western, like the movie documentary, has always been a lowly 
form. With TV, the western acquired new importance, since its 
theme is always: “Let’s make a town.” The audience 
participates in the shaping and processing of a community 
from meagre and unpromising components. Moreover, the TV 
image takes kindly to the varied and rough textures of Western 
saddles, clothes, hides, and shoddy match-wood bars and hotel 
lobbies. The movie camera, by contrast, is at home in the slick 
chrome world of the night club and the luxury spots of a 
metropolis. Moreover, the contrasting camera preferences of 
the movies in the Twenties and Thirties, and of TV in the Fifties 
and Sixties spread to the entire population. In ten years the 
new tastes of America in clothes, in food, in housing, in 
entertainment, and in vehicles express the new pattern of 
interrelation of forms and do-it-yourself involvement fostered 
by the TV image.