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Gunsmokenet.Com
GUNSMOKE ! By GORDON BUDGE f you had lived in Dodge City in I the 1870’s, Matt Dillon-the fic- tional Marshal of CBS Radio and TV’s Gunsmoke-would have been just the sort of man you would like to have for a friend. The same holds for his sidekick, Chester, and his special pals, Kitty and Doc. They are down-to-earth, ‘good and honest people. That one word “honest” is, to a great extent, responsible for the success of Gunsmoke on both radio and TV. It best describes the sto- ries, characters and detailed his- torical background which go to make up the show. Norman Macdonnell and John Meston, Gunsmoke’s producer and writer, are the two men who created the format and guided the show to its success (the TV version has topped the Nielsen ratings since June, 1957)) and the show is a fair reflection of their own characters: Producer Macdonnell is a straight- forward, clear-thinking young man of forty-two, born in Pasadena and raised in the West, with a passion for pure-bred quarter horses. He joined the CBS Radio network as a page, rose to assistant producer in two years, ultimately commanded such network properties as Sus- pense, Escape, and Philip Marlowe. Writer John Meston’s checkered career began in Colorado some forty-three years ago and grass- hopped through Dartmouth (‘35) to the Left Bank in Paris, school- teaching in Cuba, range-riding in Colorado, and ultimately, the job as Network Editor for CBS Radio in Hollywood. It was here that Meston and Macdonnell met. -
Doherty, Thomas, Cold War, Cool Medium: Television, Mccarthyism
doherty_FM 8/21/03 3:20 PM Page i COLD WAR, COOL MEDIUM TELEVISION, McCARTHYISM, AND AMERICAN CULTURE doherty_FM 8/21/03 3:20 PM Page ii Film and Culture A series of Columbia University Press Edited by John Belton What Made Pistachio Nuts? Early Sound Comedy and the Vaudeville Aesthetic Henry Jenkins Showstoppers: Busby Berkeley and the Tradition of Spectacle Martin Rubin Projections of War: Hollywood, American Culture, and World War II Thomas Doherty Laughing Screaming: Modern Hollywood Horror and Comedy William Paul Laughing Hysterically: American Screen Comedy of the 1950s Ed Sikov Primitive Passions: Visuality, Sexuality, Ethnography, and Contemporary Chinese Cinema Rey Chow The Cinema of Max Ophuls: Magisterial Vision and the Figure of Woman Susan M. White Black Women as Cultural Readers Jacqueline Bobo Picturing Japaneseness: Monumental Style, National Identity, Japanese Film Darrell William Davis Attack of the Leading Ladies: Gender, Sexuality, and Spectatorship in Classic Horror Cinema Rhona J. Berenstein This Mad Masquerade: Stardom and Masculinity in the Jazz Age Gaylyn Studlar Sexual Politics and Narrative Film: Hollywood and Beyond Robin Wood The Sounds of Commerce: Marketing Popular Film Music Jeff Smith Orson Welles, Shakespeare, and Popular Culture Michael Anderegg Pre-Code Hollywood: Sex, Immorality, and Insurrection in American Cinema, ‒ Thomas Doherty Sound Technology and the American Cinema: Perception, Representation, Modernity James Lastra Melodrama and Modernity: Early Sensational Cinema and Its Contexts Ben Singer -
The Audiences and Fan Memories of I Love Lucy, the Dick Van Dyke Show, and All in the Family
Viewers Like You: The Audiences and Fan Memories of I Love Lucy, The Dick Van Dyke Show, and All in the Family Mollie Galchus Department of History, Barnard College April 22, 2015 Professor Thai Jones Senior Thesis Seminar 1 Table of Contents Acknowledgements..........................................................................................................................3 Introduction......................................................................................................................................4 Chapter 1: I Love Lucy: Widespread Hysteria and the Uniform Audience...................................20 Chapter 2: The Dick Van Dyke Show: Intelligent Comedy for the Sophisticated Audience.........45 Chapter 3: All in the Family: The Season of Relevance and Targeted Audiences........................68 Conclusion: Fan Memories of the Sitcoms Since Their Original Runs.........................................85 Bibliography................................................................................................................................109 2 Acknowledgments First, I’d like to thank my thesis advisor, Thai Jones, for guiding me through the process of writing this thesis, starting with his list of suggestions, back in September, of the first few secondary sources I ended up reading for this project, and for suggesting the angle of the relationship between the audience and the sitcoms. I’d also like to thank my fellow classmates in the senior thesis seminar for their input throughout the year. Thanks also -
Camp TV: Trans Gender Queer Sitcom History by Quinlan Miller
Reviewed by Ken Feil Camp TV: Trans Gender Queer Sitcom History by Quinlan Miller. Duke University Press. 2019. 232 pages. $99.95 hardcover; $25.95 paper; also available in e-book. In Camp TV: Trans Gender Queer Sitcom History, Quinlan Miller presents a revelatory historical reassessment of the US network sitcom of the 1950s and 1960s in addition to rethinking camp, an ironic performance and reception sensibility usually associated with white, gay male culture. Arguing that non- binary gender is a constitutive element of both camp and situation comedy formulas, Miller disputes the assumptions of both television history and camp studies with meticulous research spanning institutional procedures, social- historical context, and textual features. The subject of camp remains marginal in television studies, as W. D. Phillips and Isabel Pinedo recently observed, despite holding a pivotal position in television history.1 Genealogies of cult TV, furthermore, have rendered camp either invisible or hovering in the fringes.2 Miller confirms the centrality of camp to television aesthetics at the same time as they challenge the typical historical narrative of camp TV, which begins in the 1960s with the iconic network series Batman (ABC, 1966– 1968) and the burgeoning mainstream currency of “camp” sensibility generated by 1 W. D. Phillips and Isabel Pinedo, “Gilligan and Captain Kirk Have More in Common Than You Think: 1960s Camp TV as an Alternative Genealogy for Cult TV,” Journal of Popular Television 6, no. 1 (2018): 23– 27, https://doi.org/10.1386/jptv.6.1.19_1. 2 Phillips and Pinedo, “Gilligan and Captain Kirk,” 21– 23; Philippe Le Guern, “Toward a Constructivist Approach to Media Cults,” in Cult Television, ed. -
The History of CBS Hollywood Television Studios
1 The History of CBS Hollywood Television Studios By Bobby Ellerbee and Eyes Of A Generation.com Preface and Acknowledgement This is a unique look at the events that preceded the need for CBS television studios in Hollywood and, as in New York, the radio division is leading the way. This project is somewhat different than the prior reports on the New York studios of CBS and NBC, for two reasons. The first reason is that in that in those reports, television was brand new and being developed through the mechanical function to an electronic phenomenon. Most of that work occurred in and around their headquarters in New York. In this case, both CBS and NBC are at the mercy of geological and technological developments outside their own abilities…namely the Rocky Mountains and AT&T. The second reason has to do with the success of the network’s own stars. Their popularity on radio soon translated to public demand once “talking pictures” became possible. That led many New York based radio stars to Hollywood and, in a way, Mohammed had to come to the mountain. This story is told to the best of our abilities, as a great deal of the information on these facilities is now gone…like so many of the men and women who worked there. I’ve told this as concisely as possible, but some elements are dependent on the memories of those who were there many years ago, and from conclusions drawn from research. If you can add to this with facts or photos, please contact me as this is an ongoing project. -
GUNSMOKE Flashback
CD 8A: “The Queue” - 07/19/1954 Racists assault a Chinese cook and cut off his ponytail. Will he get his revenge? Written by John Meston. GUNSMOKE CD 8B: “Born to Hang” - 04/23/1955 Flashback A man survives an attempted lynching…and then goes after those responsible. Written by John Meston. Program Guide by Elizabeth McLeod Parley Baer is heard CD 9A: “Jealousy” - 06/04/1955 as Chester. A crooked card player gets caught in a phony deal. He is promptly stabbed, and What is a western, anyway? then demands that Dillon do something about it. Written by John Meston. Sure, you know one when you see one (or hear one), but what qualities really CD 9B: “Tap Day for Kitty” - 07/30/1955 define the genre? Cowboys? Horses? Wood-plank sidewalks? Sagebrush? Black Kitty tries to escape from an unwanted suitor. Written by John Meston. hats vs. white hats? Ropin’ and ridin’ the range? Sullen-faced drifters challeng- ing the rule of law? Guitar-strumming crooners in fancy shirts? Is it all of these CD 10A: “Innocent Broad” - 08/06/1955 things? Some of these things? None of these things? Is a western -- a real western Dillon tries to protect a seventeen-year-old girl from trouble with her fiancé. -- really just a state of mind? Written by John Meston. The fact of the matter is that the definition of a western depends on who’s asking CD 10B: “The Barton Boy” - 10/01/1955 the question…and when they’re asking it. An eight-year-old child in 1935 would A young boy wounded in a train robbery is the only one who can identify the define a western in far different terms than a thirty-nine year old adult in 1952. -
Ofgh Cegolen
syndicated sales. (Producer of live and Bill Hickok; Behind Closed Doors; Jungle filmed programs for television; distribu- Jim; Circus Boy; Patti Page Show; 7 tor of features.) League Boots; Naked City; Top Cat; Shan- non; 156 Hanna -Barbera cartoons; Festival Topper (78); TV Reader's Digest (78); a Letter; Ranch (57); Hunter of Performing Arts; Pick Mr. and Mrs. North White Party; Serials; 3 Stooges; My Friends (39); Your Musical Jamboree (26); Movie Around The World; Winston Churchill; Quick Quiz (780). The Valiant Years; Empire. Inc. Schwimmer, Walter, Scripture Films (see Hack, Herman, Prod.) 410 N. Michigan Ave., Chicago, Illinois 60611; 467-5220. 527 Madison Ave., New Seven Arts Associated Corporation York, N. Y.; ELdorado 5-4616. Walter Schwimmer, president; Arthur E. Pickens, Home Office: 200 Park Ave., New York 17, Jr., vice-president in charge of pgms.; N. Y.; Yukon 6-1717. Eliot Hyman, pres.; Bernard Crost, vice-president in charge of Samuel H. Halms, secty.-treas.; W. Robert distribute film & live Rich, v.p. & gen. sales mgr.; Donald sales. (Produce and Klauber, v.p. & national sales mgr.; programs for network & synd.) Herbert Richek, dir. of operations; Championship Bowling (211); Cham- Leonard Hammer, dir. of station rep- pionship incoor) (78),S resentative & nat'l sales; Lloyd Krause. Series ofGholflive CeGolen Eastern division mgr.; Jack Heim. Eastern div. account exec.; Harvey Cher- Science Pictures, Inc. tok, dir. of adv., sales promotion & pub- Ill.: 4630 5 E. 57th St., New York 22, N. Y.; PLaza licity, Branch offices: Chicago, 1-1710; branch office: 4000 Massachusetts Estes, Lincolnwood, Ill.; ORchard 4-5105; Ave., Washington 16, D. -
Functions of Intermediality in the Simpsons
Functions of Intertextuality and Intermediality in The Simpsons Der Fakultät für Geisteswissenschaften der Universität Duisburg-Essen zur Erlangung des akademischen Grades eines Doktors der Philosophie (Dr. phil.) eingereichte Dissertation von Wanja Matthias Freiherr von der Goltz Datum der Disputation: 05. Juli 2011 Gutachter: Prof. Dr. Josef Raab Prof. Dr. Jens Gurr Table of Contents List of Figures...................................................................................................................... 4 1. Introduction .............................................................................................. 5 1.1 The Simpsons: Postmodern Entertainment across Generations ................ 5 1.2 Research Focus .............................................................................................11 1.3 Choice of Material ..........................................................................................16 1.4 Current State of Research .............................................................................21 2. Text-Text Relations in Television Programs ....................................... 39 2.1 Poststructural Intertextuality: Bakhtin, Kristeva, Barthes, Bloom, Riffaterre .........................................................................................................39 2.2 Forms and Functions of Intertextual References ........................................48 2.3 Intertextuality and Intermediality ..................................................................64 2.4 Television as a -
Gunsmoke Murder Warrant Cast
Gunsmoke Murder Warrant Cast Pendant Powell growls his buckbeans oscillated bitterly. Fricative Darth limes: he interweaving his sarcocystis intolerantly and juvenilely. Majuscule and bung Rube always immersing scoffingly and overlayings his trumping. Doc is made for murder warrant before he has set the popular death scene that only episodes you in gunsmoke murder warrant cast opposite actress beverly garland as newsboys, and they find his autograph was beginning of. Some is murdered the cast with the men slowly ride to many theater for doc. Gene Feldman was this music editor. Week if matt and murder warrant to. American film and cast conrad, gunsmoke murder warrant cast: chester kills the warrant into. The gunsmoke family of youth after attempting to gunsmoke murder warrant cast of them she wants to warner bros. American actress in motion pictures and television. His ashes were scattered at his residence. Dodge we are interesting story of whisky when festus deal with james might be exactly sure he has escaped from infection after his prisoner stolen from his. Ben in a gunfight. There reaches a point today where you doing out while gas. But is murdered his brother is not recognized by two of humor and soon in california, educated at the two white man who informs her. Katherine wants her last traditional season and chester and with a template from waiters to make good time radio program practices department of renegades find a head. He shoots matt asks him to. He cripples him. Scene: continuation of the female street showdown scene. Min of gunsmoke, rose marie francis the gunsmoke murder warrant cast rip to. -
Hollywood Studio Magazine (July 1972)
cHollyw6od International beauty, Llona Massey speaks 60 CENTS JULY 1972 on Americanism c ^ If you were RCA . c working here the pick or tomorrow The PoRTAbl.ES Enjoy famous RCA color AOFF performance on this great 14" y ^ J ^ a diagonal portable! Automatic Chroma Control gives you _ ^ bright, lifelike color I viewing! I u’d wear Model EQ-446 EN Olex Nothing less than a Rolex would do for the support crew of the 2-man research submarine, Deepstar®. The watch they wear is the Rolex Submariner, a self-winding 26-jewel officially certified chronometer. Its classic Oyster case is carved out of a solid block of hardened Swedish stainless steel and is individually tested and guaranteed to a depth of 660 feet. * Each Submariner is more than a year in the making. The men of Project Deepstar call time well-spent. Generous screen size plus portability make this a real viewing pleasure! The handsome cabinet has a When case, crown and crystal are intact. \?5T tough acrylic finish and includes The Rolex Submariner is $230 with matching bracelet. a modern pedestal stand. Plus you ^ O J\ C ®Westinghouse Electric Corporation,UnderseasDivision. get RCA’s great color performance! ROLEX Sales & Service Bank of America Easy Financing JEWELRY APPRAISING and ESTATE PURCHASES 4257 LANKERSHIM BLVD., NO. HOLLYWOOD Appraisals made at your home by appointment. 763-9431 877-4692 BERGGREN PEWELERS Famous Jewelers in the Valley for thirty-nine years. Creative custom designing in our own shop • Certified gemologists Bankamericard and Master Charge No. 25 Fashion Square, Sherman Oaks 788-4014, LA-872-2406 I ^Hollywood I • studiocTMagaziqe JULY 1972 VOLUME 7 NO. -
Television Programs North Jersey's Only Pictorial
WEEK'S PLETE TELEVISION PROGRAMS SUNDAY NORTH JERSEY'S ONLY WEEKLY PICTORIAL MAGAZINE News Highlights of Cl, t•n East Paterson Fair Lawn arfield Hal•don Hawthorne Lodi Little Falls ß Mountain View No• *• Haledon •, ,.-.. ß aferson Passaic Pompton Lakes ßProspect Park Singac Totowa Wayne West Paters&n AWARD OF MERIT JANUARY 31, 1960 VOL. XXXH, No. 5 WHITEA Good Namea.d to RememberS'HAUGER, for i.n,.c.....ii'" F U RN I T U R-E "'"'?' Living Room - Bed Room •' •,--"1..... i.... Dining Room RUGS 'AND CARPETS A SPECIALTY Qualityan d Low Priee 39 Years Serving the Public 435STP,,AIO• STI?3• (Corner20th Av "ThePhee with the Clock" --= M-UI• 4-7880 HeadquartersforEnded_ Oouples .. THEIDEAL PLACE TO DINEAND WINE -"' . :::. ol BROILEDLOBSTER .-, -- DAILY FROGS'I,EG$ . S'•)!.'TSt!I:11, L CliAi•,-, - BLUEI.'IS!!- RAIb,'!3OI• TItOUT- ]-iAL!I•U'œ-SALMON- SHRIMI'S- SCAI.I.Oi)R- 'THETEMPEST'-- Maurice Evans portrays Prospero, who coun- OYSTERS- CI,AM- CODFi.•il - SWORDFISH - DAILY DINNERS selshis daughter Miranda (at left,played by LeeRemick) in a 168BELMONT AVE. [Cot. Barbansi. HALEDON - . - LAmbert5-9885 scenefrom the TV versionof Shakespeare's"The Tempest," which will be colorcaston NBC-TV Network's "Hallmark Hall of Fame,"Wednesday, Feb. 3. RoddyMcDowall (center) is cast as Ariel, and WilliamBassett as Ferdinand,the youngprince who loves Miranda. I. PARRILLO ':•::!-,?.i.'!::i.:.....**.,.ß .'% . i:' '".' . "•"":•''•':•':..... ':.... '-'•:-'½: .....'-- ' 'i ß "' ....:" :':•.':•;".:;":.:' ;........•:,•-:•i!.•.½.:.'.'•:•:.i.i:-'<:.: ......:. ß !:- '...... ß.: ;:'" . ..•:•.•.:.:..-: "! ...s. ..... ':: .• .•....._........... -....... :. -i TheMan from Equitable asks-"'? ß .. ........ ::..: - ::.....:.'.::{:..::. ..-.- ß. :::...::;:.-:.. :.;-:: ß':!•..::...8.;::!:-'i::'.:?;:;' :.. -'-..•. :'.' .::.... : .....'•:'":::' , ...;i:•::i!i•......... •'.. -::•:':-. ', :-:....: :' '"'"•i"."...•.i,'•..-.;-::i:-i{" ' ';;.'.'' • [:,.:;!•,..:a..;....--•,-.":..:,..:,..;...:: •-.;' . "•-:. •!,:.'?:-' .4'";.?..•:.:?.::.. Youwant your child te havea better '•i,.;?i,-.,-.:- .....'.,?.'.: ::.i;. -
Trans Gender Queer Sitcom History by Quinlan Miller
Reviewed by Ken Feil Camp TV: Trans Gender Queer Sitcom History by Quinlan Miller. Duke University Press. 2019. 232 pages. $99.95 hardcover; $25.95 paper; also available in e-book. In Camp TV: Trans Gender Queer Sitcom History, Quinlan Miller presents a revelatory historical reassessment of the US network sitcom of the 1950s and 1960s in addition to rethinking camp, an ironic performance and reception sensibility usually associated with white, gay male culture. Arguing that non- binary gender is a constitutive element of both camp and situation comedy formulas, Miller disputes the assumptions of both television history and camp studies with meticulous research spanning institutional procedures, social- historical context, and textual features. The subject of camp remains marginal in television studies, as W. D. Phillips and Isabel Pinedo recently observed, despite holding a pivotal position in television history.1 Genealogies of cult TV, furthermore, have rendered camp either invisible or hovering in the fringes.2 Miller confirms the centrality of camp to television aesthetics at the same time as they challenge the typical historical narrative of camp TV, which begins in the 1960s with the iconic network series Batman (ABC, 1966– 1968) and the burgeoning mainstream currency of “camp” sensibility generated by 1 W. D. Phillips and Isabel Pinedo, “Gilligan and Captain Kirk Have More in Common Than You Think: 1960s Camp TV as an Alternative Genealogy for Cult TV,” Journal of Popular Television 6, no. 1 (2018): 23– 27, https://doi.org/10.1386/jptv.6.1.19_1. 2 Phillips and Pinedo, “Gilligan and Captain Kirk,” 21– 23; Philippe Le Guern, “Toward a Constructivist Approach to Media Cults,” in Cult Television, ed.