Television

TVredirects here. For other uses, see Television (dis-

ambiguation) and TV (disambiguation).
Television (TV) is a telecommunication medium that
American family watching TV, 1958
is used for transmitting and receiving moving images
and sound. Television can transmit images that are
monochrome (black-and-white), in color, or in three
dimensions. The word television comes from Ancient
Greek (tle), meaning far, and Latin visio,
meaning sight. Television may also refer specically
to a television set, television program, or television trans-
mission.
First commercially available in very crude form on an ex-
perimental basis in the late 1920s, then popularized in
greatly improved form shortly after World War II, the
television set has become commonplace in homes, busi-
nesses, and institutions, particularly as a vehicle for enter-
tainment, advertising, and news. During the 1950s, tele-
vision became the primary medium for molding public
opinion.
*
[1] In the mid-1960s, color broadcasting and
sales of color television sets surged in the US and began
in most other developed countries.
The availability of storage media such as video cassettes
(mid-1970s), laserdiscs (1978), DVDs (1997), and high-
denition Blu-ray Discs (2006) enabled viewers to use the
television set to watch recorded material such as movies
and broadcast material. Internet television has seen the
rise of television programming available via the Internet
through services such as iPlayer, Hulu, and Netix.
In 2009, 78% of the worlds households owned at least
one television set, an increase of 5% from 2003.
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[2]
The replacement of bulky, high-voltage cathode ray tube
(CRT) screen displays with compact, energy-ecient,
at-panel alternatives such as LCDs (both uorescent-
backlit and LED-backlit), plasma displays, and OLED
displays was a major hardware revolution that began pen-
etrating the consumer computer monitor market in the
late 1990s and soon spread to TV sets. In 2013, 87% of
televisions sold had color LCD screens.
*
[3]
The most common usage of television is for broadcast
television, which is modeled on the radio broadcast-
ing systems developed in the 1920s. Broadcast televi-
sion uses high-powered radio-frequency transmitters to
broadcast the television signal to individual television re-
ceivers. The broadcast television system is typically dis-
seminated via radio transmissions on designated channels
in the 54890 MHz frequency band.
*
[4] Signals are of-
ten transmitted with stereo or surround sound in many
countries. Until the 2000s, broadcast television programs
were generally transmitted as an analog television signal,
but over the course of the following decade, several coun-
tries went almost exclusively digital. In addition to over-
the-air transmission, television signals are also distributed
by cable and satellite systems.
Astandard television set is composed of multiple internal
electronic circuits, including circuits for receiving and de-
coding broadcast signals. A visual display device which
lacks a tuner is properly called a video monitor rather than
a television. A television system may use dierent tech-
nical standards such as digital television (DTV) and high-
denition television (HDTV). Television systems are also
used for surveillance, industrial process control, and the
1
2 1 HISTORY
guidance of weapons in places where direct observation
is dicult or dangerous. A 2004 study by the Childrens
Hospital and Regional Medical Center in Seattle, Wash-
ington, found a link between infant exposure to television
and ADHD.
*
[5]
1 History
Main article: History of television
In its early stages of development, television employed a
combination of optical, mechanical, and electronic tech-
nologies to capture, transmit, and display moving images.
Modern broadcast TV systems do not involve mechanical
image scanning methods, although the knowledge gained
from working on electromechanical systems was crucial
in the development of fully electronic television.
Braun HF 1 television receiver, Germany, 1958
The rst images transmitted electrically were sent
by early mechanical fax machines, including the
pantelegraph, developed in the late 19th century. The
concept of electrically powered transmission of TV
images in motion was rst sketched in 1878 as the
telephonoscope shortly after the invention of the tele-
phone. At the time, it was imagined by early science c-
tion authors that someday light could be transmitted over
copper wires as sounds were at that time.
The concept of using scanning to transmit images was
put to actual practical use in 1881 in the pantelegraph
through the use of a pendulum-based scanning mecha-
nism. From this period forward, scanning in one form or
another has been used in nearly every image transmission
technology to date, including TV. This is the concept of
extquotedblrasterization extquotedbl, the process of con-
verting a visual image into a stream of electrical pulses.
In 1884, Paul Gottlieb Nipkow, a 23-year-old univer-
sity student in Germany,
*
[6] patented the rst electrome-
chanical TV system which employed a scanning disk, a
spinning disk with a series of holes spiraling toward the
center, for rasterization. The holes were spaced at equal
angular intervals such that, in a single rotation, the disk
would allow light to pass through each hole and onto a
light-sensitive selenium sensor which produced the elec-
trical pulses. As an image was focused on the rotating
disk, each hole captured a horizontal sliceof the en-
tire image.
*
[7]
Nipkows design was not practical until advances in
amplier tube technology became available. Later de-
signs used a rotating mirror-drum scanner to capture the
image and a cathode ray tube (CRT) as a display device,
but moving images were still not possible due to the poor
sensitivity of the selenium sensors. In 1907, Russian sci-
entist Boris Rosing became the rst inventor to use a CRT
in the receiver of an experimental television system. He
used mirror-drum scanning to transmit simple geometric
shapes to the CRT.
*
[8]
Using a Nipkow disk, Scottish inventor John Logie Baird
successfully demonstrated the transmission of moving sil-
houette images in London in 1925
*
[9] and of moving,
monochromatic images in 1926. Bairds scanning disk
produced an image of 30 lines resolution, just enough to
discern a human face, froma double spiral of lenses.
*
[10]
This demonstration by Baird is generally agreed to be
the worlds rst true demonstration of TV, albeit a me-
chanical form no longer in use. Remarkably, in 1927,
Baird also invented the worlds rst video recording sys-
tem, extquotedblPhonovision; extquotedbl because the
signal produced by his 30-line equipment was in the audio
frequency range, he was able to capture it on 10-inch
gramophone records using conventional audio recording
3
Vladimir Zworykin demonstrates electronic television (1929).
technology. A handful of Bairds Phonovision record-
ings survive and were nally decoded and rendered into
viewable moving images in the 1990s using modern dig-
ital signal-processing technology.
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[11]
In 1926, Hungarian engineer Klmn Tihanyi designed
a television system utilizing fully electronic scanning
and display elements and employing the principle of
charge storagewithin the scanning (or camera)
tube.
*
[12]
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[13]
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[14]
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[15]
On 25 December 1926, Kenjiro Takayanagi demon-
strated a TV system with a 40-line resolution that em-
ployed a CRT display at Hamamatsu Industrial High
School in Japan.
*
[16] This was the rst working exam-
ple of a fully electronic television receiver. Takayanagi
did not apply for a patent.
*
[17]
By 1927, Russian inventor Lon Theremin developed a
mirror-drum-based TV system which used interlacing to
achieve an image resolution of 100 lines.
*
[18]
In 1927, Philo Farnsworth made the worlds rst work-
ing television system with electronic scanning of both the
pickup and display devices,
*
[19] which he rst demon-
strated to the press on 1 September 1928.
*
[19]
*
[20]
Philo Farnsworth
WRGB claims to be the worlds oldest television sta-
tion, tracing its roots to an experimental station founded
on 13 January 1928, broadcasting fromthe General Elec-
tric factory in Schenectady, NY, under the call letters
W2XB.
*
[21] It was popularly known as WGY Televi-
sionafter its sister radio station. Later in 1928, General
Electric started a second facility, this one in New York
City, which had the call letters W2XBS and which today
is known as WNBC.
The two stations were experimental in nature and had no
regular programming, as receivers were operated by en-
gineers within the company. The image of a Felix the
Cat doll rotating on a turntable was broadcast for 2 hours
every day for several years as new technology was being
tested by the engineers. Milton Berle claimed that he was
involved in a very early television experiment in Chicago,
Illinois, in 1929.
*
[22]
At the Berlin Radio Show in August 1931, Manfred von
Ardenne gave the worlds rst public demonstration of a
TV system using a cathode ray tube for both transmission
and reception. The worlds rst electronically scanned
TV service began in Berlin in 1935. In August 1936, the
4 1 HISTORY
Olympic Games in Berlin were carried by cable to TV
stations in Berlin and Leipzig where the public could view
the games live.
*
[23]
In 1935, the German rm of Fernseh A.G. and the
United States rm Farnsworth Television owned by Philo
Farnsworth signed an agreement to exchange their tele-
vision patents and technology to speed development of
TV transmitters and stations in their respective coun-
tries.
*
[24]
On 2 November 1936, the BBC began transmitting the
worlds rst public regular high-denition service from
the Victorian Alexandra Palace in north London.
*
[25] It
therefore claims to be the birthplace of TV broadcasting
as we know it today.
In 1936, Klmn Tihanyi described the principle
of plasma display, the rst at panel display sys-
tem.
*
[26]
*
[27]
Mexican inventor Guillermo Gonzlez Camarena also
played an important role in early TV. His experiments
with TV (known as telectroescopa at rst) began in 1931
and led to a patent for the trichromatic eld sequential
systemcolor television in 1940.
*
[28]
Although TV became more familiar to the general pub-
lic in the US at the 1939 Worlds Fair, the outbreak of
World War II prevented it from being manufactured on a
large scale until after the wars end. True regular com-
mercial television network programming did not begin in
the US until 1948. During that year, conductor Arturo
Toscanini made his rst of ten TV appearances conduct-
ing the NBC Symphony Orchestra,
*
[29] and Texaco Star
Theater, starring comedian Milton Berle, became tele-
visions rst gigantic hit show.
*
[30] Since the 1950s,
television has been the main medium for molding public
opinion.
*
[1]
Amateur television (ham TV or ATV) was developed for
non-commercial experimentation, pleasure, and public
service events by amateur radio operators. Ham TV sta-
tions were on the air in many cities before commercial
TV stations came on the air.
*
[31]
In 2012, it was reported that TV revenue was growing
faster than lm for major media companies.
*
[32]
1.1 Color TV
Color TV is part of the history of television, the
technology of television, and practices associated with
Title card for NBC, promoting their broadcast in RCA color
.
televisions transmission of moving images in color
video.
In its most basic form, a color broadcast can be created
by broadcasting three monochrome images, one each in
the three colors of red, green and blue (RGB). When dis-
played together or in either rapid succession or optically
overlapped, these images will blend together to produce
a full color image as seen by the viewer.
One of the great technical challenges of introducing color
broadcast television was the desire to conserve bandwidth
potentially three times that of the existing black-and-
white standards and not use an excessive amount of radio
spectrum. In the US, after considerable research, the
National Television Systems Committee (NTSC)
*
[33]
approved an all-electronic system developed by RCA
which encoded color dierence information (rendering
the hue and saturation of colors) separately from the
brightness information (rendering the lightness and dark-
ness of colors) and greatly reduced the resolution of the
color dierence information in order to conserve band-
width. The brightness image remained compatible with
existing black-and-white television sets at full resolution,
while color TVs could decode both the extra informa-
tion (low resolution color dierence) and the brightness
image and then combine the brightness image with the
color dierence image to produce a full-color image. The
higher resolution black-and-white and lower resolution
color-dierence images combine in the eye to produce
a seemingly high-resolution full-color image. The NTSC
standard represented a major technical achievement.
Although all-electronic color was introduced in the US in
5
1953,
*
[34] high prices and the scarcity of color program-
ming greatly slowed its acceptance in the marketplace.
The rst national color broadcast (the 1954 Tournament
of Roses Parade) occurred on January 1, 1954, but dur-
ing the following 10 years most network broadcasts, and
nearly all local programming, continued to be in black-
and-white. It was not until the mid-1960s that color sets
started selling in large numbers, due in part to the color
transition of 1965 in which it was announced that over
half of all network prime-time programming would be
broadcast in color that fall. The rst all-color prime-time
season came just one year later.
Early color sets were either oor-standing console mod-
els or tabletop versions nearly as bulky and heavy, so in
practice they remained rmly anchored in one place. The
introduction of GEs relatively compact and lightweight
Porta-Color set in the spring of 1966 made watching
color television a more exible and convenient proposi-
tion. In 1972, sales of color sets nally surpassed sales
of black-and-white sets. Also in 1972, the last holdout
among daytime network programs converted to color, re-
sulting in the rst completely all-color network season.
Color broadcasting in Europe was not standardized on the
PAL format until the 1960s, and broadcasts did not start
until 1967. By this point many of the technical problems
in the early sets had been worked out, and the spread of
color sets in Europe was fairly rapid.
By the mid-1970s, the only stations broadcasting in
black-and-white were a fewhigh-numbered UHF stations
in small markets and a handful of low-power repeater
stations in even smaller markets such as vacation spots.
By 1979, even the last of these had converted to color,
and by the early 1980s B&W sets had been pushed into
niche markets, notably low-power uses, small portable
sets, or use as video monitor screens in lower-cost con-
sumer equipment in the television production and post-
production industry.
2 Geographical usage
Main article: Geographical usage of television
Timeline of the introduction of television in coun-
tries
Color bars used in a test pattern, sometimes used when no pro-
gram material is available.
Television introduction by country
3 Content
3.1 Programming
See also: Television program and Category:Television
genres
Getting TVprogramming shown to the public can happen
in many dierent ways. After production, the next step is
to market and deliver the product to whichever markets
are open to using it. This typically happens on two levels:
1. Original Run or First Run: a producer creates a
program of one or multiple episodes and shows it
on a station or network which has either paid for
the production itself or to which a license has been
granted by the television producers to do the same.
2. Broadcast syndication: this is the terminology
rather broadly used to describe secondary program-
6 3 CONTENT
ming usages (beyond original run). It includes sec-
ondary runs in the country of rst issue but also in-
ternational usage which may not be managed by the
originating producer. In many cases, other com-
panies, TV stations, or individuals are engaged to
do the syndication work, in other words, to sell the
product into the markets they are allowed to sell into
by contract fromthe copyright holders, in most cases
the producers.
First-run programming is increasing on subscription ser-
vices outside the US, but few domestically produced pro-
grams are syndicated on domestic free-to-air (FTA) else-
where. This practice is increasing however, generally on
digital-only FTA channels or with subscriber-only rst-
run material appearing on FTA.
Unlike the US, repeat FTA screenings of an FTA net-
work program usually only occur on that network. Also,
aliates rarely buy or produce non-network program-
ming that is not centered around local programming.
3.2 Funding
Television sets per 1000 people of the world
Around the globe, broadcast TV is nanced by govern-
ment, advertising, licensing (a form of tax), subscription,
or any combination of these. To protect revenues, sub-
scription TVchannels are usually encrypted to ensure that
only subscribers receive the decryption codes to see the
signal. Unencrypted channels are known as free to air or
FTA.
In 2009, the global TV market represented 1,217.2 mil-
lion TV households with at least one TV and total rev-
enues of 268.9 billion EUR (declining 1.2% compared
to 2008).
*
[35] North America had the biggest TV rev-
enue market share with 39% followed by Europe (31%),
Asia-Pacic (21%), Latin America (8%), and Africa and
the Middle East (2%).
*
[36]
Globally, the dierent TV revenue sources divide into
45%50% TV advertising revenues, 40%45% sub-
scription fees and 10% public funding.
*
[37]
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[38]
3.2.1 Advertising
TVs broad reach makes it a powerful and attractive
medium for advertisers. Many TV networks and stations
sell blocks of broadcast time to advertisers (sponsors
) to fund their programming.
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[39]
United States Since inception in the US in 1941,
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[40]
television commercials have become one of the most ef-
fective, persuasive, and popular methods of selling prod-
ucts of many sorts, especially consumer goods. During
the 1940s and into the 1950s, programs were hosted by
single advertisers. This, in turn, gave great creative li-
cense to the advertisers over the content of the show. Per-
haps due to the quiz show scandals in the 1950s,
*
[41]
networks shifted to the magazine concept, introducing
advertising breaks with multiple advertisers.
US advertising rates are determined primarily by Nielsen
ratings. The time of the day and popularity of the chan-
nel determine how much a TV commercial can cost. For
example, it can cost approximately $750,000 for a 30-
second block of commercial time during the highly pop-
ular American Idol, while the same amount of time for
the Super Bowl can cost several million dollars. Con-
versely, lesser-viewed time slots, such as early mornings
and weekday afternoons, are often sold in bulk to pro-
ducers of infomercials at far lower rates.
In recent years, the paid program or infomercial has be-
come common, usually in lengths of 30 minutes or one
hour. Some drug companies and other businesses have
even created newsitems for broadcast, known in the
industry as video news releases, paying programdirectors
to use them.
*
[42]
Some TV programs also weave advertisements into their
shows, a practice begun in lm
*
[43] and known as
product placement. For example, a character could be
drinking a certain kind of soda, going to a particular
chain restaurant, or driving a certain make of car. (This
is sometimes very subtle, with shows having vehicles pro-
vided by manufacturers for lowcost rather than wrangling
them.) Sometimes, a specic brand or trade mark, or mu-
3.2 Funding 7
sic from a certain artist or group, is used. (This excludes
guest appearances by artists who perform on the show.)
United Kingdom The TV regulator oversees TV ad-
vertising in the United Kingdom. Its restrictions have ap-
plied since the early days of commercially funded TV.
Despite this, an early TV mogul, Roy Thomson, likened
the broadcasting licence as being a licence to print
money.
*
[44] Restrictions mean that the big three na-
tional commercial TV channels: ITV, Channel 4, and
Five can show an average of only seven minutes of adver-
tising per hour (eight minutes in the peak period). Other
broadcasters must average no more than nine minutes
(twelve in the peak). This means that many imported TV
shows from the US have unnatural pauses where the UK
company does not utilize the narrative breaks intended
for more frequent US advertising. Advertisements must
not be inserted in the course of certain specic proscribed
types of programs which last less than half an hour in
scheduled duration; this list includes any news or current
aairs programs, documentaries, and programs for chil-
dren; additionally, advertisements may not be carried in a
program designed and broadcast for reception in schools
or in any religious broadcasting service or other devo-
tional program or during a formal Royal ceremony or oc-
casion. There also must be clear demarcations in time
between the programs and the advertisements.
The BBC, being strictly non-commercial, is not allowed
to show advertisements on television in the UK, although
it has many advertising-funded channels abroad. The ma-
jority of its budget comes fromtelevision license fees (see
below) and broadcast syndication, the sale of content to
other broadcasters.
Ireland The Broadcasting Commission of Ireland
(BCI) (Irish: Coimisin Craolachin na hireann)
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[45]
oversees advertising on television and radio within Ire-
land for both private and state-owned broadcasters.
There are some restrictions based on advertising, espe-
cially in relation to the advertising of alcohol. Such ad-
vertisements are prohibited until after 7 pm. Broadcast-
ers in Ireland adhere to broadcasting legislation imple-
mented by the Broadcasting Commission of Ireland and
the European Union. Sponsorship of current aairs pro-
gramming is prohibited at all times.
As of 1 October 2009, the responsibilities held by the
BCI are gradually being transferred to the Broadcasting
Authority of Ireland.
3.2.2 Taxation or license
Television services in some countries may be funded by
a television licence or a form of taxation, which means
that advertising plays a lesser role or no role at all. For
example, some channels may carry no advertising at all
and some very little, including:
Australia (ABC)
Japan (NHK)
Norway (NRK)
Sweden (SVT)
United Kingdom (BBC)
United States (PBS)
Denmark (DR)
The BBCcarries no television advertising on its UKchan-
nels and is funded by an annual television licence paid
by premises receiving live TV broadcasts. Currently, it
is estimated that approximately 26.8 million UK private
domestic households own televisions, with approximately
25 million TV licences in all premises in force as of
2010.
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[46] This television license fee is set by the gov-
ernment, but the BBC is not answerable to or controlled
by the government.
The two main BBC TV channels are watched by almost
90% of the population each week and overall have 27%
share of total viewing,
*
[47] despite the fact that 85% of
homes are multichannel, with 42%of these having access
to 200 free to air channels via satellite and another 43%
having access to 30 or more channels via Freeview.
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[48]
The licence that funds the seven advertising-free BBCTV
channels currently costs 139.50 a year (about US$215)
regardless of the number of TV sets owned. When the
same sporting event has been presented on both BBC and
commercial channels, the BBC always attracts the lions
share of the audience, indicating that viewers prefer to
watch TV uninterrupted by advertising.
Other than internal promotional material, the Australian
Broadcasting Corporation (ABC) carries no advertising;
it is banned under the ABC Act 1983. The ABC receives
its funding from the Australian government every three
years. In the 2008/09 federal budget, the ABC received
A$1.13 billion.
*
[49] The funds provide for the ABCs
television, radio, online, and international outputs. The
8 4 SALES OF TELEVISION SETS
ABCalso receives funds fromits many ABCshops across
Australia. Although funded by the Australian govern-
ment, the editorial independence of the ABC is ensured
through law.
In France, government-funded channels carry advertise-
ments, yet those who own television sets have to pay an
annual tax (la redevance audiovisuelle).
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[50]
In Japan, NHK is paid for by license fees (known in
Japanese as reception fee ( Jushinry)). The
broadcast law that governs NHKs funding stipulates
that any television equipped to receive NHK is required
to pay. The fee is standardized, with discounts for oce
workers and students who commute, as well a general dis-
count for residents of Okinawa prefecture.
3.2.3 Subscription
Some TV channels are partly funded from subscriptions;
therefore, the signals are encrypted during broadcast to
ensure that only the paying subscribers have access to
the decryption codes to watch pay television or specialty
channels. Most subscription services are also funded by
advertising.
3.3 Genres
Television genres include a broad range of programming
types that entertain, inform, and educate viewers. The
most expensive entertainment genres to produce are usu-
ally dramas and dramatic miniseries. However, other
genres, such as historical Western genres, may also have
high production costs.
Popular culture entertainment genres include action-
oriented shows such as police, crime, detective dramas,
horror, or thriller shows. As well, there are also other
variants of the drama genre, such as medical dramas
and daytime soap operas. Science ction shows can fall
into either the drama or action category, depending on
whether they emphasize philosophical questions or high
adventure. Comedy is a popular genre which includes
situation comedy (sitcom) and animated shows for the
adult demographic such as South Park.
The least expensive forms of entertainment programming
genres are game shows, talk shows, variety shows, and
reality television. Game shows feature contestants an-
swering questions and solving puzzles to win prizes. Talk
shows contain interviews with lm, television, and mu-
sic celebrities and public gures. Variety shows feature
a range of musical performers and other entertainers,
such as comedians and magicians, introduced by a host or
Master of Ceremonies. There is some crossover between
some talk shows and variety shows because leading talk
shows often feature performances by bands, singers, co-
medians, and other performers in between the interview
segments. Reality TV shows regularpeople (i.e., not
actors) facing unusual challenges or experiences ranging
from arrest by police ocers (COPS) to weight loss (The
Biggest Loser). A variant version of reality shows depicts
celebrities doing mundane activities such as going about
their everyday life (The Osbournes, Snoop Doggs Father
Hood) or doing manual labor (The Simple Life).
4 Sales of television sets
North American consumers purchase a new television set
on average every seven years, and the average household
owns 2.8 televisions. As of 2011, 48 million are sold
each year at an average price of $460 and size of 38
inches.
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[51]
Televisions for consumer purchase
Note: Vendor shipments are branded shipments and ex-
clude OEM sales for all vendors
9
5 Social aspects and eects on chil-
dren
Main article: Social aspects of television
Television has played a pivotal role in the socialization of
the 20th and 21st centuries. There are many aspects of
television that can be addressed, including negative issues
such as media violence. Current research is discovering
that individuals suering from social isolation can em-
ploy television to create what is termed a parasocial or
faux relationship with characters from their favorite tele-
vision shows and movies as a way of deecting feelings
of loneliness and social deprivation.
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[54]
Several studies have found that educational television has
many advantages. The Media Awareness Network, ex-
plains in its articleThe Good Things about Television
*
[55] that television can be a very powerful and eective
learning tool for children if used wisely.
In 2010 the iPlayer incorporated a social media aspect
to its internet television service, including Facebook and
Twitter.
*
[56] Other devices that allow interactivity - such
as the Apple TV, Google TV and Chromecast - have
made it possible for users to access content through the
internet on their TVs and social media websites like
YouTube. Also, the use of the television for video games,
especially on consoles such as the Wii, has contributed to
a growing kinaesthetic connection between television and
viewers.
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[57]
6 Environmental aspects
With high lead content in CRTs and the rapid diusion
of new at-panel display technologies, some of which
(LCDs) use lamps which contain mercury, there is grow-
ing concern about electronic waste from discarded televi-
sions. Related occupational health concerns exist, as well,
for disassemblers removing copper wiring and other ma-
terials from CRTs. Further environmental concerns re-
lated to television design and use relate to the devices
increasing electrical energy requirements.
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[58]
7 See also
Broadcast-safe
Content Discovery Platform
Handheld television
Information-action ratio
List of countries by number of television broadcast
stations
List of television manufacturers
List of years in television
Media psychology
Outdoor television
Computer monitor/VDU
Sign language on television
8 References
[1] Diggs-Brown, Barbara (2011) Strategic Public Relations:
Audience Focused Practice p.48
[2] Bilitewski, Bernd; Darbra, Rosa Mari; Barcel, Damia,
eds. (2012-01-05). Global Risk-Based Management of
Chemical Additives I: Production, Usage and Environmen-
tal Occurrence. ISBN 9783642248757.
[3] http://www.displaysearch.com/cps/rde/xchg/
displaysearch/hs.xsl/index.asp
[4] Television Frequency Table, CSGNetwork.com., a Divi-
sion of Computer Support Group.
[5] Study Finds Link Between Television Viewing And At-
tention Problems In Children retrieved 19 July 2012
[6] Paul Nipkow. Bairdtelevision.com. Retrieved 2012-
11-02.
[7] Paul Nipkow and John Baird: The Inventors of the Me-
chanical Television. Juliantrubin.com. Retrieved 2012-
11-02.
[8] History of the Cathode Ray Tube. About.com. Re-
trieved 4 October 2009.
[9] World Analogue Television Standards and Waveforms
section Timeline. Histrorical television data 2011.
Retrieved 29 January 2011.
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9 Further reading
Albert Abramson, The History of Television, 1942
to 2000, Jeerson, NC, and London, McFarland,
2003, ISBN 0-7864-1220-8.
Pierre Bourdieu, On Television, The New Press,
2001.
Tim Brooks and Earle March, The Complete Guide
to Prime Time Network and Cable TV Shows, 8th
ed., Ballantine, 2002.
Jacques Derrida and Bernard Stiegler, Echographies
of Television, Polity Press, 2002.
David E. Fisher and Marshall J. Fisher, Tube: the
Invention of Television, Counterpoint, Washington,
DC, 1996, ISBN 1-887178-17-1.
Steven Johnson, Everything Bad is Good for You:
How Todays Popular Culture Is Actually Making
Us Smarter, New York, Riverhead (Penguin), 2005,
2006, ISBN 1-59448-194-6.
Jerry Mander, Four Arguments for the Elimination
of Television, Perennial, 1978.
Jerry Mander, In the Absence of the Sacred, Sierra
Club Books, 1992, ISBN 0-87156-509-9.
Neil Postman, Amusing Ourselves to Death: Public
Discourse in the Age of Show Business, New York,
Penguin US, 1985, ISBN 0-670-80454-1.
Evan I. Schwartz, The Last Lone Inventor: A
Tale of Genius, Deceit, and the Birth of Television,
New York, Harper Paperbacks, 2003, ISBN 0-06-
093559-6.
Beretta E. Smith-Shomade, Shaded Lives: African-
American Women and Television, Rutgers Univer-
sity Press, 2002.
Alan Taylor, We, the Media: Pedagogic Intru-
sions into US Mainstream Film and Television News
Broadcasting Rhetoric, Peter Lang, 2005, ISBN 3-
631-51852-8.
Amanda D. Lotz, The Television Will Be Revolu-
tionized, New York University Press, ISBN 978-
0814752203
12 10 EXTERNAL LINKS
10 External links
A History of Television at the Canada Science and
Technology Museum
The Encyclopedia of Television at the Museum of
Broadcast Communications
The Evolution of TV, A Brief History of TV Tech-
nology in Japan NHK
Televisions History The First 75 Years
Worldwide Television Standards
Global TV Market Data
Television in Color, April 1944 one of the earliest
magazine articles detailing the new technology of
color television
Littleton, Cynthia. Happy 70th Birthday, TV
Commercial broadcasts bow on July 1, 1941; Va-
riety calls it 'corney' extquotedbl, Variety, 1 July
2011. WebCitation archive.
13
11 Text and image sources, contributors, and licenses
11.1 Text
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momm, Ann Stouter, Cursit, CoJaBo, Rebornsoldier, Jpower3, Animemeg, Hyper Summer, 234abc, Mitchel1682, Qxz, Moocow12345,
Piperh, Retiono Virginian, Yakky, Erik33, Lkopeter, Lradrama, Sintaku, Ecurb12, Seraphim, Melsaran, Noitall125, Bass shing physi-
cist, Szlam, Wilson58801, Funkatram, ILOVEJOHNNYDEPP, Jhkft, Chocowulf, Matty9879, Mattheweco, Raymondwinn, Microfoot,
Jdhogg, Cremepu222, Hellotarget, Maxim, Everettvlai, RadiantRay, Telecineguy, Wenli, AppleJordan, PlayStation 69, Billinghurst,
RandomXYZb, Fbhi, Dirkbb, Hardtouch, MonoMark, Madnesstosadness, Stozball, Navid7, Synthebot, Yomama444, Sorin93, Kesmekes,
Insanity Incarnate, Brianga, AlleborgoBot, Symane, MickeyTheDog, Jackery joe, Smylei, Rsalazar12, Sniper1646, Kashjbk, Matagascar,
Btubbb, D. Recorder, Coolpeople, PaddySnues, Shortyboy192, Demmy, AdRock, Darkieboy236, Mediumemu, GSSAGE7, Im a little
person, Lil.j-boy, Devestator74, SieBot, Colleenthegreat, Richie123098, Shino137, Thennessey8910, Tiddly Tom, dipus sic, Scarian,
Kwirky88, The silent assasin, Jauerback, Casperdog2227, Krawi, Winchelsea, Gerakibot, Rockstone35, Tashnmic, Pengyanan, Fantastic
fred, Caltas, Unsplosion, Breakfast100, Vanished User 8a9b4725f8376, M.thoriyan, Galbery, GrooveDog, Stiggy04, Vrlobo888, Eaoma-
trix, JlmMUFC, WRK, Keilana, HTurtle, SarahEMBH, Lovenoble, Johncurrandavis, Happysailor, Schaugle, Yah Hoo :) I'm Happy, Tip-
toety, Radon210, Neutralhomer, Hitladen, Gergerballball, Nua eire, Soccergeek43, JSpung, Prestonmag, Webfan29, Oxymoron83, Ddxc,
Lohengrin1991, Beier5, Henrymo2, Steven Zhang, Lightmouse, Miguel.mateo, Deskruns, Eaglesdude1525, The-G-Unit-Boss, RyanParis,
11.2 Images 15
Goldglover07, Bigfoots Curse of the Wild, OKBot, Mrlee321, Dravecky, Maelgwnbot, FFLH100, TheOracl3, Spartan-James, Jon-
gleur100, Hsan22, Laughcosts, Realm of Shadows, Yofool100, Ascidian, Dabomb87, Felizdenovo, Locateliam, Jobas, C0nanPayne, Cool
joshua1991, Amazonien, TheCatalyst31, Melo1055, Llywelyn2000, Bakkima, Solarguy17, Howardjones57, Martarius, ClueBot, Sum-
merWithMorons, Legoboy1129, Avenged Eightfold, Binksternet, Nielspeterqm, ShayDC, Wes hustutter, Fyyer, The Thing That Should
Not Be, B1atv, Rjd0060, Swedish fusilier, EoGuy, FreemanMAS214, Ndenison, Supertouch, Palwill, MasterTournesol, Drmies, Kath-
leen.wright5, Mhjackson, Boing! said Zebedee, Timberframe, Cameronmas214, KuroFalcon, Damalexandra, JammydodgerUK, Counter-
VandalismBot, AderakConsteen, Gointv, Xenon54, Richerman, IamLucas1, Izuna498, Username271, Xjbrad, Namazu-tron, Oneqtpie93,
Bbb2007, Wowow123, Excirial, Johnson 1234 rth, -Midorihana-, Alexbot, Funke73, Northernhenge, StevenMcwillimas, Daymas214,
Travis jorde, Skvns, Tangmas214, Dcpc0807, Smallmas214, Ilovevanessa23, TheGreenEditor, Lartoven, Jestermas214, Maser Fletcher,
Gottadmit, Turner93, Makelifeeasy, Portermas214, Suttipongkanasaimas214, Jotterbot, Xoloverox95, WalterGR, Paco1991, Jscoeld55,
Ember of Light, Luvyduvy0110, Tnxman307, Durindaljb, Melhod, Computer97, Razorame, Tarasworld, Shorty 274, Revotfel, Dek-
isugi, WellsSt, Mrdingdong505, Carterandreid, Imcool4, Lanieandcourtney, Thingg, Melaniesharrison, Aitias, Cdog1, Footballfan190, Sig-
mig, Swirlygig, Peg557, BlinkingBlimey, Covernoiseloveshakespeare, 0kdal, Against the current, XLinkBot, Gwandoya, Nathan Johnson,
Muelo1000, Dark Mage, Rror, E mozza, Rreagan007, Emmwashere71, Davidcottis0100, Kkv123, 1bobby93, Werneke kid, SilvonenBot,
NellieBly, Zcherry15, Haydenirren, Badgernet, Bawjaws123, ZooFari, Dancingqueenrl, Rounddot5827, Dwilso, Sk8erking85, Editornum-
ber2, Mrwetmore, Poohman0, Brand93, DrAjitParkash, Boston-fashionista, Addbot, Manuel Trujillo Berges, Tcncv, Fyrael, Horseman951,
Tjl666, WDaltAYN, Montgomery '39, Deus257, Dirt licker, Lynx46, Sitto, Usboy12, Cowlord7, Matt5091, Zac31, Kui97, Avilezj, Zim-
babwe23, NjardarBot, John Chamberlain, Caesartheking, Skyezx, Stupidtest, Ccacsmss, Buster7, Flafybob, Glass Sword, Buddha24, Hhar-
tel, Ideletestuforfun, Wikihelp1a, Sergioledesma, Tomtheevilgenius, Teles, Greyhood, Imabeast187, Dualshock2, Bartledan, Albeiror24,
Harold, Luckas-bot, Yobot, Themfromspace, Tohd8BohaithuGh1, Berkay0652, Cm001, Darkiller414, FireMouseHQ, Dreadfullybor-
ing, Meggem, EnochBethany, Weightlessness, Bbrownp, Gongshow, KamikazeBot, Kyarichy, Leejghappy, South Bay, Firestorm190,
OregonD00d, Radiopathy, AnomieBOT, Stears81, Six words, Galoubet, Justme89, Bluerasberry, Mann jess, Materialscientist, Citation
bot, ArthurBot, Xqbot, S h i v a (Visnu), Intelati, Nasnema, Vidshow, Tyrol5, Celebration1981, Sewblon, Shadowjams, V7news, Cis-
prof, PlzCreateAnotherName, George2001hi, Hyperboreer, FrescoBot, Meepmoo, LucienBOT, Tobby72, Ohgddfp, Eagle4000, Pja1981,
Cannolis, Jakesyl, Galmicmi, DigbyDalton, Lppa, Perfectionaintperfect, XxTimberlakexx, Aizuku, HRoestBot, Abductive, Jonesey95,
Half price, Tinton5, Rahlgd, Jaguar, Jamesinderbyshire, Aamsse, Richdude24, December21st2012Freak, Horst-schlaemma, Tim1357,
FoxBot, TobeBot, Francis E Williams, DixonDBot, Vinay84, Vrenator, Reaper Eternal, Stephen MUFC, Matrobriva, PleaseStand, Tb-
hotch, Genetixs, Stears159, DARTH SIDIOUS 2, AXRL, Fmjennif, Bento00, Jackehammond, The Stick Man, DASHBot, Deadlyops,
EmausBot, WikitanvirBot, Jorge c2010, Zollerriia, Katherine, Vanished user zq46pw21, EleferenBot, Wikipelli, Kkm010, Mentalmoses,
Misty MH, F, Bcanoerrecart, AvicAWB, KiwiJe, Chongstar123, H3llBot, EJavanainen, IIIraute, Monterey Bay, Wayne Slam, Ocaasi,
Card Zero, Nowrunningir, L Kensington, AVarchaeologist, MonoAV, Inka 888, BBrad31, Twh5125, Gnhxwarri0r3, Spassomuch, Yo-
geshrawal, Michaeltownsend1, Jean the killer, Lackerman, Rangoon11, Plankton5165, 16bitz, Mad Hieronimo, ChuispastonBot, Joanedlc,
Pierlot, Beatles-Ramones, Crista2, Yoyoyobc, Tom d27, WINN3R43, Dills123lt, DASHBotAV, PepPepforPresident, Michealgrant667,
Wussication, Hansann, Greatleqend, ResearchRave, Iloveyou563, NICK0COM, Jwhimmelspach, Ihakeycakeyabreak, Ocean12321, Ja-
sonbook99, Denteuro, Movses-bot, Grapevine00, LINKMAN, JordoCo, VH2, North Atlanticist Usonian, Diyar se, Helpful Pixie Bot,
Itonyfy, Northamerica1000, Rahmatdenas, Populars, Davidiad, Gautehuus, Robocon1, NNU-01-05100114, Rynsaha, Hergilfs, Wyatt th3
one ninja, Th4n3r, Dexbot, Magentic Manifestations, Smohammed2, Corn cheese, Reatlas, IWPCHI, Estevick, Zalunardo8, Ryenocerous,
Eroosio, JamesMoose, Serpinium, Skatoulaki, JacobiJonesJr, Thevideodrome, Mr. Gonna Change My Name Forever, Sam Sailor, Circe-
berman, Atonepled, Sowndaryab, Meteor sandwich yum, Csusarah, Japanese Rail Fan, Monkbot, LucaElliot2, Donna Peng, Stone2ypr and
Anonymous: 1913
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