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typefaces more favorably when perceived as sharing their ideological orientation.
Results broaden our understanding of how meaning is conveyed in political

communication, laying the groundwork for future research into the functions of

typography and graphic design in contemporary political campaigns. Implications for
political practitioners are also discussed.

(Katherine HaenschenORCID &Daniel J.
TamulORCID)

2.9.3 television commercial

Although advertising accompanied television programming from its very earliest

years, the conventional formats of commercials familiar to modern viewers were not
established until the early 1950s. Prior to that time, it was common for the talent on a

television program to discuss the sponsor frequently and to deliver commercials while
remaining in character. Thus, advertising and entertainment always dovetailing

somewhat were especially conjoined in the early years.

In the first decade of postwar television, advertising agencies tended to produce both

the programming and the advertising. This allowed for easy blending of ads and
entertainment, sensitivity to the concerns of the sponsor, and outright promotion of

advertised products as part of the programs themselves. For example, Westinghouse,

sponsor of The Adventures of Ozzie and Harriet, wanted scenes set in the kitchen in
order to show off their brand of appliances.

A decade later, networks assumed greater control of programming and the single
sponsors of early TV shows gave way to multiple sponsorship.

This brought about a more balanced sharing of power sponsors could always

refuse to underwrite programs if they did not like content and a less crass connection

between ads and entertainment. By the 1960s, the single sponsorship of the early
years (e.g., Kraft Music Hall, Hallmark Hall of Fame, The Kelvinator Kitchen,

Gillette Cavalcade of Sports, etc.) practically disappeared and most program titles
ceased to include sponsors' names.

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