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Subhash Dhuliya
“When every moment is entertainment, every channel a spectacle, and life itself a stage, nothing is real, nothing matters, and meaning disappear”
In 1977, Jerry Mander, a former advertising executive in San Francisco, published Four Arguments for the Elimination of Television. In this book, Mander exposed how television networks and advertisers exploit this pervasive medium for commercial purposes. Yet, his work goes far beyond a critique of advertising. Mander examined not only the content of television images but also their effects on the human mind and body. He discussed phenomena such as the induction of alpha waves, the hypnotic effect on viewers, and how audiences often perceive television content as reality—even though programs rely on rapid camera switches, quick image movement, computer-generated objects and morphing, and other technical manipulations. He also highlighted the impact of prolonged television viewing on children, including the onset of attention deficit disorders. Mander’s work, which took a strong anti-television stance, was remarkably prescient for 1977, when television was still nascent in countries like India, though developed nations were beginning to experience its effects.
Marshall McLuhan famously remarked, “With TV, the viewer is the screen,” capturing the immense influence of the medium. In the age of information, television has become a dominant force in popular culture, shaping opinions and influencing nearly every aspect of life. The proliferation of channels and the globalization of media have exposed audiences to programming that often prioritizes entertainment over cultural alignment or social values. This has led to a phenomenon where form expands while content shrinks, with entertainment increasingly designed to maximize commercial returns, often at the expense of the public sphere.
Market forces now heavily shape media content. With the liberalization of media markets, audience preferences—as interpreted by producers—have become critical in determining programming. Channels compete fiercely for prime-time slots, leading to highly commercialized content. Satellite television, particularly in urban areas, has eclipsed traditional broadcasters like Doordarshan in attracting affluent viewers—the key demographic for advertising revenue. The globalization of media has intensified the flow of information and cultural products worldwide, often privileging Western perspectives and reinforcing one-way cultural dominance.
Urban-centric, commercially driven programming exemplifies this trend. Star Plus’ Kaun Banega Crorepati, which dominated the 9 p.m. prime-time slot, forced competing channels to offer populist programming in response. In such a competitive market, the diversity of cultural expression suffers, and the public sphere—where ideas, values, and civic debates should thrive—becomes marginalized. Commercialization tends to suppress novel voices, while the broad spectrum of human interests and cultural heritage is inadequately represented.
This raises critical questions about the distinction between public and private spheres. The concept of the public sphere is central to understanding media, politics, and society, as it shapes public opinion and informs policy-making. Prof. Nicholas Garnham highlights that this boundary is fluid, historically contingent, and normatively significant. It determines which topics are open to debate and which social actors can participate. In contemporary media debates, the public-private distinction is invoked in discussions about democratic politics, media content and privacy, and media regulation in the context of technological convergence. The normative evaluation of public and private spheres affects the design of regulatory mechanisms and the social role of media.
In developing countries, these distinctions have been largely influenced by Western standards, often ignoring local cultural and socio-political contexts. The Internet, while a tool for public communication, remains unevenly accessible, limiting its democratizing potential. New technologies require regulatory frameworks sensitive to national priorities, balancing freedom of expression with societal and cultural needs.
Alternative Concepts
Today, private interests dominate over public ones in media markets. The market’s focus on profitability threatens the public sphere, which ideally fosters discourse aimed at the common good. While commercial and public media overlap, the intensification of market-driven programming has highlighted the erosion of the public sphere. Developing countries, including India, often replicate global media trends rather than innovating alternative concepts, further marginalizing public broadcasting.
In developed societies, public broadcasting has seen a resurgence, driven by audience dissatisfaction with violence-laden entertainment. Studies show television’s significant impact on children’s behavior, including desensitization to violence and imitation of aggressive acts. For instance, research in the United States estimates that by age 18, a child may witness 200,000 acts of violence on TV. The American Academy of Pediatrics recommends no more than two hours of television daily, yet even within this limit, children are exposed to thousands of violent acts. Television programs often glorify violence for promotional purposes, as action and sexual content require less narrative time and explanation than complex storylines.
In India, similar trends are emerging in advertising and programming, particularly in automobile promotions and entertainment content. Studies by the National Council of Educational Research and Training have documented aggressive behavioral tendencies among children exposed to violent programming. Krishna Kumar has argued that cinema and television have cultivated a volatile cultural ethos, with media-induced violence desensitizing viewers and impeding children’s emotional development. Regulatory initiatives, such as those by Prasar Bharati, have faced challenges from both state and market interests.
Television is inherently a passive medium; viewers are conditioned to absorb rapid, highly stimulating imagery, fostering instant gratification and fragmentary thought. Yet, audience awareness is growing. In developed countries, viewers increasingly seek high-quality, educational, and documentary content, valuing substance over mere production quality. For India, this indicates potential for culturally relevant, educational programming that entertains while fostering inter-cultural understanding.
Market Pressure and Public Broadcasting
In developing societies, media reach must extend beyond commercially viable audiences. Television programs can function as forums for societal dialogue, but market-driven production often prioritizes populist appeal over public interest. Autonomy in editorial content is frequently undermined by financial dependence, creating a media landscape dominated by market pressures rather than cultural and civic considerations. Regulation is necessary to protect the public sphere and ensure diverse, informative content.
Doordarshan, India’s national broadcaster, faces the challenge of balancing market competition with its public mandate. Unlike private channels, which operate with market clarity, Doordarshan must develop programming that fosters viewer loyalty through information, education, and healthy entertainment. New strategies aim to expand reach across all societal segments, offering varied content while maintaining relevance against commercial competitors. Initiatives such as the Review Committee on Prasar Bharati and the proposed Information, Entertainment, and Communication Bill seek to define this balance, promoting quality, impactful programming that informs, educates, and entertains.
Convergence and Regulatory Mechanisms
The convergence of information technology, telecommunications, and broadcasting necessitates regulatory oversight. The proposed Communications Commission of India (CCI) would manage spectrum allocation, licensing, and content standards across voice, data, and video services. Such mechanisms are vital to safeguard cultural heritage, maintain national integrity, and ensure media aligns with social values without stifling innovation. Regulatory frameworks must balance freedom of expression with public responsibility, a task especially crucial in diverse societies like India.
The Way Forward
India’s entertainment and media industry is expanding rapidly, with strong growth in television, film, and music sectors. However, the dominance of commercial, entertainment-driven content threatens the public sphere. Television, while a powerful medium of information and education, has largely been co-opted by commercial interests. It is imperative for developing countries to learn from global experiences, avoiding the pitfalls of media commercialization while leveraging technological advances for public benefit.
Public broadcasting, coupled with strategic regulation and innovative programming, can ensure that media serves both educational and entertainment needs. Content quality, cultural relevance, and informative value will determine long-term audience loyalty, rather than transient attraction to sensationalist programming. Protecting and nurturing the public sphere is crucial to fostering informed citizenship, cultural integrity, and societal development.
In Lieu of Conclusion
Jerry Mander’s critique of television in 1977 remains relevant today. While television is more than mere advertising, its commercial imperatives often dominate content and form, shaping perceptions and behaviors. Mander warned that rapid, manipulative imagery conditions viewers for passive acceptance, potentially enabling external control. In the contemporary media landscape, these observations serve as a cautionary reminder: while television offers vast potential for education and information, unchecked commercialization risks eroding the public sphere and undermining societal well-being. Advertising may drive programming, but the ultimate responsibility lies in producing content that informs, educates, entertains, and empowers audiences, ensuring media remains a force for public good.
The author is Founder-Director, Newswriters.in and Former Vice Chancellor, Uttarakhand Open University, Former Professor, IGNOU | IIMC | CURAJ & Distinguished Professor & Dean, School of Creative Art, Design & Media Studies, Sharda University.
