity. In an effort to soften the conflict between the First and Sixth Amendment rights (sometimes called the Free Press/Fair Trial issue), the Supreme Court outlined safeguards which judges could use to protect a defendant's rights. Among them:

. sequestering the jury (physically isolating them from the public outside the courtroom)
. change of venue (moving the trial to another, presumably more objective, location)
. injunctions (prohibitions against making any potentially damaging statements made by
trial participants)

Gag Rules

Some judges have invoked restrictive orders, or gag orders, which restrain trial participants from giving out information to the media or restrain media coverage of events that occur in court. Press access to pre-trial proceedings, pre-trial evidence, jury selection, and even the ac-tual trial proceedings themselves has had a see-saw history of restriction and openness. In the 1980s, the Supreme Court reaffirmed the press’ right to open court access, but the Court also ruled that that judges theoretically could--using strict guidelines laid down by the Court--restrict press access if the situation warranted it.

Cameras and Microphones in the Courtroom

Still cameras, newsreel film, and radios first invaded the courts in the 1930s. Due in various part to the clumsiness and size of the equipment, the zeal of the reporters, and the inexperience of both the courts and the press with these communication systems, film and broadcast coverage became reminiscent of a circus. As a result, the American Bar Association adopted Canon 35 of its Canons of Professional Ethics, which suggested that courts bar film and broadcast in covering court proceedings. Soon after, most states did just that. Later, other court cases objected to the potential prejudice that TV coverage might produce, and it too became a court outcast.

Slowly, however, state-by-state, courtroom restrictions of AV materials have relaxed. By 1970, advances in technology and greater media experience re-opened the doors to the possibility of allowing video and audio court coverage. By 2000, only two states still prohibit film or broad-cast coverage under any circumstances. Broadcast coverage is, however, still prohibited in all federal criminal courts and in the Supreme Court of the United States.





REPORTER'S ACCESS TO INFORMATION

Government Information

After World War II, members of the press complained that government secrecy was becoming a major problem. Reporters were being restricted from official meetings, and access to govern-ment documents was often difficult to obtain. In response, Congress passed the 1966 Freedom of Information Act (FOIA), which gave the public the right--with some restrictions--to find out what the federal government was up to.

The law states that every federal executive-branch agency must publish instructions on what methods a member of the public should follow to get information. If information is improperly withheld, a court can force the agency to disclose what is sought. There are nine areas of exempted material such as trade secrets, criminal investigations, oil well maps, and IRS files.

In 1996, the Electronic Freedom of Information Act (EFOIA) was also passed to make more government information available on the Internet, although agencies have been slow to implement all the requirements of the EFOIA.

Journalists, however, have not made extensive use of this law since getting the information is often a cumbersome and time-consuming process. But the FOIA has been used effectively in some investigative series where time wasn't an issue. Sunshine Acts, allowing press access to most government meetings--again, with some restrictions--have also helped further public access to government proceedings. As is usually the case, most states have adopted similar FOIA and Sunshine Acts to cover state and local government proceedings.

Access to News Scenes

A reporter's right to access a news scene, above and beyond the public's right to the same access, is still in the evolutionary stage of definitive court decisions. The Supreme Court has suggested the press has no more of an inherent right to news scenes or public facilities than does the public at large, or to put in another way, when the public is not admitted, neither is the press. State laws themselves vary widely in the interpretation of what are a reporter’s access limits.


DEFAMATION

The right of free speech and the rights of a free press sometimes come into conflict with the right of an individual to protect his or her reputation. These conflicts are dealt with under defamation law, which can be broken down into several areas:

. libel written defamation that tends to injure a person's reputation or good
name or that diminishes the esteem, respect, or goodwill due a person

. slander spoken defamation; broadcast defamation is often considered libelous
because the defamation usually has broader impact than a typical slander
case; libel is also considered a more serious offense than slander

. libel per se some words are always libelous; falsely written accusations, such as
labeling a person a "thief" or a "swindler" automatically constitutes libel

. libel per quod normally innocent words could be libelous under certain circumstances

Though each state has its own defamation definitions, the same general rules apply. For example, in order for someone to win a libel suit against the media, that person must prove five things:

1. that he or she has actually been defamed and harmed by the statements
2. that he or she has been identified (although not necessarily by name)
3. that the defamatory statements have been published
4. that the media were at fault
5. in most instances, that what was published or broadcast was false

In proving that the media is at fault, people suing for libel must generally also prove that the purported defamatory statement is indeed false, so that virtually anyone who brings a libel suit must show the wrongfulness of what was published. But the media are responsible for whatever they report, and thus can’t hide behind the fact that they were only repeating what someone else said.

Defenses against Libel Suits

1. truth If what's been reported is true, defamation, by definition, has not occurred.

2. privilege The courts have held that in some situations, the public's right to know takes
precedence over a person's right to preserve a reputation. In common cases, like government or public proceedings, the press is protected as long as the reporter gives a fair and accurate report of those events, even if what’s reported contains a libelous statement.

3. fair comment Any person who voluntarily puts himself into the public eye or is at the
and criticism center of public attention is open to fair criticism. This applies only to fair
criticism, not misrepresentations of fact.

In 1964, the Supreme Court significantly loosened the potential restrictions on comments concerning public officials or public figures in the New York Times vs. Sullivan case. A civil rights group published an ad in the Times concerning a protest in Montgomery that Sullivan, an Alabama police official, claimed libeled him. Evidence revealed that several statements in the ad were indeed false. An Alabama court found in favor of Sullivan and awarded him $500,000; shortly thereafter, however, the Supreme Court overturned the decision and enumerated three major principles that would affect all future defamation decisions:

1. Editorial advertising is protected by the First Amendment.

2. Even false statements might qualify for First Amendment protection if they concern a
public official’s public conduct.

3. Public officials must prove that defamatory statements were made with actual malice.

Actual malice means publishing a statement with the knowledge that it was false or publishing a statement in "reckless disregard" of whether it was false or not. The Court noted the fact that being involved in a newsworthy event doesn't necessarily make a person a public figure. Private citizens however still need to show some degree of fault or negligence by the media. In many states this simply means showing that the media did not exercise ordinary care in carrying a story. People suing for defamation collect awards in one or both of two forms: actual damages (dollar damages the defamation  actually cost them), and/or punitive damages, in which juries tend to award big fines with the intent of punishing media performance. With punitive damages, however, even a private citizen must show the media acted with actual malice.

Defamation and the Internet

A whole new medium often brings whole new problems. For example, should defamation on the Internet be treated as libel or slander? If someone sues you for defamation, should your ISP also be held liable for carrying your message? The answer to the first question rests largely on your own state’s laws; the answer to the second question and the courts have ruled "no, your ISP is not responsible for carrying the message." If, for example, someone posts a libelous statement about you on his blog, you may sue him for damages, but not, say Time-Warner or Comcast (the company providing you Internet access).

This same idea applies to social media sites like Facebook. If someone libels you there, you can sue the author, but not Facebook (you agreed to such when you signed up, by the way). There's nothing to stop you from suing Facebook, of course, (and they get sued all the time) but you're probably not going to win-- unless you can show that Facebook employees knowingly published false, defamatory statements about you with a reckless disregard.


INVASION OF PRIVACY

The Right to Privacy

A single defamation publication might often prompt two suits: libel and invasion of privacy. The difference between the two is that while libel protects a person's reputation, the right of privacy protects a person's peace of mind and feelings. Second, libel involves publication of false material; invasion of privacy might be triggered by disclosing the truth. There are four ways the mass media can invade someone's privacy:

1. intruding upon a person's solitude or seclusion
2. unauthorized release of private information
3. publicizing people in a false light or creating a false impression of them
4. appropriation of a person's name or likeness for commercial purposes

Trespass

Trespassing is unauthorized entry onto somebody else's territory. If the question is, “Do journalists have a special First Amendment privilege to break the law in pursuit of a legitimate news story that will advance the public interest?” recent court rulings suggest that the answer is “no.”

In respect to the media, this area of the law has usually focused on the tactics of some reporters to gain entry onto private property using fraudulent methods, e.g., going undercover and pretending to be somebody they really weren't in order to get pictures or story background.

COPYRIGHT

Copyright laws protect authors against unfair appropriation of their work. First enacted in 1909, the copyright laws were fundamentally amended in 1976 in response to emerging communication technologies.

The new laws protect such things as literary and dramatic manuscripts, music works, sound recordings, motion pictures, and TV programs. The law also specifies what is not covered, such as ideas, news, a discovery, or a procedure. For works created after January 1978, copyrights last for the life of the author plus 70 years; works created before then are protected for a period of 95 years. Copyright protection extends only to copying the work in question; works that are similar, though not copied or based on the original, are not copyright infringements.

(Thanks to lots and lots of lobbying, corporations have successfully helped to "extend" copyright laws for "works made for hire"-- that is, works owned by corporations. This does not apply to individual works, whose copyrights expire earlier).

Specifically, the U.S. Copyright Office (http://copyright.gov) explains the length of copyright protection like this:

A work that was created (fixed in tangible form for the first time) on or after January 1, 1978, is automatically protected from the moment of its creation and is ordinarily given a term enduring for the author’s life plus an additional 70 years after the author’s death. In the case of “a joint work prepared by two or more authors who did not work for hire,” the term lasts for 70 years after the last surviving author’s death. For works made for hire, and for anonymous and pseudonymous works (unless the author’s identity is revealed in Copyright Office records), the duration of copyright will be 95 years from publication or 120 years from creation, whichever is shorter.

Someone can, however, use portions of a copyrighted work under the law's fair use provisions; such uses might include teaching purposes, research, news reporting, and critical reviews. To qualify for protection under fair use laws, these four factors are considered:

1. the purpose of the use (profit vs. non-profit)
2. the nature of the copyrighted work
3. the amount reproduced in proportion to the copyrighted work as a whole
4. the effect of the use on the potential market value of the copyrighted work

In the famous Betamax case, the Supreme Court ruled that viewers who owned VCRs could copy programs off the air for later viewing (timeshifting) since it constituted fair use of the material.

Copyright law does apply to the Internet, a 1995 presidential task force concluding that copying materials from the Internet is a form of reproduction that is protected by current copyright laws.


OBSCENITY AND PORNOGRAPHY

This area of the law revolves around the rights of free speech under the First Amendment when they come into conflict with the right of society to protect itself from what it considers harmful messages. Although obscenity is clearly not protected by the law, the courts have been unable to adequately define what actually constitutes obscenity.

Obscenity laws began with the 1860’s Hicklin Rule, in which its guidelines judged a book to be obscene by whether isolated passages had a tendency to deprave or corrupt the mind of the most susceptible person.

In 1957 the Supreme Court attempted to redefine the definition of obscenity in its Roth v. United States ruling. Those guidelines mandated that something was obscene if,

1) “to the average person, applying contemporary standards, the dominate theme of the material taken as a whole appeals to prurient interests.”

Unfortunately, the court did not define "average person," "contemporary community standards," or "prurient interests." This daunting task was left up to different regions of the country. Consequently, there is no consistent understanding. In many cases, some films are considered "obscene" in some cities (and therefore you can be charged with a crime for possessing, producing, viewing, or disseminating the material) and win film festival awards in others. Two of the most culturally conservative areas (when it comes to materials being deemed obscene) are Oklahoma City, Oklahoma and Cincinnati, Ohio. Two of the most culturally liberal areas (again, when it comes to materials being deemed obscene) are San Francisco, California and New York, New York.

Later, other decisions added refinements by saying that the material had to be

2) “patently offensive” and

3) “utterly without redeeming social value” to be obscene.

A 1969 ruling came up with the concept of variable obscenity when it stated that certain magazines were obscene when sold to minors but not obscene when sold to adults.

In 1973 the Court tried to close up the obscenity loophole when it adjudicated the Miller v. California case. The new test added these new principles:

1. whether the average person, applying contemporary community standards, would find that
the work as a whole appeals to prurient interest

2. whether the work depicts or describes in a patently offensive way certain sexual conduct
that is specifically spelled out by state law

3. whether the work as a whole lacks serious literary, artistic, political, or scientific value.

Despite the attempts at clarification, and the indirect suggestion that obscenity problems be handled on a local level, the problem of defining pornography to everyone’s satisfaction continues. The Internet, of course, brings on a whole new set of legal issues in terms of creating, defining, and distributing pornographic materials.

While the Court agrees that child pornography is not something protected under the First Amendment, it’s also ruled that the Internet should be given the highest level of first Amendment protection, similar to that given to books and newspapers, rather than the more limited rights of broadcasting and cable where regulation is more common.


REGULATING BROADCASTS

Because the public owns the airwaves, the government decides who gets a license to broadcast over certain frequencies on behalf of the public interest, and whether or not, after a time, they can renew that license. The broadcast media, therefore, are subject to more regulations than the print media.

The Federal Communication Commission

The governing body, the FCC, does not make the laws but rather interprets them. One of its biggest jobs is to continually interpret the concept of “operating within the public interest.” One of its responsibilities is to examine programming and determine whether public interest is being served, not just from a technical standpoint, but also from perspective of a well-rounded program lineup. The Federal Radio Commission, forerunner to the FCC, ruled in its 1929 Great Lakes decision that the broadcasting of programs that tended to injure the public--fraudulent advertising, attacks on ethnic groups, attacks on religion--would not be considered in the public interest.

A 1960 FCC policy introduced the idea of localism, contending that programs featuring local talent and aimed at local self-expression are necessary elements in serving the public interest.

In regulating stations, the FCC can make its influence felt in a number of ways. From the mildest to the most severe levels it can, for example:

. fine a station up to $250,000
. put a license renewal on probation, usually a year
. revoke or fail to renew a license

The last step is rarely taken; from 1934 to 1978, only 142 licenses were revoked. Some 99.8 percent of all licenses are renewed.

While rules relaxed during the deregulatory period of the 1980s, regulations began to increase in the 1990s. For example, Congress passed the Children’s Television Act, which among other things limits the amount of commercial time for children’s programs and also mandates that TV stations devote at least three hours of informational and educational programming for children each week.

Indecent Content

Congress, the courts, and the FCC have had a difficult time trying to find a compromise between protecting the principles of the First Amendment while also protecting children from accidental exposure to indecent content aired on radio and television. Several time periods that banned indecent content were tried, but the one that stuck is the one that now bans broadcasters from airing potentially indecent content between 6 a.m. to 10 p.m. They are allowed to offer indecent programming between the hours of 10 p.m. and 6 a.m. (overnight, when children are-- or should be-- asleep).

During the past 10 years, the FCC has taken unprecedented steps to enforce the "indecency" rule on broadcast TV. They have upped the fine so that now if someone, even during a live show, drops an "F bomb," then the fine is $32,500-- per utterance-- multiplied by the number of stations airing the program. The major television networks have about 200 affiliates across the country. This means that if ONE person drops an F bomb during a live event, the producers can get fined a total of $6.5 million. And if someone were to have the audacity to drop three f bombs? Well, then, that fine jumps to $19.5 million.


The Equal Opportunities Rule

The Equal Opportunities rule states that if a station permits one candidate for a specific office to appear on the air, it must offer the same opportunity to all other candidates for that office. If a station gives one person or party free time, other qualifying persons or parties must also get the same amount of free time.  The single exception, which creates the loophole for presidential debates, is that networks can cover debates limited to leading candidates because it’s defined as a “news” event.

The Fairness Doctrine

Now void, the Fairness Doctrine nonetheless continues to pop up for serious reinstatement consideration from time to time. When it was in effect, it said that broadcasters had to seek out, and make a good faith effort at presenting, opposing viewpoints on matters of public importance.


REGULATING CABLE TV

Congress and a few presidential administrations have demanded on-again, off-again regulations to govern the TV cable industry. The latest regulations arose because of widespread consumer complaints against rising fees and poor service; in response, Congress passed the Cable TV Act of 1992, which re-instated the FCC’s power to regulate cable fees and services. Two provisions of this act had important consequences.

First, most consumers saw their monthly cable rates go down. The second effect was in response to an industry challenge to overturn the rule that required it to carry the signals of local broadcast stations. The Supreme Court held that Congress could pass laws which guaranteed that the free flow of information not be restricted by a private firm that controlled the means of transmission.

THE TELECOMMUNICATIONS ACT OF 1996

The Telecommunications Act of 1996 was the first major overhaul of communication laws in more than 60 years, and it affected every industry regulated by the FCC. Some of the law’s key provisions are:

. no limit on total number of radio or TV stations that can be owned by one person or company, provided that no more than eight stations may be owned in a single market

. no limit on the number of TV stations that can be owned as long as that number doesn’t
reach more than 35 percent of the nation’s TV households

. extended the term of broadcast licenses to eight years

. allowed telephone companies to enter the cable field

. allowed cable companies to enter the telephone business

. deregulated the rates of many cable systems

. mandated that new TV sets come with the ability to block programs with strong sexual or
violent content (the so-called V-Chip)

. mandated that the TV industry to come up with a voluntary system to rate programs with
violent, sexual, or indecent content

Though the TV and cable industries created a rating system, and then amended it later because of public pressure, the new system is confusing and applied sporadically, if at all.


REGULATING ADVERTISING

When the Federal Trade Commission was started in 1914, its first mission was to curtail questionable business practices such as bribery, false advertising, and product mislabeling. Protecting consumer rights came later in 1938 with the passage of the Wheeler-Lea Act which gave the FTC the power to prevent deceptive advertising that harmed the public, reversing the long-held market place concept of caveat emptor, or “let the buyer beware”.

The FTC can issue trade regulations, which outline guidelines for an industry to follow. It can also use consent orders, in which the advertiser agrees to halt a certain advertising practice, although without admitting any violation of the law. Somewhat stronger, a cease-and-desist order arises from a formal FTC hearing in which it’s determined that a particular advertising practice does indeed violate the law. Failing to stop that practice can lead to FTC imposed fines.

The FTC has also occasionally required companies to issue corrective advertising, in which potentially misleading claims need to be clarified. The FTC also stopped advertisements that targeted children when the products advertised were deemed harmful to children, the R. J. Reynolds’ “Joe Camel” campaign being one of the more recent examples.

Commercial Free Speech Under the First Amendment

For many years the Supreme Court did not view advertising (a.k.a. commercial speech) as having any First Amendment protection. The 1964 New York Times vs. Sullivan case extended a new protection, however, to advertising that dealt with important social matters. More recent cases suggest that in many instances commercial speech falls under the constitutional protection, and in 1980 the Court outlined a four-part test for determining that protection:

1. Not protected is any commercial speech that involves an unlawful activity or advertising that is false or misleading.

2. The government must have a substantial interest in regulating the commercial speech.

3. The government’s regulation must actually advance the involved interests of the state.

4. The state’s regulations may be only as broad as necessary to promote the state’s interests.

And that, in effect, is an overview of Media Law in the United States.

Obviously, you can earn several advanced degrees on the subject, but-- in a nutshell-- those are the major points...

Saturday, April 18, 2015

App Inventor Help Saturday, 1:30 p.m. - 4:00 p.m.

I'll be available to help with App Inventor on Saturday from 1:30 p.m. - 4:00 p.m..

My hope is to use room #273.

If that's taken, I'll be up in my office-- Park #368.

Jack


Wednesday, April 15, 2015

Apps due Tuesday, April 21st.

Good evening,

I just wanted to post a reminder that the apps are due Tuesday, April 21st.

We'll spend our last 20 minutes tomorrow in class entertaining questions/concerns.

I'll also be available to help over the weekend.

Jack


Wednesday, April 8, 2015

Reminder: One sheet of paper with info is allowed for the exam

Just a reminder that you are allowed to bring in one 8.5 inch x 11 inch sheet of paper with as much information as you'd like for the exam.

The only catch is that it must be handwritten.

Typed info will not be allowed.

Jack


Tuesday, April 7, 2015

Narrative Structure


Some sample Stock Situations

Some sample Stock Situations:

Taming of the beast/brute
The locked box
Invaded community
Scientist creates perfect spouse/monster/friend/etc.
Hidden eavesdropper
Boy-meets-girl-meets-boy
Recognition by birthmark (or some other mark)
Team of three
Fish out of water
The ugly duckling becomes a beautiful swan
Love triangle
Sibling rivalry

Forbidden love

Excellent list of stock characters

http://tvtropes.org/pmwiki/pmwiki.php/Main/StockCharacters?from=Main.StockCharacter

What TV Ratings Really Mean (Nielsen Media Research)

There are two questions which Nielsen Media Research ratings answer about TV viewing: "Who is watching TV?" and "What are they watching?" These are not easy questions to answer, and we use research methods, which have been developed and refined over many years to provide answers every single day.

Knowing who is watching
The way that Nielsen Media Research finds out about who is watching is to measure what a sample of television viewers are watching. For our national ratings estimates, we use a sample of more than 5,000 households, containing over 13,000 people who have agreed to participate. Since there are over 110 million households with TVs in the U.S., it might seem that a sample of
5,000 is just not big enough to represent the nation.

Actually, a representative sample doesn't have to be very large to
represent the population it is drawn from. For example, you don't
need to eat an entire pot of vegetable soup to know what kind of
soup it is. A cup of soup is more than adequate to represent what is
in the pot. If, however, you don't stir the soup to make sure that all
of the various ingredients have a good chance of ending up in the
cup, you might just pour a cup of vegetable broth. Stirring the soup
is a way to make sure that the sample you draw represents all the
different parts of what is in the pot.

While a sample doesn't have to be very large to represent the
population, the sample does need to be selected in a way, which
gives all members of the population the same chance of being
chosen.

If 50% of the vegetable pieces in a huge pot are carrot cubes, the only way to know it for sure would be to examine and count the contents of the entire pot. Let's say we stir well and pour a cup of soup with 10 vegetable pieces in the cup. If sampling were a perfect process, we would get five carrot cubes out of ten pieces. What actually happens is that we usually get close to five
carrot cubes-sometimes a little more and sometimes a little less and sometimes exactly five. It is possible, but really unlikely, to stir well and get no carrot pieces-or to get all carrot pieces. So we could get a rough estimate of the proportion of carrots in the pot from counting what is in the cup.

If we wanted a closer estimate, we would take a larger sample. Imagine if we stirred well and then poured out enough soup to contain 5,000 vegetable pieces. We probably wouldn't get exactly 2,500 carrot pieces, but the chance of getting no carrots at all is very remote. In fact, according to sampling theory and a very tasty laboratory test, 19 out of 20 times we take a wellstirred sample of soup containing 5,000 vegetable pieces; we get between 48% and 52% carrots.
There is no guarantee that the percentage of carrots in a sample of this size will be between 48% and 52% (one time in 20 it will be outside this range, but usually not far outside this range). The same sampling errors apply to a representative sample of television viewers.

Measuring homes, TVs, programs, commercials and people
In order to provide all the information, which the TV and advertising industries need, Nielsen Media Research actually measures all of the above. We report the amount of TV usage on every set in a sample household - those are homes which have agreed to participate in our research for a specific period of time.

Just like a recipe in which several ingredients have to be combined, Nielsen Media Research constructs TV ratings from several different sources of information.

Measuring TV sets
Identifying TV programs

In a specially selected sample of homes, Nielsen Media Research
technicians install metering equipment on TV sets, VCRs and cable boxes
(and even satellite dishes). The Nielsen Media Research meters
automatically and invisibly keep track of when the sets are on and what
the sets are tuned to. These meters are connected to a central "black box,"
which is actually a very small computer and modem. Information from
the meters is collected by the black box, and in the middle of the night all
the black boxes call in their information to our central computers.

For us to know what is on the channel at the time it is tuned, we have to collect a large amount of information every day about what is on every TV station and cable channel all across the country. A network may schedule a program, but some stations that usually carry that network may not carry that program, or may delay the program and show it at a different time. Nielsen Media Research's primary source of information about which programs are airing for
each station or cable channel comes from a very special coded ID number that is part of almost every TV picture-a series of lines and dots in the top edge of the picture which labels the program and episode. Nielsen Media Research developed and patented this system, which we call AMOL, or Automated Measurement Of Line-ups. All across the country, we have sites where TV stations are monitored and the program ID codes are detected and collected. Each night, these monitoring sites connect up to our central computer and download the information. We compile the electronic program information and compare it to other sources of information we have already received. If there are discrepancies, we call TV stations and cable operators to verify what actually was aired. Keeping track of what is on TV is also done with the help of program listings provided by networks, stations and cable systems, as well as published TV listings.

We track more than 1,700 TV stations and 11,000 cable systems. With this database as a starting point, we can credit tuning and viewing to all of the networks, syndicates, cable networks, TV stations and cable systems involved in providing TV programming to the viewing public.

Identifying commercials
Although there are many TV programs, there are even more commercials. Keeping track of what commercials are on TV is another service provided by Nielsen Media Research. Using a special passive TV signal identification technology, commercials on TV stations are continuously monitored and converted into a digital "fingerprint". These fingerprints are then compared to a
computer file of fingerprints from thousands of different commercials and automatically identified whenever possible (which is about 95% of the time). The other 5% of the time, recordings  of unmatched commercials are sent to a central office to be viewed and properly credited. This information is used to produce reports detailing when and where TV commercials actually aired.

Measuring People
This is the main ingredient in the recipe for ratings: who is watching? When we combine the measurement of who is watching with what channel is tuned and what program is on that channel, we can credit viewing to a program.

Nielsen Media Research measures who is watching programs, which reach the entire nation with the Nielsen People Meter. In our national sample, we install set meters which have an attachment called a "People Meter". The People Meter is a box, about the size of a paperback book, which is placed on or near each TV set.

The box has buttons and lights, which are assigned to each person who live in the household (with additional buttons for guests). There is also a remote control to operate the people meter from anywhere in the room.

When a viewer begins watching TV, they push their button, changing their indicator light from red to green. When they finish watching, they push their button again and the indicator changes back to red. Periodically, the lights flash to remind people to check to make sure that the information in the people meter is accurate.

Information from the people meters is combined with set tuning information and relayed to Nielsen Media Research each night.

National and local measurement
So far, we have been describing how Nielsen Media Research measures audiences to programs, which reach the entire nation. But the television system in the United States also requires a local measurement of how programs perform in specific markets. In fact, Nielsen Media Research measures more than 200 individual local television markets in addition to the national measurement service. There are many important differences in the way Nielsen Media Research measures local television.

Diaries: Another way to know who is watching
To measure the audiences for local television, Nielsen Media Research gathers viewing information using TV diaries, booklets in which samples of viewers record their television viewing during a measurement week. We conduct diary measurement for each of the 210 television markets in the country four times each year, during February, May, July, and November: (You may have heard of these as "sweep" months, in which we conduct a complete diary measurement across the nation.)

The diary requests that viewers write down not only who watched, but also what program and what channel they watched.

We have tried to make the task of filling out a diary as easy as possible by asking people to report what they do by quarter hours (instead of minute-by-minute). Once the diaries are filled out, viewers mail them back to us and we transfer the information into our computers in order to calculate ratings.

In 50+ of the largest markets, we have a sample of homes with set meters (not people meters), which provide the tuning status (set on/off, channel and time) of TV sets in the home. We collect information about who is viewing from separate samples of homes in these markets with diaries for each TV set. We combine the meter and diary information in a way which projects the diary viewing data adjusted to the meter tuning data.

Information Accuracy
No measurement system is perfect, whether it measures the entire population or just a sample. Errors are always a possibility. When measurement is based on a sample, there is the additional source of error, which comes from sampling variation (some samples are going to be a bit high, others a bit low).

For this reason, Nielsen Media Research regularly crosschecks the information obtained from different samples and different measurement methods. Remarkably, the ratings produced from more than 100,000 diaries collected from all markets during each sweep month have been similar
to the ratings based on 5,000 People Meter homes for the same period of time. Different measurement methods, completely separate samples-and a vast difference in sampling size-yet they both produce similar estimates of audience.

In addition to this, we have ongoing audits and quality checks to make sure that all of our procedures are working correctly.

Nielsen Media Research Families
The Nielsen Media Research families are a cross-section of the households with television sets all across America. Because we have selected them in a way, which gives every household an equal chance of being picked, we have all
kinds of households in the sample. This means that we have homes from all fifty states, from cities and towns, suburbs and rural areas. We have people who own their homes and people who live in apartments. Some homes in the panel
have children and some don't.

Various ethnic and income groups are represented. When we check the characteristics of households in our samples against the U.S. Census data, we find that our samples look very much like the population. Of course, the match is not perfect. When you draw a representative sample, it is usually close to the population on a given characteristic.

Between 11 and 12 percent of the Nielsen Media Research samples are African American, for example, and this matches the percentage of all TV households in the United States, which are classified as African American.

Let's look at the individual samples in terms of African American representation. National People Meter Sample -- There are 5,000 households in this sample. The number fluctuates daily as about 300 households come in and out of the sample every month. Of this number, nearly 550 households are African American, or about 11 percent of the total.

Sample Selection
Our sample homes are selected strictly through chance. Naturally we'd like to accommodate people who offer to be in our sample, but doing so would violate basic laws of sampling practice. The sample would immediately become biased because those who asked to join may be systematically different from the population at large.

Instead, we carefully draw our sample in a way that offers every U.S. television household an equal chance of being selected. Once the homes are selected and agree to participate, Nielsen Media Research protects their privacy by keeping their identities confidential.

Representative Samples
If every member of the population has an equally good chance of being in the sample, then this makes it a representative sample. Through statistical theory (and many years of practical experience which is consistent with that theory), we know that fairly drawn (or random) samples vary in usually small ways from the population. Over time these small differences tend to average out.

We check our samples in various ways. Where we do know something about the characteristics of the entire population (thanks to U.S. Census Bureau data), we compare our sample to the population. We find that although the samples aren't identical to the population, they are about as close to it as statistical theory predicts. The most important thing to check in our samples is the
television viewing information. Although no one has measured the viewing of the entire population, we do have ways to cross check against other samples and other methods of measurement. We regularly compare our National People Meter audience data to the combined information from the diaries all across the 210 markets we measure.

Occasionally, we do special studies called Telephone Coincidentals. In these tests, we call thousands of randomly selected telephone numbers and ask people if their TV sets are on and who is watching. This research provides a completely independent check on the amount of TV usage and viewing, and
when we have found some differences, it has helped us zero in on ways to improve our ongoing measurement systems.

Viewing Confirmation
Confirming whether people are actually watching television is really one of the most difficult questions we face. Some of the information we measure is possible to check by independent means. Stations carry programs and we can observe that when it happens. TV sets are tuned to particular stations and not to others, and we can measure that when it happens.

The only person who knows when viewing occurs is the viewer. Viewing is not necessarily looking at a TV; it is not necessarily being in the room with a TV; it is something that only the viewer can define. This is why we use the diary and the people meter; so that viewers can tell us what they do.

We conduct special research among former members of our TV meter and diary ratings samples to learn more about how they actually watch television and how accurately they have reported their viewing. With the help of the viewing public, we are constantly learning more about the partnership between TV and its audience.

Ratings Usage
Nielsen Media Research's role is to measure both what is transmitted and what is received. By doing this, we provide the programmers and advertisers with vital feedback on their audience. Nielsen Media Research ratings are used like currency in the marketplace of advertiser-supported TV. When advertisers want a commercial to reach an audience, they need to place it in TV programs, which deliver an audience. The more audience a program delivers, the more the commercial time is worth to advertisers. So the amount charged for advertising is usually a negotiated rate per thousand viewers multiplied by the Nielsen
Media Research audience estimate (in thousands).

Programs are expensive to produce, whether they attract large audiences or not. In the long run, TV programmers can't pay more for a program than they can earn from selling advertising in it.

Program Cancellations
Occasionally some viewers find that a program they watch gets canceled. By estimating the audience, our information helps programmers keep the popular shows on TV, and it also helps them make the difficult decisions to cancel unpopular shows.

The irony of the mass medium of television is that a program with "only" a few million viewers may be an unpopular program. It may take ten million viewers for a network or nationally syndicated program to be popular enough to be a business success. Every time a program is canceled, a few million viewers feel betrayed. But if programmers tried to keep all programs going, the shows that lose money would eventually put the programmers out of business. Nielsen Media Research ratings are also used by non-commercial television. They can learn about the audience they serve and make better programming decisions.