ABSTRACT
Broadcast historians, meanwhile, have explored the various ways in which industry structures and network economics (along with other factors) have helped shape the types of programs that were made, their formal structures, and the formatting and scheduling practices employed (Gitlin 1984; Boddy 1990; Anderson 1994; Caldwell 1995). These histories help alert us to the multiple ways in which American media might be organized differently, reminding us repeatedly that it is by no means “natural” or “obvious” for television, radio, or film to work or look the ways they do.2
