Read the passage given below and answer the questions that follow.

The cinema is the only art invented by science. It was born and bred in the West in a technological environment, and so its manifestations in predominantly agricultural countries are a somewhat curious phenomenon of more sociological than aesthetic interest. What is remarkable is that with political independence and the rise of a national awareness of technology, a new minority cinema appears in many of these societies and quickly acquires compelling aesthetic and humanist values. Theircontent is increasingly charged with aspirations for a better life, and their form with delight in a new medium. In many of these countries, television is limited in its spread and its creative abilities, either by the lack of resources or by the constrictions of governmental ownership or both. The cinema, on the other hand, reflects a more vital and spontaneous expression of the secret hopes and fears, ideals and enthusiasms, of a country's people. A small, serious creative cinema grows alongside the larger, more conventional product and begins to engage the attention of a select national and international audience.

But nowhere is this more true than in India, the largest producer of full-length feature films in the world. 833 films were made in 1984, as against 249 in the United States (in 1983). Over 12 million people go to the movies every day in 13000 theatres. A thousand-odd of these are travelling cinemas in the countryside that would remind the film buff of the nickelodeons of the United States rubbing shoulders with vaudeville and circus shows in the early years of the century. The number of cinema theatres is going up by about 500 every year. Television is still limited by the cost of a set and is, along with video, largely an extension of the cinema.

Both wings of Indian cinema - the popular, commercial blockbuster (song-dance-fightnightclub formula) and the serious-creative minority product (Satyajit Ray, Mrinal Sen, Shyam Benegal et al) - are full of a restless vitality. Film stars have a massive following; in two large states, they have been catapulted into political leadership, becoming Chief Ministers of their respective states. Three others are members of Parliament, and two leading stars have given notice of their political intentions.

More than 600 fan magazines in 16 languages fuel the interest in the public and private lives of film stars, recalling the heyday of Hollywood in the thirties and forties. Popular music means film music. It is the mainstay of the record industry and supports the popularity of government-owned radio and television. To the masses, dancing means the forms of it seen in films, however indeterminate or despicable they may seem to the classicist. For millions of people in urban India and its rural periphery, cinema is the only entertainment, and film stars the only role models for public and private behaviour. The major visual art seen in the towns and the roadways, on trucks and buses and auto-rickshaws, boats and bullock-carts, and trees and tin sheds, is the raucously colourful film poster, over-riding the attractions of the cigarette or soap ads. The release of a new film often causes major traffic jams.

Clothes, hairstyles, gait, speech, attitudes towards women and social mores, generally, reflect the standards of popular cinema. The social significance of this cinema is immense, and its vitality, however, vulgar, remains unquestionable.

What according to the author limits the spread of television in predominantly agricultural counties?