Performance through Branding: How the HBO Brand relates to Technological and Content Developments in Television

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Name Charlotte van Bochove

Student ID 6033423

Date 27-06-2014

Supervisor S. Dasgupta Second Reader J. Kooijman

Performance through Branding

How the HBO Brand relates to Technological and Content

Developments in Television

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Introduction

“It’s not TV, it’s HBO.”A bold yet widely accepted statement. HBO does not consider itself television: their slogan suggests they see themselves as a form of art, focused more on quality than on mindless entertainment television is known for. (Edgerton 319) Furthermore, this notion is readily accepted by its public, frequently being mentioned synonymously with Quality TV by scholars like Janet McCabe and Gary Edgerton, both quoted throughout this thesis. But why is HBO considered to be anything more than television? Is their programming really on such a different qualitative level than other television programs? Are the aesthetics and writing of their original shows so mind-blowingly innovative that viewers see HBO as an improvement of a medium that has historically been associated with low and mass culture? Is television truly transforming from a popular culture medium to an artistic medium focusing on quality rather than entertainment, or is HBO systematically profiling itself as such a form of ‘higher television’?

“The most original and innovative shows are on HBO. Its unparalleled range and quality of programming is why year after year, HBO continues to win more Emmy®-awards than any

other network.” (www.hbo.com)

Although HBO’s famous tagline suggests otherwise, HBO “is TV, in that HBO is susceptible to the same laws of hit-making as any other network” (Edgerton 317). In that case then, how do HBO’s marketing and branding strategies relate to the entire television industry? HBO has not always used that specific tagline: it has changed its image continuously over the past decades, developing their brand in accordance to developments in the television industry in order to stay on top.

Thus, the premise of this research does not entail a discussion on the label ‘Quality TV’, nor is it an attack on those who consciously judge television on its supposed quality. Rather than focusing on HBO’s content and the series and films it both produces and airs, it focuses on HBO as a brand and how it advertises itself as quality TV, thereby reinforcing current distinctions being made between ‘good’ and ‘bad’ television. The main question that will be answered in this thesis is:

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In order to fully grasp the importance of HBO and changes within their own

marketing strategy, it is important to first and foremost understand what these changes are. HBO has not always been seen synonymously with quality television series: it was initially concentrated on showcasing the best Hollywood motion pictures and sporting events (Edgerton 1). But how has the HBO brand made such a switch from where it was then and how the network is seen now? And, more importantly, why has HBO made these switches, not only in the content they provide but also in their marketing strategies?

These changes are not only important in understanding HBO itself, but also crucial in identifying shifts within the television industry over the past couple of decades. In addition to identifying these shifts through analyzing the changes within the HBO brand, this thesis will also place the ever-changing HBO brand within the

contemporary Quality TV discussion. This, as stated before, is not to decide whether or not HBO is or is not Quality TV: it is simply to understand the overall significance and implications the HBO brand has on both the television industry and discussions within this specific academic television studies debate that is frequently linked to the HBO cable network channel. The HBO brand and its place within the Quality

Television debate amongst media scholars will be discussed, as well as the connections between this debate and developments within the television industry. Subsequently, the development of the HBO brand will be contributed to specific developments within the entire television industry.

In order to fully research the HBO brand, this thesis will use several different materials and texts through which HBO brands itself. In the first chapter, this thesis will provide the reader with an overview of the developments the HBO brand has gone through throughout its existence. HBO has systematically changed their brand and marketing strategies according to developments within the television industry. As a result, HBO has been able to thrive again and again. Given that the HBO brand has been so successful, it is in itself a perfect case study to analyze shifts in the television sphere throughout the last few decades, and, even more specifically, the last decade. Thereafter, as an even more specific case study, this research will use HBO trailers in order to understand the current way in which HBO brands itself, and how this relates to and projects the current television landscape. Seeing as HBO produces a great

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variety of original series, from the fantasy Game of Thrones to the dramedy Girls, it will be of interest to see if HBO brands itself differently to each public, or if there is a common thread between these trailers in the way HBO presents itself.

Although the trailers of HBO series are a crucial part in analyzing how they are being marketed, trailers alone are not enough to fully grasp the scope of HBO’s branding methods. Thus, I will also look at other forms of advertising, including but not limited to posters, websites, and interviews. These forms of advertisement are all crucial in understanding how HBO markets their shows and the network itself, as well as understanding the full extent of the shifts these branding methods imply within the entire television industry.

In addition to all the actual promotional material mentioned above, this research will also use media industry journals in order to understand how HBO brands itself not only to viewers, but also to the television industry. This, in turn, will hopefully provide an even deeper insight into the HBO brand and what their branding methods say about the current media sphere.

The second chapter will provide the reader with a clear understanding of the Quality Television Debate, one that frequently uses HBO and its original series as a marker of quality in television. Firstly, the basis of this debate and the need to legitimize

television will be discussed, after which both sides of the Quality Television Debate will be thoroughly discussed. Then, the link between this debate and the HBO brand will be made.

In the third chapter, the reader is then provided with an analysis of the implications chapter one and two have on the television landscape: what do these developments say about changes in the television landscape, and how specifically does this Quality Debate play into current developments?

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Theoretical Framework

Although the branding of HBO is interesting enough in itself, in order to fully understand the implications their branding methods have and what these branding methods say about shifts in the television landscape, it is important to use academic theories to get a complete overview of the influence the HBO brand has and to understand how the television industry has changed over the past decades. To do so, this thesis will use key concepts like power relations, free labor, quality television, and more to provide the reader with a clear overview of all of the HBO brand’s aspects.

I The Political Economy of Television

The foundation of this research will be the political economy of the media: “political economies of media take it as axiomatic that the media must be studied in relation to their place within the broader economic and social context.” (Winseck 4) In order to understand the significance of the HBO brand within a political economic framework, it is important to start with what the biggest difference is between the HBO brand and preceding television networks, and how the HBO brand has, throughout its existence, changed the television industry. HBO is a cable network, which follows a different business model than other networks (see paragraph 5 for a more detailed description of these business models). Rather than focusing on selling views to advertisers and trying to secure a large audience, HBO and other cable networks function via a model that relies on subscriptions instead of views. Thus, the introduction of cable channels and the success of HBO have changed the power relations within the television industry significantly: these channels are not dependent upon advertisers, but rather on their subscribers. (Edgerton 316) Instead of now having to focus their attention on appealing to advertisers and subsequently integrating their ads in their series and commercial breaks, HBO and other cable networks alike can focus solely on their own brand. This does not only have an impact on the content of the series, but also on the branding methods. HBO does not advertise other companies: it advertises itself, creating an image appealing enough to attract subscribers. Although this sounds like a welcome improvement on the production company/cable network side that is HBO, there are some challenges that this particular business model brings with it. For one,

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although the shift in power relations brings with it a certain amount of creative freedom frequently lost in the older business model, HBO is their own financial backer. This means that any failure on their side is a direct blow to their brand and, in order to keep their subscribers, they must continuously produce hit television series. (Edgerton 317) Whereas networks that follow the older business model can survive a failure simply because their financial input is less and consequently less risky, HBO and other cable networks are completely responsible for their own series and need to be consistent in order to be successful. Other business models survive failures because they can compensate with more successful formats, but HBO needs to consistently deliver; not just to protect their brand, but also to ensure subscribers will stay. However, as mentioned previously, with this different business model also comes a certain amount of creative freedom. Cable networks do not have to adhere to the same rules and regulations as regular television networks do: for one, they can use more nudity and explicit language. These are features heavily apparent in HBO original series, and as a consequence may make these series seem unconventional and exciting. The lack of these strict rules and regulations is precisely what HBO uses to set their brand apart from networks that are a part of older business models.

All of this will be analyzed not through content but as previously stated through the branding methods HBO.

II Quality TV

This thesis will not only research developments within the HBO brand to identify shifts in the television landscape, but will also place the HBO branding strategies within the Quality TV debate that has been going on for quite some time, both in the academic world as in the entertainment industry. This discussion is very important for this research, since it is a discussion that frequently uses HBO as its basis. The Quality Television debate will be thoroughly discussed in chapter two of this thesis. Quality TV is not easily defined, since there is no consensus on what is and is not quality television (inextricably linked to what is good and bad television). However, many people, including academics within the television studies field, have tried to define this rather controversial term. The Viewers for Quality Television Organization has defined it as followed:

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A quality series enlightens, enriches, challenges, involved, and confronts. It dares to take risks, it’s honest and illuminating, it appeals to the intellect and touches the emotions. It requires concentration and attention, and it provokes thought. Characterization is explored.

(Thompson 13)

The problem with this definition is that it can barely be described as such: it is rather vague, leaving the entire concept of quality television open to interpretation. Some scholars have tried to come up with clearer definitions, yet others prefer to

deliberately not define this concept in order to create the possibility of discussion and evaluation within the television studies field (Cardwell 74). Although all sides of this discussion will thoroughly be discussed in the second chapter, it is important to firstly explain the basis of this discussion and term so frequently used in conversations and texts concerning HBO.

Television has been known throughout its existence to be associated with mass entertainment and low culture, as opposed to film that has gained more and more of a reputable, artistic image (although as discussed in chapter two, this was not always the case). With its now famous tagline, “It’s not TV, it’s HBO”, HBO has set itself apart from the reputation television has, and has had throughout its existence, by adapting complex visual aesthetics and storylines mostly associated with film (Jaramillo 67). This, in turn, had led to a divide within television itself (another shift in television that will be analyzed throughout this thesis through the usage of the HBO brand), creating a seemingly huge difference between bad television and quality television that borrows heavily from cinematic styles. This divide has not restraint itself to solely the television industry: it has seeped its way into the academic world, creating a divide within media studies. On the one hand, there are those academics that welcome these developments within television, seeing it as a transformation that can lift television to a higher, more esteemed, level. On the other hand, there are scholars that vehemently criticize the definition, believing it to be too subjective and could lead to ignoring parts of television that are equally worthy of research. Then, as is the case with Deborah Jaramillo, there are those scholars who believe television should not be compared to film, nor should it be praised for using cinematic features: it is a medium on its own, developing at its own natural pace and worthy of being seen as a separate medium, not one that needs to be defined on the basis of another. (68)

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However, as mentioned in the introduction, the base of this research is not just promotional material and academic texts: it will also use media industry journals to get a complete overview of how HBO brands itself. Thus, in order to demonstrate each and every side of this discussion, this research will also use definitions and discussions concerning quality television within the actual television industry itself. After having established the changes the HBO brand has undergone throughout its existence, but even more specifically the last decade, this research will place these developments within this particular discussion. Where does the actual brand of HBO fit in, and how has it sustained this discussion through its branding methods? What do the HBO brand and this enticing discussion say about the current television landscape and how the television industry has developed over the past years? All of these question will be answered both in chapter 1 and 2 of this thesis.

III Culture Industries and Standardization

The trailers and other forms of advertising HBO uses to promote both their original series as their own brand, would be enough to prove the notion that HBO formats are currently being, and have been systematically for at least the past decade,

standardized, and that HBO might not be so different from TV as the brand states according to their slogan. However, to fully understand the implications and importance of these observations, this research will use various theoretical approaches. For one, it will use Theodor Adorno’s concept of culture industry to further substantiate the argumentation. Television is part of what is known as the culture industry. Culture industries, as explained by David Hesmondhalgh, “have usually been thought of as those institutions which are most directly involved in the production of social meaning.” (11) If television is part of these culture industries, then it can be assumed that forms of advertisement seen on television, such as the trailers and other promotional material that will be used for this research, are involved in the production of social meaning. But how does this standardization of shows actually influence the production of social meaning, and what does this

standardization that can be analyzed through HBO’s branding say about recent shifts in the television landscape as a whole? One can assume that standardization is a key feature of mass production, yet HBO series are seen as something more than that: an artistic, qualitative display of series, as previously mentioned in the introduction according to their website. Deborah Cook explains the appeal of standardization for

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viewers: “regressive tendencies in the reception of cultural commodities also play a role in standardization. In the case of popular music, for example, Adorno argued that people now listen “according to a formula””. (41) This theory can also be applied to watching television: television is formulized, and HBO is no exception. Although at first glance, if HBO could indeed be seen as innovative and original, their role in the production of social meaning could have a tremendous impact. Whether or not this impact would be positive or negative is besides the point: what is important here is that, after analyzing HBO thoroughly, it becomes clear that HBO does not produce art; it produces television series like any other television series, products of mass production and standardization. HBO is no exception to the rule: rather, it hides this fact by clever marketing. Again, these theories will not be used to prove whether or not HBO is Quality TV: rather, this research will use the above-mentioned

observations not to critique HBO, but to understand developments within the current television landscape. To further construct these arguments, later chapters will provide a clearer understanding of culture industries, standardization, and the implications these theories bring about concerning not only HBO but also the entire television industry in its current state.

IV Aesthetics

Inextricably linked to the notion of Quality Television is television aesthetics. This field, most commonly associated with philosophy, is defined as followed:

“…To identify certain cultural items as aesthetic is not to praise their beauty or excellence but merely to describe their chief defining feature: their membership in a class of experiences understood to be fictional or imaginary, understood to occur in a symbolic,

culturally-agreed-upon imaginative space…where "real" experience is re-presented, re-created, symbolically displayed.” (Thornburn 2)

This field of study within television studies will be used in the second chapter to discuss the Quality Television debate. Within this debate, television aesthetics has a rather prominent role: both the debate and this specific field of study rely vastly on evaluation and judgment, two terms usually shunned within media studies. Yet it is important to mention within the context of the Quality Television debate: it is a crucial side of the discussion and will provide an insight into HBO’s place within this

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debate. Although, as mentioned above, the notion of evaluating television based on its aesthetical qualities is frequently frowned upon within the academic world. Yet criticizing and evaluating film based on aesthetics, and thus quality, is readily accepted by both the public and the academic world (Geraghty 30). How this difference in evaluating the two media relates to developments within the television industry will be discussed thoroughly in both chapter two and three of this thesis. Not only will the role of aesthetics be discussed within the context of the Quality

Television debate within media studies: the importance of aesthetics within the television industry itself will also be analyzed.

V Future?

As mentioned in the Political Economy of Television part of the theoretical

framework, HBO is part of a newer business model, functioning differently from the “old-fashioned” business model concerning selling views to advertisers. However, there is an up-and-coming third business model. For the sake of easily differentiating between these three business models, the “old-fashioned” model will be referred to as TV101 (borrowing from Ted Magder’s The End of TV101), the newer business model (including Reality TV and HBO) will be referred to as TV201, and the newest

business model, explained thoroughly hereafter, will be referred to as TV301.

With the introduction of new ways of funding and watching television, one might say that the abovementioned era, TV 201, might also come to an end soon. With both Kickstarter and Netflix as contemporary examples, this new television model could possibly at one point render the old models obsolete, yet they are all currently functioning simultaneously within our television landscape, and even in some

instances incorporating aspects of multiple business models in one company/network. Although both websites function individually, combining the two business models could result in changes throughout the television sphere. Netflix is a website that offers streaming of both contemporary and older series/movies for a fixed price per month. No commercials; just binge-watching. This is, however, not the most interesting aspect of Netflix. Netflix is not just a (legal) streaming site: it is also a production company. Whereas, as is the case in TV101, production companies usually require new shows to produce a pilot episode first, which may or may not eventually be aired, and subsequently may or may not be cancelled before the first season has even concluded, Netflix does the opposite. In the case of both House of Cards and

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Orange is the New Black, a Netflix original, the entire first season was released on the same day: no pilot, no waiting a week until the next episode. Completely available for the audience to watch without hesitations or setbacks. The entire aspect of

commercial breaks is also no longer viable within this new business model: there are none. This is not an aspect of television HBO frequently uses unless it is to promote their own other series. What makes Netflix so unique is the flow of the series: after waiting approximately 15 seconds at the end of an episode, Netflix immediately starts playing the following episode. This all does not take place on the actual television screen itself: there has been a major switch from the television screen to the computer interface (Chamberlain 232). Although, as is the case with TV201 and, specifically, HBO, there has been a surge in spreading content across different media platforms, TV301 takes this development one step further by having all content online. The computer interface is much more interactive than a television screen; this is also the case with Netflix’ interface specifically. Viewers can watch whatever they want, whenever they want, no longer restricted to the decisions made by broadcasting networks. Although HBO currently does provide the possibility to watch their content online to those who have a subscription, they do not have all of their content online. Kickstarter, however, functions differently. Whereas Netflix differs from previous television business models on the basis of the active screen and lack of pilots and commercial breaks, Kickstarter has a new and innovative way of funding television series/movies pre-production. Creative projects like television series and movies can be funded through their method of crowd funding. All that is necessary is making a page for one’s campaign, asking people to donate money in order to realize the project. A campaign doesn’t rely solely on the sheer amount of viewers/backers: it relies on financial backers investing enough money. A goal is set: in the case of one of the most successful television-related Kickstarter campaigns, Veronica Mars, this goal was two million dollars. There is no indication as to how many people must invest: whether it’s two million people each investing one dollar, or one very wealthy individual investing two million dollars. In this case, fans aren’t subjected to having their favorite shows being liked by a majority: as long as the fan base has enough money, any series with a significant following and/or financial viability can ensure that their favorite series can be produced. Although the viewers in TV201 were already considerably more active by using different platforms in order to engage more

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with their favorite series, TV301 takes this activity one step further: actual involvement.

The premise of this research is, as stated previously, to understand what changes in HBO’s branding say about current shifts in the television landscape. But, in order to truly grasp the full extent of these shifts one must also look at future developments, of which TV301 is a critical part. Has HBO as a brand responded accordingly to the introduction of this new business model? And, if so, how and what do these recent developments say about the direction television as a whole is taking and will be taking in the near future? Will the HBO brand change drastically yet again as a consequence of this introduction?

These questions will all be answered in the last chapter of this research, which focuses on linking changes within the HBO brand to changes of a wider scope within the television industry itself.

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I The HBO Brand

Introduction

Although the HBO network has become a household name over the past decades, frequently seen as synonymous with Quality Television (as will be discussed in chapter two), HBO has not always had the same image it has today. Throughout its existence, HBO has transformed itself from a relatively unknown newcomer in the television industry to a frontrunner when it comes to original content deemed

qualitatively high. But the content HBO both produces and broadcasts, is not the only aspect of HBO that has changed: its entire image and branding strategy has developed considerably over time, leading to the image of the illustrious network it is considered today. These developments do not only give an insight into how HBO functions as a brand, but also provide an insight to the developments within the entire television landscape. The continued development of the HBO brand can be seen as a response to the developments within the television landscape and expectations of both the

audience and the television industry. Rather than looking at the content of the HBO network, which has been done before by for example Edgerton, who is frequently quoted throughout this thesis, the image the network has created by the usage of slogans, taglines, posters, and trailers will be the focal point of this research. This, in part, is to not base this research on argumentation stemming from qualifications and subjectivity: instead, this research uses the image created by the network itself to analyze changes within the television landscape. These changes will be thoroughly discussed in chapter three of this thesis: in this chapter, only the development of the HBO brand, from the beginning as the Green Channel to its current (and possible future) image. This thesis will not entail a quantitative research of how the HBO image is perceived by the audience: instead, it will provide a qualitative analysis of the image HBO puts out and how this image relates to the developments within the entire Western television industry. The material used for analyzing the HBO image are based on posters and slogans readily available to the public, but will also include some promotional material provided by HBO to the television industry. This chapter will also contain an even more specific case study looking solely at the trailers HBO has developed in the past decade: this to provide an even more comprehensive

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understanding of the HBO image, and to acknowledge the full extent of the marketing ploys HBO uses to maintain the image the network has today. These trailers will range across multiple genres, but will have the HBO network as well as their scripted nature to tie them together. The findings after analyzing the HBO trailers will be further discussed in the third chapter, specifically concerning possibilities of standardization within HBO and what this means for both the Quality Television debate within television studies and the current developments within the television industry.

I From The Green Channel to Home Box Office

The HBO image as is well known throughout the media industry now, differs

tremendously from the initial image, if one could call it that at all. HBO started out as the Green Channel in the early 1970s, quickly changing their name however to HBO: Home Box Office. This name came about in order to reflect “…their theater-like conception of a subscription television (STV) service that would primarily offer first-run movies and sporting events to its paying customers.” (Edgerton 1) As is apparent, the association of HBO’s image to high quality series was not the case in the early days: HBO initially only aired Hollywood movies and sporting events, becoming popular only after gaining the rights to airing the coveted fight between Muhammad Ali and Joe Frazier in 1975 (2). Their name alone suggested a different experience than that of other channels. HBO was more than just television: it provided its audience with the same experiences associated with film, but within the comfort of their own home. The first tagline had, although different in execution, a similar message: “Different and First”. (Leverette 13) The first part of this slogan was connected to two major developments (which will be more thoroughly discussed in chapter three): one, HBO was one of the first cable networks, but the actual first successful cable network, inspiring many other channels. Secondly, it was also the first channel to provide its viewers with Hollywood movies seen as qualitatively high, without interruptions in the form of commercials. This needed to be specifically mentioned, due to the fact that during this period many new channels offering the same programming popped up. The Different part of the slogan was just a stepping-stone towards later slogans: slowly but surely, HBO’s image was not just that of a

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different network, but the best cable network. However, the Different aspect made it clear that this slogan would not last since, as mentioned before, new channels came into being offering the same kind of programming. Since “branding became the standard way in which networks and production companies differentiated their programming from the competition” (Edgerton 9), it was important for HBO to play into the different aspect even more.

It is important to note that HBO functioned differently than other networks at the time, primarily because it was a cable network instead of a broadcasting network. In order to receive cable (opening up the opportunity to watch more channels), the audience has to pay a monthly fee. Although initially not appealing due to the low amount of cable networks, the Ali fight changed this appeal. HBO’s initial slogans were all related to the fact that the network brought a cinematic experience to the comfort of the audience’s home. One of their taglines, for example, was “There’s no Place like HBO” in a commercial (1983), referring to both the unique aspects of the HBO brand, as well as showing people rushing home to be with their loved ones so they can watch HBO together. This creates an image of HBO being a integral part of people’s lives and almost event-like rather than what we have come to expect from television: endless zapping or one of multiple things being done. Later on, this image was even more strongly reinforced through their slogan “Let’s All Get Together” (Leverette 13), used from 1986 to 1988. Again, this shows the importance HBO placed on being a part of the family: the idea that an entire household gets together to spend some quality time with one another, while watching HBO. This plays into the traditional notion that television is a ‘domestic’ medium to be enjoyed with the entire family at home, and subsequently reinforces the idea that television is a medium created for a mass audience (Newman & Levine 134). This is further seen throughout their programming: series aimed at a younger audience and series that can be enjoyed by all ages were frequently aired, such as The Storyteller (1988), Encyclopedia (1988), and The Adventures of Tintin (1991). The question whether or not this campaign was actually successful amongst its viewers is not the point of this

argumentation: rather, as we can see, it is to analyze how HBO has changed its image over the past few decades.

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Later on, the subscription business model opened up the opportunity to create niche channels targeting specific audiences (which will be discussed in more detail in

chapter three), leading to cable networks creating “original productions tailor-made to the individual specifications of each channel’s target audience.” (Edgerton 6) This led to the first major change within HBO and its

image: although still being seen as a marker for airing quality Hollywood movies, HBO slowly but surely moved towards creating original content made for television as of the mid-1980s. By the late 1980s, a new slogan was used in their marketing campaign: “Simply the Best” (see picture 1). This was HBO’s first major step in creating an image of a network qualitatively above other television networks: as will become apparent throughout this chapter, it certainly was not the last. The slogan leaves little to nothing open for discussion: it suggests, by usage of the word simply, that it is universally accepted that HBO is just, well, better than everything else. Shortly thereafter, as of the early 1990s, HBO yet again changed its slogan from Simply The Best to We’re HBO (Leverette 13). This simplified slogan, although initially coming across as less ‘arrogant’, can be perceived as the exact opposite: it implies that the image of the HBO network is so well-known amongst its audience and feature possible viewers that there is no need for explanation. HBO is what is it (better), and everyone is aware of that.

Yet this change was not significant enough to ensure HBO’s success: the downside of the cable business model was the abundance of competing networks, leading HBO to yet again change their image. (8) Although already creating an image of a network that was better than others, HBO took this further as of the mid 1990s by investing more money into creative and original content than ever, focusing on becoming a unique network and a staple in audience’s viewing habits: “HBO, the brand, is so 1

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powerful and HBO, the concept, is so dynamic that it’s entering the digital future with the creative edge qualitatively superior to our competition.” (9) Examples of HBO series produced as of the mid-nineties are the critically acclaimed The Sopranos (1999) and Sex and the City (1998). Whether or not the content produced and aired by HBO was up to these qualitative standards mentioned above are besides the point in this research: what is pivotal, then, is how this statement made by a competitor’s former chairman says about the image of HBO. This statement, and these rather radical changes within HBO, were taking place at the same time as a new, and by now almost legendary slogan was created: “It’s not TV, it’s HBO” (See picture 2), used as of 1996. Yet this slogan was not met without controversy: “This single statement contains a critique of the entire system of American commercial television.”

(Edgerton 25) The tagline suggests yet again that HBO is better than everything else on television, simply because it is not television. Although this has been debated vehemently, in both Edgerton’s The Essential HBO Reader and Leverette’s It’s Not TV: Watching HBO in the Post-Television Era, both quoted throughout this chapter, whether or not this is true does not matter for this analysis: what matters is that this is the image HBO purposefully created. Whereas the previous slogans still implied that HBO was part of television, and thus in the same league as other networks, this newer slogan suggests otherwise. HBO is not even a part of television anymore: it is, in every way imaginable, a cut above the rest, removed from what is associated with television and seen as a brand completely separated from television: one the one hand, you have television with all of its channels, and then there’s HBO. This also

showcases how HBO moved away fairly quickly from its image as ‘something for the whole family’ to just focusing completely on being perceived as qualitatively better than anything else that one could watch on television. What this says about

developments at the time within the television landscape will be discussed throughout chapter three: yet it is important to note that, of course, within the television industry, this slogan was met with great skepticism. It is also important to note that, as

mentioned previously, both Edgerton and Leverette are frequently mentioned throughout this thesis: yet both the premise of this research, although of course focusing on HBO as well, differs tremendously. Whereas these scholars focus solely on HBO, or contribute changes within HBO’s content to subsequent changes within the television landscape, this research focuses solely on the HBO branding as a means to understand significant technological, branding, and content developments within

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the television landscape.

II Current and Future Image

The power of the slogan however, is undeniable: the image HBO created through the usage of this tagline, although not the subject of analysis in this thesis is immense. Yet it is often forgotten that this tagline was only used until 2009: since then, the slogan has yet again developed itself (although not far removed from the successful

last slogan). Currently (2014) in use, among others, is “You Know. It’s HBO.” (See picture 3) The image HBO created through the usage of “It’s not TV. It’s HBO” is so powerful, that the first part of the slogan has been rendered obsolete. The new slogan suggests that not only has the old slogan become such an integral part of viewers’ perception of the HBO brand that it needs no words, it also implies that, by now, the audience has become aware of the fact that HBO is qualitatively above other network channels. It is also interesting to not that in this specific poster, one of many within the same marketing line, not even half the face of a man is shown (Steve Buscemi, who plays the lead in the HBO original Boardwalk Empire (2010)). This also suggests that there is no need for blatant advertising of their series, or even mentioning a series at all: we, the audience, know. We know the HBO brand, we know the HBO content, and we watch all of the series making it easy to identify a character by seeing only a part of their face and nothing else. And even if one does not watch the show in question, it makes no difference: you, the viewer, can just assume it’s qualitatively high since that is what you, the viewer, associate with the HBO brand. Content-wise,

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this brings a lot of pressure to perform up to standards (Edgerton 317). Yet by looking solely at the brand, it seems HBO has established their image to such an extent that there is barely need for change.

The poster above (4) is also part of HBO’s current marketing strategies. Delving deeper into what makes them stand out from other networks, this is yet again a not-so-subtle stab at the television industry. The first line, “we aren’t for everyone” now suggests that not only is the HBO network better than ‘regular’ television: its viewers are also better than those who watch ‘regular’ television. By basically stating that HBO is not for the faint of heart, but rather for open-minded individuals who want to watch television series “the way they were meant to be told”, HBO goes even further than before, reinforcing their status as qualitatively above everything else—but now, they include their audience in this image. Current series that rely heavily on this ‘controversial’ image, are series like Game of Thrones (2011), True Blood (2008) and, as will be discussed later on, Girls (2012). The fact that HBO, due to its nature as a cable network rather than a broadcasting network, does not have to comply with the same rules (making it possible to air more daring and controversial topics, vocabulary, and scenes), is being left out in the creation of this image: however, it will be

discussed throughout chapter three.

Due to developments within the television industry that will be discussed more

4

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thoroughly in chapter three, HBO has realized and acted upon these changes in order to remain in its thriving position: “it is TV, in that HBO is susceptible to the same laws of hit-making as any other network.”(317) Due to developments within digital media and spreading content across multiple platforms (Netflix, for example), HBO has had to change their marketing strategies in order to incorporate this fairly new part of television. Thus, came the introduction of HBO GO: an online service allowing its viewers to watch HBO content whenever they want, wherever they want, on any device (mobile, laptop, etc.). With this new development, of course, came additional taglines. As can be seen below (5), HBO used the same marketing ploys as before, only more specifically aimed at the multi-platform users. Clearly inspired by the successful HBO slogan “It’s not TV. It’s HBO”, the slogan for HBO GO is “It’s not

any Streaming Service. It’s HBO GO”, differentiating itself from other streaming services as much as the actual network did with television. HBO GO is branded as being more than just your run-of-the-mill streaming service: however, what the actual differences are between HBO GO and other streaming services remain unclear when looking at the marketing alone. Looking beyond the image produced by HBO for HBO GO, the main feature HBO GO possesses making it stand out from other streaming services is that it provides (legally) the ability to watch HBO original series the same day it airs on the television. Yet this does not suggest it stands out enough to make such a bold proclamation that it is, like the actual network, far above its

competitors. HBO GO builds on HBO’s reputation and image as qualitatively high and different, to the point where HBO GO hardly has to prove itself through

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marketing techniques: it simply is better by association. Whether or not this has actually proven to be successful is unclear: what is clear, is that the HBO GO image mirrors that of the HBO network, trying to establish a similar reputation within online streaming services as it has within television.

Yet this is not the only major development within the HBO network. HBO is not restricting its business to just the United States: it’s moving abroad, expanding its enterprise throughout the world (Leverette 5). Their image, although initially of course only focused on the national market, is currently being marketed from Western Europe to South-East Asia. Although as can be seen in picture 6, this image has not necessarily been adjusted significantly to the

local culture (in this case Macedonia), there is a brief mention that Macedonian subtitles are available. The implicit message here is that HBO allows Macedonia to access

content they could never have before: content that is qualitatively better (hit movies,

original series), but also changes the viewing experience by excluding ads and

commercials. This, in this particular poster, is especially highlighted, suggesting not only that the lack of advertisements is something Macedonia has not seen before: it also

suggests that HBO does not need ads in order

to be successful. This relates back to the abovementioned image of being qualitatively better than everything else, but also to the notion that viewers know HBO and are so familiar with its image (even if it hasn’t been available in their country until now), that HBO hardly needs to reaffirm its image: the audience does this for them. By expanding their business abroad, HBO does not only spread its image to other countries: it strengthens the existing image by showcasing its power within the television industry. There are few channels previously aimed at a local market that have been able to transition to a transnational corporation. HBO has done this, and is currently still in the process of developing its company to let people all over the world be introduced to the HBO image.

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What must not be forgotten, however, is the fact that HBO does not only air original series: it still airs Hollywood movies considered to be high quality, as well as many sport events. This is not as apparent throughout their branding and marketing strategies since the 1980s: it can be assumed that, although an integral part of the HBO network, is not their main focus when trying to establish their brand.

III Visualizing the Image

To fully grasp the recent developments within the HBO brand, it is important to not only look at the promotional material provided concerning just the network itself, but also at the promotional material created based on their original television series. The HBO image, as previously discussed, is based primarily on the consensus that it creates and airs original series that are qualitatively better than those produced and aired by other networks and production companies. Instead of analyzing the actual content of the series created by HBO, this case study will focus on the trailers created to promote these series and the image it produces of the series and, as a result, of HBO. Since HBO has created a significant amount of original series since the eighties, this case study will primarily use trailers of series recently aired, or still waiting to be released. When necessary in order to provide a deeper understanding of the HBO image, trailers of relatively older series will be used as well. HBO original series also span across multiple genres: as discussed in the introduction of this thesis, the dramedy genre and the fantasy/crime genre will be used for this analysis, since it seems as though those genres are currently the most popular amongst HBO series simply deducted by looking at their current rotation. What the image produced by these trailers conveys concerning recent developments within the television landscape will be discussed in chapter three.

Within the dramedy genre, which can be considered a hybrid genre with both

dramatic elements and comedic elements, the first trailer analyzed is the trailer for the first season of Girls (2012). In the trailer, we are introduced to the main character, Hannah, and her friends, who are all in their early to mid twenties. The series takes place in New York City, and throughout the trailer it becomes apparent that there are three struggles Hannah has to deal with: making a living, coping with her insecurities,

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and finding love. Hannah’s character, by appearance alone, seems an unconventional lead: she has many tattoos and does not conform to the body type of actresses usually associated with Hollywood (tall, skinny, beautiful). This is, as mentioned by

Thompson in his account of what one of the qualifications is of Quality Television, an aspiration towards realism (11). Many of the actresses seen in Hollywood are not necessarily relatable to the audience, especially when it comes to their appearance. Hannah’s appearance, on the other hand, is fairly average, depicting an image of a series that closely resembles real life. The main character also states in the trailer that she is “the voice of her generation…or a voice of a generation”, creating a sense of her being personable and relatable. The issues she deals with throughout the trailer, for instance the difficulty of finding a job after graduating from college, but also the sexual explicit nature of the series, also seems to aspire towards realism and is a subject not frequently discussed in television: yet HBO does not shy away from these subjects (Edgerton 325). Why, for example, the sexual explicit scenes are possible to air on television, will be discussed in chapter three. But what is important to note here, is that the appearance of the overt sexuality in just the trailer reaffirms HBO’s image as seen in picture 4 of this chapter: they tell stories how they are meant to be told, they don’t turn away, they don’t censor, etc. This again creates an image of HBO being different, daring, and better than other television series, simply through certain ploys used in this trailer.

Within the trailer itself, there are only two references to the world outside of the series itself: a mention that it was produced by Judd Apatow and written by Lena Dunham. Judd Apatow is a well-known producer and writer for both television and film, producing for instance the series Freaks and Geeks (1999), considered to be one of the greatest television series of all time (Poniewozik). Lena Dunham, who plays the lead, wrote the independent movie Tiny Furniture (2010), which was received

extremely well by independent movie festivals across the United States. By explicitly mentioning the creators of the series, HBO stresses the notion of the auteur: “Central to HBO’s definition of original programming is its promotion of the TV auteur” (Edgerton 71). The idea of an auteur can be find in both film and other established arts: by using a well-known and respected creative, an auteur, to attract an audience, HBO reestablishes their identity of producing and airing original Quality Television. If the name, in this case Judd Apatow, is frequently associated with both good films

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and good series, it can almost be assumed that this particular series will have the same qualitative standards as that of those he has produced in the past (McCabe 189), or at least that is how it comes across throughout the trailer.

Another HBO original series within the dramedy genre is the newcomer Looking (2013). The series focuses on a group of male gay friends in their early to mid twenties in San Francisco. Throughout the trailer, it becomes apparent that they deal with the same issues as became apparent in the Girls (2012) trailer: insecurities, money problems and complicated love. The fact that the entire main cast are gay men, yet again confirms the abovementioned observation that HBO does not shy away from aspects of life usually not present in television series and is moving towards realism. Although the series takes place in San Francisco, a city known for its

open-mindedness towards the GLBTQI community, sexualities differing from the heterosexual norm are known to be a controversial topic within the rather

conservative United States. The discrepancy between Looking (2013) and the gay rights issues in the United States reaffirm the fact that HBO is positioning itself to be controversial and not for everyone (see picture 4). By tackling controversial issues at hand, HBO seems to play into the fact that the network is more than just mindless entertainment: it’s real, it’s quality, and it makes the viewer think. According to Edgerton, this is precisely what HBO is known for: “pushing boundaries” (325). Although the feel and look of the two trailers discussed thus far are fairly similar (same music, themes, cinematographic style), what is important to note is that the latter trailer does not include any references to an auteur. Unlike the trailer for Girls (2012), Looking (2013) does not mention its producers or writers in the initial trailer. By looking solely at the trailer, this can be interpreted in different ways: for instance, there is no particular media executive involved in this series whose name would resonate with the audience, and is thus irrelevant for the trailer. On the other hand, this could be seen interpreted as irrelevant not due to the fact whether or not there is or is not an auteur linked to the series: the image of HBO and its original series, whether new or established, is so strong that these marketing ploys have become inessential in attracting an audience. Although the previous mentioned look and feel of the two trailers is not necessarily important for the analysis of the brand, what is important is that these similarities might be the reason for the lack of any mention of an auteur: the series Girls (2012) has been so successful since it first aired, that the

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similarities between the trailers and series could evoke the sense among the audience that Looking (2013) must be just as qualitatively of a high standard.

A series within the same genre that precedes the abovementioned series is Sex and the City (1998). Although the series, and its trailer, aired well over a decade before both Girls (2012) and Looking (2013), it is important to analyze this trailer as well to fully understand the scope of the image HBO has created through the usage of dramedy trailers. In the Sex and the City (1998) trailer for the first season, the main character, Carrie, sarcastically describes how ‘difficult’ the research is for her column (going on dates, making out with men, etc). Throughout the trailer, there are glimpses of her life with her friends in New York City, as well as her active love life. As mentioned before, the explicit mention and appearance of her sexual endeavors are an aspect of real life often not as explicitly detailed in television, yet common within HBO. This trailer showcases that HBO has been pushing boundaries since the nineties, and that the explicitness seen in both Girls (2012) and Looking (2013) are nothing new within the HBO original network programming: it was, and maybe still is, however, as will be discussed in chapter three, different from original series produced by other

networks. The explicit nature of HBO original programming is present throughout its existence and an integral part of the image HBO puts forth.

The second genre that will be used to analyze HBO’s image is the fantasy/crime genre. Although these are two different genres, the two series that will be discussed in this analysis share aspects of both genres, making it difficult to completely place them within one or the other. The first trailer used for this analysis is that of the HBO original series True Detective (2014). In the trailer, it becomes apparent that the series revolves around two police detectives, set in the vast and empty looking areas of Louisiana. The trailer has a gritty, almost depressing feel to it: unhappiness, confusion, and emptiness are the emotions the main characters seem to exude throughout the trailer. Although completely different from the trailers within the dramedy genre, what is interesting to note is that they are all, including the True Detective (2014) trailer, not very happy. The trailers do not project a happy, fun life: rather, they showcase the difficulties in all aspects of life. Again, this reinforces HBO’s image as not shying away from subjects previously deemed inappropriate: instead, the series they create try to tell the stories how they were meant to be told (see

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picture 4). Instead of explicitly mentioning an auteur, the trailer mentions the two leads: Matthew McConaughey and Woody Harrelson, two actors known for their roles in films rather than television. In this case, the focus on the leads is very similar to the usage of auteurs HBO has employed previously: the actors function to show the audience that the series will be of a qualitatively high standard, simply because the actors involved are associated with quality film. This also separates HBO from other networks (It’s not TV. It’s HBO), trying to create an image related more to film than television. By focusing on the famous and well-respected film actors used in their television series, HBO yet again separates itself from television by reinforcing the image of the qualitatively best network available on television.

The second series within the fantasy/crime genre is the upcoming Leftovers (2014), which at this point in time has not aired yet. The trailer, however, has been made available to the public, both online and on television. The trailer gives away a fair amount of the content of the series: it revolves around the aftermath of an event that resulted in the unexplained disappearance of a percentage of the world. The same themes as discussed previously seem to be the case within this series: confusion, loneliness, emptiness, and unhappiness. Again, themes HBO deploys regularly, yet is not considered synonymously with television. In the trailer alone, there are again plenty of sexually explicit scenes: and again, this reconfirms the notion that HBO pushes boundaries by showcasing nudity and intercourse onscreen (Edgerton 325), as well as violence, which was also present in the True Detective (2014) trailer. The actors, although well known in the industry, are not named: the producers and directors, the auteurs, are. Damon Lindelof, Tom Perrotta, and Peter Berg have all either produced, written, or directed some major Hollywood blockbusters, as well as several critically acclaimed independent movies. Explicitly mentioning their names again reinforces the notion of HBO being different and better than other television: HBO is so good that those working in the film industry do not even hesitate to take the opportunity to be involved in an HBO original series. Instead of seeing television as beneath film, it can be deducted that HBO is seen as on the same level as film is. The common thread throughout the trailers of HBO original series has become apparent. Although not explicitly mentioning their previously analyzed taglines, HBO does use certain methods to reinforce the quality image they have so meticulously

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created. Not only has HBO created an image that is seen qualitatively above the rest of television: HBO has used specific marketing ploys, like the auteur, to amplify their identity as being better than television, even if it is part of the same medium it so readily undermines. The importance of this trend throughout HBO trailers on a larger scale, such as its connection to developments within the entire television industry, will be discussed further in chapter three: for now it can be only stated that it has become apparent through its trailers that HBO has created a certain formulaic approach to how they promote their original content in order for it to comply with the image the

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II The Quality TV Debate

Introduction

As will become apparent later on in this chapter, television has always had a difficult time proving its worthiness concerning its cultural and artistic value. Throughout television’s existence the medium has been seen as a mass-produced counterpart to the established arts, considered more a form of mindless entertainment rather than a cultural artifact. Many of the authors who were or are currently part of this debate will be quoted throughout this chapter: from Robert Thompson’s early definitions of the Quality Television genre to Diane Cardwell’s notion of television aesthetics, this chapter will provide a clear overview of the foundation of this debate that is so crucial in understanding the importance of the HBO brand within both the television industry as well as the academic television studies.

Whereas film used to have this very same problem in legitimizing its artistic potential, television took away many of film’s burdens but has seemingly not been able to completely shake these negative connotations itself. However, as analyzed in chapter one through the HBO brand and what will further be analyzed in the third chapter, there has been a change within television: there is a qualitative scale within the content, showcasing the qualitative and artistic possibilities television can indeed possess.

In order to fully understand the implications of the HBO brand and how the continuously in development image of HBO translates to changes in the television landscape, it is important to first get a clear view on the rather controversial Quality Television debate within Television Studies. This due to the fact that the branding of HBO is inextricably linked to this Quality debate: as will become clear in this chapter, the HBO network is often referred to in this debate as an example of the qualitative and artistic potential television is capable of possessing. This debate is crucial in grasping the full extent of developments within the television landscape, as will be explained in chapter three. Although this thesis does not comprise an analysis

concerning the content of HBO, the development of its image through marketing and branding, especially since the early nineties, directly relates to the Quality debate and, as will be discussed later on, has possibly influenced this debate.

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In this chapter, the development of this debate throughout its existence within

Television Studies will be discussed and analyzed. From the introduction of television and its positioning against the established arts, to the ‘borrowing’ of film aspects and legitimizing television’s worth through filmic attributes, this chapter will comprise the entire basis of the Quality Debate and where this debate initially stems from.

Subsequently, the link between the HBO brand and this debate will be made.

Questions that came up during the first chapter, for instance why HBO purposefully distances itself from other television (made apparent just by looking at their current tagline), will be answered by connecting the HBO brand to this discussion.

To fully understand the debate, all sides of this discussion will be thoroughly examined: there are not just two sides to this debate, but rather a complicated multitude of opinions that form the basis of the Quality Television debate. I Legitimizing Television

In order to truly understand the difficulties television has been faced with while trying to prove its artistic and creative capabilities, it is important to first look at another medium, film, which has been through a similar ordeal. Throughout its existence, film has developed itself from a controversial medium detested by many scholars for its lack of sophistication and cultural and political power, to a medium whose artistic potential is almost undeniable not just within cultural studies, but in western society as a whole. One of the scholars most adamant in the deterioration on an individual film had when it was first introduced to a mainstream audience was Theodore Adorno, a well-known cultural theorist heavily opposed to reproduction and mass culture. Not only did he fear the loss of any political power art might have when it was mass-produced (as he suggests is the case with film and most likely television), he also boldly stated that film led to a loss of creativity and imagination in an individual due to the fact that everything is thought of for him (Waldman 43). This critique on film was one heard often: whereas the established arts (poetry, classical music, etc.) were assumed to have a positive influence on the cultural intelligence of a person and possibly have a political, or as Adorno mentioned, protesting value, film was a medium that was seen more as mindless entertainment ‘dumbing down’ the people rather than a cultural artifact. Although the writer of the text mentioned above quoting Adorno, Diane Waldman, did not necessarily agree with Adorno, she did state

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the following: “…it might be argued that Adorno’s analysis of film in 1944 is truer for television today” (54). Although Waldman’s article was written in the late 1970s, this statement showcases how television took over film’s role as a ‘deficient’ medium, lacking the sophistication and intellectually stimulating aspects frequently associated with the more established arts. Whereas Waldman continuously tries to undermine Adorno’s viewpoints by pointing out differences within the medium film focusing for instance on multiple modes of production, she fails to make the same distinctions within television (much like Adorno did with film). As mentioned previously, the fact that this article was written in the 1970s must be taken into account when reading Waldman’s statement, since television is known to be a medium constantly

transforming itself (Newman & Levine 129). Yet it does become clear that from an early start, television took over film’s role in being an underappreciated medium seen as hardly anything more than mindless entertainment.

But how has television been able to prove itself as a medium worthy of analysis and capable of artistic and qualitative value (if at all)? Whereas film had to prove its worth by showcasing it had the same artistic, intellectual, and varietal possibilities as the established arts, television’s worth is frequently decided by offsetting it against film, using a vocabulary associated with film and film studies in order to demonstrate its worthiness (Jaramillo 67). Deborah Jaramillo focuses primarily on one specific word, the word ‘cinematic’, in her article Rescuing TV from the Cinematic. She states that there are three reasons why television scholars should refrain from using the word cinematic, or any other word ascribed to film specifically, to describe ‘good’ television:

“First, it perpetuates an audio-visual media hierarchy that is hopelessly antiquated. Second, it does not advance our understanding of where the look and sound of television are going in any meaningful way. Finally, it implicitly argues that film has a clearly understood essence

that can compensate for television’s lack thereof.” (67)

Although Jaramillo’s standpoints concerning the Quality Television debate within Television Studies will be discussed more thoroughly in the next section of this chapter, her ideas concerning the legitimizing of television are important in

understanding how television has had to prove its worthiness by placing itself within a filmic framework. Whereas Waldman points out throughout her text the flaws in

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Adorno’s argumentation that film is a ‘lesser’ medium by allocating attributes usually considered to be part of the established arts to film (political power, artistry,

intellectually stimulating), Jaramillo critiques this approach of comparing media, specifically comparing television to film. Television and film are different, and thus the vocabulary used to describe and analyze film should not be used for television seeing as that will lead, and already has led, to a failure in completely analyzing, understanding, and appreciating television in its own right. Jaramillo’s last reason as to why using the term cinematic is detrimental to television studies is also crucial in understanding the importance of valuing television’s artistic capabilities without measuring the medium against film. In Waldman’s article, she provides her readers with an insight in not only Adorno’s views on television, but also those of Walter Benjamin, another cultural theorist whose views strongly oppose those of Adorno. Although both cultural theorists agree that under to reproduction the ‘aura’, or essence, of film or any work of art for that matter evaporates, they disagreed on the results of this loss (Waldman 43). Whereas Adorno saw film as a mass-produced product dumbing down, as it were, its audience, Benjamin believed this could result in a “democratization of art, allowing among others a “collective experience” and “ability to enrich our field of perception” (42). However, Benjamin did not have the same positive notions concerning film’s possibilities when produced under a capitalist mode of production. This again showcases that film has undergone the same struggles as television has, but has been able to shake this perception even when produced under capitalism. Yet television seemingly struggles to release itself from not only these negative connotations, but also from the medium film. Television thus far has only been able to legitimize itself by claiming it is something else entirely (something that also became apparent in chapter one, with HBO’s tagline being “it’s not

television, it’s HBO”). This is inextricably linked to Jaramillo’s first reason as to why individuals should refrain from using ‘film language’ when discussing ‘good’

television: it implies a hierarchy within the arts that is, according to Jaramillo, “hopelessly antiquated” (67). Not only does this statement confirm what has become apparent by reading Waldman’s statements, that scholars uphold a hierarchy within media and television is not only (unrightfully so) at the bottom, but this entire hierarchy is actually based on comparisons and false presumptions, leading to underappreciating each medium in its own right.

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One of television’s main points of critique is the presence of commercials, making the medium seem as a symbol of mass culture and capitalistic society. By not complying to this television business model, as for instance HBO does (see chapter one), it creates a certain flow much like that of film that seems less likely produced under capitalist production and more like an artistic, qualitative series: “Good television… escapes from advertising and by extension from American television’s most typical structure and form.” (Newman & Levine 134) This again is one of the many aspects in which television, and how television functions within Western society, is not appreciated, but rather has to mirror filmic aspects in both content and presentation in order to be respected.

II Quality Television

Television’s original content (excluding movies and ‘live events’) has always been under scrutiny from both media and cultural scholars. In order to legitimize television, but mostly to differentiate between seemingly ‘good’ and ‘bad’ television, the term Quality Television was introduced as early as the 1970s (Thompson 12). But what does this label entail exactly, and who decides what is and what isn’t considered Quality Television? It seems as though there are multiple definitions, some of which are even contradictory, yet mostly determining what Quality Television is seems to be based on feeling: “People just seemed to know it when they saw it.” (13)

In the book Television’s Second Golden Age, Robert Thompson tries to make this distinction objectively instead of subjectively by creating a ‘list’ of sorts to determine whether or not a series can be considered Quality Television. Although too extensive of a list to fully discuss in this thesis, qualities a series must possess range from “… attracts an audience with blue-chip demographics” (14) to “…aspires towards

realism” (15), and from the rather vague quality “…defined by what it is not” (13) to the clearly stated “…tends to be literary and writer-based.” (15) The rather vague characteristic Quality Television should possess according to Thompson stated above (“…defined by what it is not”) is quite interesting: “…the worst insult you could give to Barney Rosenzweig, the executive producer of Cagney and Lacy, was to tell him that his work was too TV.” (13) Again, this confirms the previously mentioned inclination people have had and currently still have to legitimize television’s worth by connecting its content to film or other established arts, rather than seeing television as

Performance through Branding: How the HBO Brand relates to Technological and Content Developments in Television

Performance through Branding

How the HBO Brand relates to Technological and Content

Developments in Television

Table of Contents

Introduction

Theoretical Framework