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sponsor programs that engage in serious criticisms of corporate activities, such as the problem of environmental degradation, the workings of the military-industrial complex, or corporate support of and benefits from Third World tyrannies. Erik Barnouw recounts the history of a proposed documentary series on environmental problems by NBC at a time of great interest in these issues. Barnouw notes that although at that time a great many large companies were spending money on commercials and other publicity regarding environmental problems, the documentary series failed for want of sponsors. The problem was one of excessive objectivity in the series, which included suggestions of corporate or systemic failure, whereas the corporate message “was one of reassurance.”56

Television networks learn over time that such programs will not sell and would have to be carried at a financial sacrifice, and that, in addition, they may offend powerful advertisers.57 With the rise in the price of advertising spots, the forgone revenue increases; and with increasing market pressure for financial performance and the diminishing constraints from regulation, an advertising-based media system will gradually increase advertising time and marginalize or eliminate altogether programming that has significant public-affairs content.58

Advertisers will want, more generally, to avoid programs with serious complexities and disturbing controversies that interfere with the “buying mood.” They seek programs that will lightly entertain and thus fit in with the spirit of the primary purpose of program purchases—the dissemination of a selling message. Thus over time, instead of programs like “The Selling of the Pentagon,” it is a natural evolution of a market seeking sponsor dollars to offer programs such as “A Bird’s-Eye View of Scotland,” “Barry Goldwater’s Arizona,” “An Essay on Hotels,” and “Mr. Rooney Goes to Dinner”—a CBS program on “how Americans eat when they dine out, where they go and why.”59 There are exceptional cases of companies willing to sponsor serious programs, sometimes a result of recent embarrassments that call for a public-relations offset.60 But even in these cases the companies will usually not want to sponsor close examination of sensitive and divisive issues—they prefer programs on Greek antiquities, the ballet, and items of cultural and national history and nostalgia. Barnouw points out an interesting contrast: commercial-television drama “deals almost wholly with the here and now, as processed via advertising budgets,” but on public television, culture “has come to mean ‘other cultures.’ . . . American civilization, here and now, is excluded from consideration.”61

Television stations and networks are also concerned to maintain audience “flow” levels, i.e., to keep people watching from program to program, in order to sustain advertising ratings and revenue. Airing program interludes of documentary-cultural matter that cause station switching is costly, and over time a “free” (i.e., ad-based) commercial system will tend to excise it. Such documentary-cultural-critical materials will be driven out of secondary media vehicles as well, as these companies strive to qualify for advertiser interest, although there will always be some cultural-political programming trying to come into being or surviving on the periphery of the mainstream media.

1.3. SOURCING MASS-MEDIA NEWS:

THE THIRD FILTER

The mass media are drawn into a symbiotic relationship with powerful sources of information by economic necessity and reciprocity of interest. The media need a steady, reliable flow of the raw material of news. They have daily news demands and imperative news schedules that they must meet. They cannot afford to have reporters and cameras at all places where important stories may break. Economics dictates that they concentrate their resources where significant news often occurs, where important rumors and leaks abound, and where regular press conferences are held. The White House, the Pentagon, and the State Department, in Washington, D.C., are