Syndicated Television and Censorship
Syndicated television refers to the distribution of television programs that are sold to local stations rather than being tied to a specific network. This market includes various types of programming, such as reruns of previously aired shows (off-network syndication), original programs created for local stations (first-run syndication), and theatrical films. The syndication landscape evolved in response to historical tensions between independent producers and major television networks, leading to regulatory changes by the Federal Communications Commission (FCC) in the late 20th century aimed at increasing competition in program production and distribution.
However, as media conglomerates have grown through mergers and increased ownership of both production and distribution channels, concerns about censorship and creative control have emerged. Independent producers often face significant challenges in finding distribution for their work, leading to pressures that can result in creative censorship. As large companies dominate the market, the opportunities for independent creators diminish, potentially stifling program diversity and innovation. This dynamic highlights the ongoing tension between artistic expression and corporate influence in the realm of televised content.
Subject Terms
Syndicated Television and Censorship
Definition: Programs produced for distribution to stations independently of the major networks, or programs redistributed to independent stations after being broadcast on networks
Significance: The control of program distribution channels by media conglomerates can limit small producers’ access to on-the-air opportunities
In American television, syndication is a large and amorphous market for independent program creators and producers and media conglomerates to develop and distribute programs. Syndicated programming encompasses series and specials sold to stations for airing in local areas. The largest market is commercial television stations; however, syndicated programming is also sold to radio stations, cable services, and noncommercial broadcast stations.
Of the three categories of syndicated programs, the most common is off-network syndication—the selling of previously aired network shows to local stations. Off-network syndication is popularly known as rerun syndication. First-run syndication sells programs created exclusively for sale to local stations. Game shows and talk shows predominate in this category. Theatrical films, made-for-television films, and one-time-only specials make up a third category of syndicated programs.
The television syndication market originated in complaints made by Hollywood film producers in the middle and late 1960’s that the major television networks unfairly controlled the production of television programs. The Federal Communications Commission (FCC) responded by passing the Financial Interest and Syndication Rules (Fin-Syn), which prohibited the networks from owning and profiting from the programming produced by others. These rules also prohibited the networks themselves from selling programming to television stations. The FCC also created the Prime-Time Access Rule, which limited the networks to only three of the four prime-time hours (7:00 to 11:00 p.m.) in the fifty largest television markets.
These FCC rule changes created new markets for programming supplied by sources other than the networks. Existing Hollywood companies and new, independent companies began to supply station programming. The television networks were not, however, content to abandon the syndicated television business. Years of lobbying and changes in the FCC’s stance, from regulator of broadcasting to deregulator of broadcasting, led to the elimination of the Financial Interest and Syndication Rules and the Prime-Time Access Rule. By the 1990’s the television networks were producing their own programs and even selling programs to competing networks.
Network ownership provided more programming sales opportunities. Ownership of the programs and the stations that air them is a form of vertical integration. This can lead to renewed creative control and distribution problems and censorship for program creators, producers, and distributors. Media mergers place greater control of program creation, production, and distribution within several large companies and decrease the need for independent producers and syndicators. Mergers also force independents to seek unwanted business alliances. Creative control shifts from small to large firms.
Programs from independent producers often attract only small audiences. The combination of small audiences and demands to share production profits with major companies creates pressures that can lead to creative censorship before production, or after a show is produced and program distribution is being sought. Program creators and producers, unable to find suitable distribution for their programs, are often forced either to merge with the larger companies, or to go out of business.
Small production firms have continued to exist; however, as more and more television and radio stations are bought by large companies and media conglomerates control cable channel distribution, the small firms must seek alliances with the large firms or see their distribution channels shrink. Losing independent producers lessens program creativity.