The effect of the television cannot be adequately expressed in the conditions of success or failure, sympathy or antipathy, approval or statement. Rather, an attempt should be made with the help of depth psychological categories and previous knowledge of the mass media to crystallize a number of theoretical concepts through which potential effect of television – its effect on various layers the person of the viewer – could be studied. It seems timely systematically explore the socio-psychological incentives that are characteristic of television material on both the descriptive and the psychodynamic level, analyze their prerequisites, as well as their general picture and to assess the effect that they can produce (Adorno 213-235). This procedure can eventually develop a set of recommendations on how to how to deal with these incentives to obtain the most desired effect television. Revealing the socio-psychological consequences and the mechanisms of television, often acting under the guise of false realism, not only can improve the show but more perhaps the public as a whole can be sensitized to the vile effect of some of these mechanisms.
The improvement of television is not primarily seen in the artistic, purely aesthetic level, an outsider to real customs. This does not mean that we naively take for granted the dichotomy between autonomous art and the media. We all know that their relationship is very complicated. Today’s hard division which is called “long-haired” and”short-haired” art, is a product of a long historical development. It would be romantic to suggest that earlier art was purely pure, that the creative artist thought only in terms of internal consistency artifact, not his influence on the audience (Adorno 213-235). Theatrical art, in particular, cannot be separated from the audience’s response. On the contrary, the traces of the aesthetic requirement of being something autonomous, a world unto itself, remains even in the very trivial product of mass culture. In fact, the real hard division art in the autonomous and commercial aspects commercialization function. It was hardly coincidental that slogan l’art-l-art was invented polemically in Paris the first half of the nineteenth century when literature really became for the first time a big business. Many cultural products with the anti-commercial trademark “Art for Art” sake “show traces of commercialism in their appeal to or in a tangible manifestation of material well-being and due to the importance of the work” (Adorno 213-235). This trend was expressed in the neo-romantic theater the first decades of our century.
One of the most popular methods of controlling the mind is a subconscious suggestion. It can be defined as the process of presenting information at subthreshold levels of conscious perception in order to direct the thinking and actions of a person accordingly. Although this method is used in secret, most of us know that it is widely used, especially in advertising. Advertisements in magazines, newspapers, on message boards, on television are specially designed to work on the subconscious mind through various images, most often of a sexual nature. Sexual overtones connect the advertised product with pleasure, and it is the subconscious anticipation of pleasant experiences that stimulate the desire to buy this (Adorno 213-235) product.
You have probably noticed how difficult it is to attract the attention of a person who watches TV. If you call his name, it usually takes some time for him to get out of his woozy state. Even when you just pass by the TV, not going to watch anything, you are drawn to it. The TV has a very strong effect on the person.