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Hey Jeanette,

It's my understanding that ITC entered into a reciprocity agreement with CBS years before with the American showing of the Prisoner precursor, Secret Agent. Sponsorship wasn't nearly as essential as the range of advertisers CBS had. These were everything from Kent cigarettes to Ford Motor Company.

Derek Kompare is the authority. Derek are you out there?

Darrell M. Newton, Ph.D.
Associate Professor
The Department of Communication Arts
Salisbury University
269 Fulton Hall
Salisbury, MD 21801
(410) 677-5060 Office
(410) 543-6229 Department

http://faculty.salisbury.edu/~dmnewton/

>>> Jeannette Slonowski <[log in to unmask]> 10/08/08 9:54 AM >>>
Hello all,

An interesting question arose at an MA defence yesterday and I wonder 
if anyone here might know the answer?  Who was the sponsor for The 
Prisoner when it played on American  or British TV?  This discussion 
arose around the critiques of advertising and "modern" culture that 
the program clearly does. Did watching the commercials create 
discomfort for viewers given the show's themes?

In the end the defence committee was intrigued by how McGoohan lived 
with the advertising that CBS  must have inserted into the program.

thanks
Jeannette

At 04:06 PM 07/10/2008, you wrote:
>Please distribute:
>
>The School of Film and Television Studies at UEA is holding a study 
>day on television on Monday, 27 October 2008. This event will 
>features papers from postgraduates and staff. All those who are 
>considering applying to the school's MA or PhD are welcome to 
>attend, although we would need people to let us know that they are 
>planning to come so that we can get a sense of the numbers. If you 
>are interested please contact, Derek Johnston ([log in to unmask]) 
>for further details. The papers featured in the day will be:
>
>1.      Michael Ahmed, "Growing up with Grange Hill: Grange Hill, 
>Television and the Forgotten 14-16 Year Old Demographic"
>2.      Joe Arton, "The Klutz Maddona: Diane Keaton on the Tonight Show"
>3.      Rayna Denison, "Responsible Piracy: Anime Fansubbers and the 
>Changing Roles of Japanese Animated Television"
>4.      Vincent M. Gaine, "The Origin of Michael Mann in The Jericho Mile"
>5.      Erin Giannini, "The 'Death Whinny' of Television? Doctor 
>Horrible as Model for Television-Quality Internet Content"
>6.      Oliver Gruner, "Public History/Private Matters: Women, the 
>Sixties and Television"
>7.      Su Holmes, "'An Important Piece of BBC Television' or 'A Lot 
>of Viewers' Nonsense?' Re-visiting Points of View"
>8.      Mark Jancovich, "`A Very Different Impact': The 
>Opportunities and Dangers of Horror in Early British Television Production"
>9.      Derek Johnston, "The Rise of the Unreal Real: Realism and 
>Science Fiction on British Television 1936-1950"
>10.     Brett Mills, "Invisible Television: The Programmes No-one 
>Talks About Even Though Lots of People Watch Them"
>11.     Rachel Mizsei Ward, "What is Television For? Television by 
>Other Means"
>12.     Louise Smith, "Simulacrum Motherhood and Reborn Babies"
>13.     Lindsay Steenberg, "Television is for Teaching: TV's Public 
>Services and Pedagogical Functions"
>14.     Helen Warner, "'We're stuck in this Broadway Nightmare': 
>Spectacle and Ordinariness in the Television Musical Special"
>
>Abstracts of the papers will be available via the School's website
>
>All the best
>
>Mark
>
>Professor Mark Jancovich
>Head of School,
>Film and Television Studies
>University of East Anglia
>Norwich, NR4 7TJ
>Tel: 01603 592787
>email: [log in to unmask] 
>
>
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