ANDREW SMITH 220 East 72ND Street #7F New York, NY 10021 (917) 747-8248(Cell) [email protected] Williams College

Total Page:16

File Type:pdf, Size:1020Kb

ANDREW SMITH 220 East 72ND Street #7F New York, NY 10021 (917) 747-8248(Cell) KNATURAL@AOL.COM Williams College ANDREW SMITH 220 East 72ND Street #7F New York, NY 10021 (917) 747-8248(cell) [email protected] Williams College FEATURES Main Event (with Gail Parent) Stir Crazy (original treatment & script) Who's That Girl? ("Slammer") (With Ken Finkelman) Harlem Nights (re-write) Look Who's Talking Now (treatment draft) TELEVISION MOVIES Maid For Each Other (NBC) TELEVISION (hour episodes) Touched By An Angel (2) Chicago Hope (1) The Practice (1) (with Ed Redlich) New York Undercover (1) (Story) TELEVISION (half-hour staff) On Our Own (Supervising Producer) The New Love American Style (Story Editor) TELEVISION (half-hour pilots) That Show Starring Joan Rivers Sheila! (with Gail Parent) (CBS) The Sid Caesar Show (with Sam Denoff)(CBS) STAT (ABC) Politically Incorrect (HBO) (with Chris Kelly) Love, Hate, & Joy (ABC) Head Writer TELEVISION (half hour episodes) On Our Own (4) Bob Newhart Show (3) The New Love American Style (2) STAT (3) Married.....With Children (1) TELEVISION (variety & talk staff) The Tonight Show That Show Starring Joan Rivers (Pilot and Launch) Public Broadcast Laboratory The David Frost Show The Merv Griffin Show (Head Writer) Saturday Night Live With Howard Cosell (ABC) (pilot and staff)) Saturday Night Live (NBC) (Head Writer) (3 Emmy Nominations) The News Is The News The New Love American Style (Story Editor) Friday Night Videos SAJAK (talk show pilot) (Writer/Producer) Politically Incorrect (Writer/Creative Consultant) El Barrio USA (Writer/Co/Director) Live From Queens NY-GO The View (10 Emmy Nominations, 2 Emmy Awards) (15 years) Love, Hate, And Joy (Head Writer) Topic A - With Tina Brown (Pilot) Primetime View Special The View Oscar Special SPECIALS Take Me Home Again The Playboy Roller Disco and Pajama Party The 43rd Annual Emmy Awards The Daytime Emmy Awards Roseanne's Hanukkah Special Disney Channel 25th Anniversary Celebration (3 half Hours) The 25th Annual Daytime Emmy Awards Disney World Twenty-Fifth Anniversary Special Tyson Vs. Hollyfield II (ABC Sports Special) General Hospital 35th Anniversary Special ABC Soaps' Most Unforgettable Love Stories DOCUMENTARY AND NEWS Sex, Drugs & AIDS (ABC) Final Take: The Devil's Diet (Lifetime) Countdown-(MSNBC) D Day: As It Happened-(MSNBC) Reagan Funeral- (MSNBC) Battleground America-(MSNBC)(3 Election Specials) (National Headliner Award) DOCUMENTARY AND NEWS (CONTD.) The Situation With Tucker Carlson (MSNBC) (Consultant, Pilot) A Concert For Hurricane Relief (NBC) (NY Festivals Finalist) The Most (MSNBC) (Consultant, Pilot) Scarborough Country (MSNBC) CBS NEWS.Com (Couric & Co.) The CBS Evening News (Freelance) Fuse Network – Fuse News (Pilot and Launch) RADIO ABC American Contemporary Reports (host and writer) StarTalk with Neil deGrasse Tyson (Pilot and original episodes) INTERNET Writersstrike.Com --- Daily Blog, Created, Written, and Maintained RuthlessSpectator.Com ---Comedy Website with Rob Bartlett (Head Writer) Slice O’ Life –Web Talk Show with Rob Bartlett Countable PLAYS Anything, Anything (Westwood Playhouse) Mooks Madoff Madness In Repose The Ladies’ Room (9/11) NOVELS The Main Event (with Gail Parent) In The Ladies Room Something’s Wront Everything’s Wront – Election Edition MAGAZINES The Atlantic Monthly (short story "The Ring") Ingenue Magazine (Monthly Columnist) Harper's Bazaar (Celebrity Interviews) Vanity Fair (Vanities) CORPORATE AND POLITICAL Bristol Myers Squibb ABC ABC Special Projects ABC Integrated Marketing Disney Allen & Company, Inc. ABC Corporate/Marketing AXA (Kip Condon) NBC Development CBS NEWS Katie Couric American Express OPEN Forum Adlai Stevenson John Lindsay Ed Koch David Dinkins Michael Bloomberg John McCain Chris Dodd Gotham Ghostwriters Kaplan Media Partners Gengras For Governor Campaign (Conn) Linda McMahon Senate Campaign(Conn) AWARDS Hubbard Hutchinson Fellowship Grant Intl. Alpha Delta Phi Literary Competition—First Prize (Fiction) & Grand Prize Indiana Writers Workshop - Fellowship Grant Atlantic Monthly First ("The Ring") Philadelphia Festival Of World Cinema - First Prize ("Patsy") Southwestern Writers Workshop - First Prize ("Patsy") Sundance Screenwriting Conference - Finalist ("Patsy") The Writers Network - First Prize ("Patsy") Lone Star Film Festival - Finalist ("Patsy") Empire Screenwriting Contest – Finalist (“One Good Thing”) IGottaScript Contest – Third Prize (“Bada Bing”) Acclaim Screenplay Contest – First Prize (“No Good Deed”) Big Bear Screenplay Contest – Honorable Mention (“Stunnade”) Jury Of Peers Screenwriting Contest – (“Stunnade”) Finalist Expo 4 Screenplay Competition – Quarterfinalist (“Spitting Image”) The Writers Network – Semifinalist (“Spitting Image”) Emmy – 2 Awards, 12 Nominations. Screenplay Festival – Finalist (“Spitting Image”) Writers Digest Script Competition – Honorable Mention (“The Ladies’ Room”) .
Recommended publications
  • Analysis of Talk Shows Between Obama and Trump Administrations by Jack Norcross — 69
    Analysis of Talk Shows Between Obama and Trump Administrations by Jack Norcross — 69 An Analysis of the Political Affiliations and Professions of Sunday Talk Show Guests Between the Obama and Trump Administrations Jack Norcross Journalism Elon University Submitted in partial fulfillment of the requirements in an undergraduate senior capstone course in communications Abstract The Sunday morning talk shows have long been a platform for high-quality journalism and analysis of the week’s top political headlines. This research will compare guests between the first two years of Barack Obama’s presidency and the first two years of Donald Trump’s presidency. A quantitative content analysis of television transcripts was used to identify changes in both the political affiliations and profession of the guests who appeared on NBC’s “Meet the Press,” CBS’s “Face the Nation,” ABC’s “This Week” and “Fox News Sunday” between the two administrations. Findings indicated that the dominant political viewpoint of guests differed by show during the Obama administration, while all shows hosted more Republicans than Democrats during the Trump administration. Furthermore, U.S. Senators and TV/Radio journalists were cumulatively the most frequent guests on the programs. I. Introduction Sunday morning political talk shows have been around since 1947, when NBC’s “Meet the Press” brought on politicians and newsmakers to be questioned by members of the press. The show’s format would evolve over the next 70 years, and give rise to fellow Sunday morning competitors including ABC’s “This Week,” CBS’s “Face the Nation” and “Fox News Sunday.” Since the mid-twentieth century, the overall media landscape significantly changed with the rise of cable news, social media and the consumption of online content.
    [Show full text]
  • Corneliailie
    See discussions, stats, and author profiles for this publication at: https://www.researchgate.net/publication/289370357 Talk Shows Article · December 2006 DOI: 10.1016/B0-08-044854-2/00357-6 CITATIONS READS 24 4,774 1 author: Cornelia Ilie Malmö University 57 PUBLICATIONS 476 CITATIONS SEE PROFILE Some of the authors of this publication are also working on these related projects: Parenthetically Speaking: Parliamentary Parentheticals as Rhetorical Strategies View project All content following this page was uploaded by Cornelia Ilie on 09 December 2018. The user has requested enhancement of the downloaded file. Provided for non-commercial research and educational use only. Not for reproduction or distribution or commercial use This article was originally published in the Encyclopedia of Language & Linguistics, Second Edition, published by Elsevier, and the attached copy is provided by Elsevier for the author's benefit and for the benefit of the author's institution, for non- commercial research and educational use including without limitation use in instruction at your institution, sending it to specific colleagues who you know, and providing a copy to your institution’s administrator. All other uses, reproduction and distribution, including without limitation commercial reprints, selling or licensing copies or access, or posting on open internet sites, your personal or institution’s website or repository, are prohibited. For exceptions, permission may be sought for such use through Elsevier's permissions site at: http://www.elsevier.com/locate/permissionusematerial Ilie C (2006), Talk Shows. In: Keith Brown, (Editor-in-Chief) Encyclopedia of Language & Linguistics, Second Edition, volume 12, pp. 489-494. Oxford: Elsevier. Talk Shows 489 Talk Shows C Ilie,O¨ rebro University, O¨ rebro, Sweden all-news radio programs, which were intended as ß 2006 Elsevier Ltd.
    [Show full text]
  • This List Is Meant for Reference Only – All Credits Below Should Be
    LIST OF ACCEPTABLE CREDITS --- TELEVISION & DIGITAL MEDIA CATEGORIES This list is meant for reference only – all credits below should be considered eligible, unless otherwise specified in the 2018 Canadian Screen Awards TV and Digital Media Rules & Regulations booklet Appeals will be considered by the Awards Director for any credits not listed here. The production company may submit a letter stating why they feel the entrant should be included, as well as an explanation of their role in the production; this letter should be addressed to Louis Calabro, Director, Awards & Special Events. Please Note: Not all categories are listed in this document. Program Categories (not including DDDigitalDigital MMMedia,Media, NNNewsNews and SSSports)Sports) Executive Producer Executive Producer For (broadcaster) Co-Executive Producer Producer or Produced by Supervising Producer Series Producer Senior Producer (for informational / doc / talk shows / sports / “analytical” programming) Commissioning Editor (for informational / doc / talk shows / sports / “analytical” programming) Senior Executive Producer (for in house documentaries and broadcaster produced shows only) Episode Producer Content Producer For Best Factual Program or Series (1026) – Director or Producer eligible Note: For all Doc PROGRAM categories (Not Series) – “Director” is eligible Digital Media, News, Sports and Research Categories Any credit may enter, unless otherwise stated in Rules & Regulations booklet Directing (2001 ––– 2013) Only 2 entrants for this category. Any additional names
    [Show full text]
  • How to Find Your Readers As a Fiction Writer
    How to find Your readers as a fiction writer a 4-step workbook to walk4 you through finding your readership online Many fiction writers believe that they don’t need a platform. And while it’s true that literary agents and editors don’t expect aspiring novelists to have platforms, it’s just as true that writers must know how to find their readers if they want long-term success. Unfortunately, a lack of familiarity with the online landscape and a discomfort with putting creative work out there can cripple even the most promising book launch. This workbook will show you how to start putting your work in front of potential readers now, so that you can earn the trust and goodwill of the readership your work deserves. Building an author platform will allow you to: Sell more copies of existing books with less effort Launch a new book (or other content) successfully Get to know your readers so you can serve them better Avoid burnout so that book marketing is sustainable and rewarding Make a living as a full-time writer step 1: you Writing anything--whether it’s a novel or a tweet--starts with you. A platform will be meaningless drudgery if it doesn’t revolve around topics you love to talk about and read about. So here’s a chance to visualize yourself just as clearly as you would your next main character. This charac- ter sketch will help you pull up all the words that define you and lay them out visually, so you can inspect them as a whole.
    [Show full text]
  • 68Th EMMY® AWARDS NOMINATIONS for Programs Airing June 1, 2015 – May 31, 2016
    EMBARGOED UNTIL 8:40AM PT ON JULY 14, 2016 68th EMMY® AWARDS NOMINATIONS For Programs Airing June 1, 2015 – May 31, 2016 Los Angeles, CA, July 14, 2016– Nominations for the 68th Emmy® Awards were announced today by the Television Academy in a ceremony hosted by Television Academy Chairman and CEO Bruce Rosenblum along with Anthony Anderson from the ABC series black-ish and Lauren Graham from Parenthood and the upcoming Netflix revival, Gilmore Girls. "Television dominates the entertainment conversation and is enjoying the most spectacular run in its history with breakthrough creativity, emerging platforms and dynamic new opportunities for our industry's storytellers," said Rosenblum. “From favorites like Game of Thrones, Veep, and House of Cards to nominations newcomers like black-ish, Master of None, The Americans and Mr. Robot, television has never been more impactful in its storytelling, sheer breadth of series and quality of performances by an incredibly diverse array of talented performers. “The Television Academy is thrilled to once again honor the very best that television has to offer.” This year’s Drama and Comedy Series nominees include first-timers as well as returning programs to the Emmy competition: black-ish and Master of None are new in the Outstanding Comedy Series category, and Mr. Robot and The Americans in the Outstanding Drama Series competition. Additionally, both Veep and Game of Thrones return to vie for their second Emmy in Outstanding Comedy Series and Outstanding Drama Series respectively. While Game of Thrones again tallied the most nominations (23), limited series The People v. O.J. Simpson: American Crime Story and Fargo received 22 nominations and 18 nominations respectively.
    [Show full text]
  • Merri Dee's Legendary Award-Winning 49-Year Career in Chicago Broadcasting Is Admirable in Itself
    E-mail: www.merridee.com Merri Dee Communications Merri Dee's legendary award-winning 49-year career in Chicago broadcasting is admirable in itself. She was the Illinois Lottery’s First Lady, anchored the first edition of midday news and sports, hosted a magazine- style TV show and served in management as Director of Community Relations. One of the first African- American women to anchor the news in the Windy City, Dee has parlayed her celebrity into charitable success, powerful motivational speaking and advocacy. She has raised millions of dollars for children's charities, spearheaded victims' rights legislation, and helped increase adoption rates across the nation. In 1966, Merri Dee landed her first radio position with WBEE in Harvey, Illinois. She was one of the first female DJs on WSDM radio and opened her four-hour radio show at WBEE as “Merri Dee the Honeybee.” During the next year, Dee developed a following in Chicago radio, becoming a local celebrity. In 1967 she made the leap to television quickly with WCIU Chicago as host of a Saturday primetime entertainment show. By 1970 Dee hosted her own talk show, The Merri Dee Show, on WSNS Channel 44. In 1972 Dee was hired as an anchor for Chicago’s WGN-TV. After 11 years in various on-air positions, Dee moved into administration and became the station’s Director of Community Relations and Manager of its Children’s Charities. One of the few African-American women in broadcasting at the time, Dee was becoming one of the most successful. She became a trusted advisor.
    [Show full text]
  • Program Overview Screenwriting Research Network
    Program Overview Screenwriting Research Network 7. International Conference 17—19 October 2014 Screenwriting and Directing Audiovisual Media Keynotes by Milcho Manchevski, Jutta Brückner & Brian Winston Film University Babelsberg KONRAD WOLF, Potsdam, Germany FILMUNIVERSITÄT BABELSBERG KONRAD WOLF Conference website: www.filmuniversitaet.de/de/forschung/tagungen-symposien/tagungen/tma/detail/6706.html Thursday, 16 October 3 —5 pm Sightseeing: Potsdam Park Sanssouci www.potsdam-park-sanssouci.de/sitemap-eng.html We organized a guided tour of Sanssouci (castle and park) Thursday afternoon, October 16th, 3-5 pm. The tour is in English language with access for a group of max. 40 entrants. The fee must be shared: depending on the number of participants it could be 9,50 Euro each (40p.) up to 19 Euro (20p.) Please sign in: http://doodle.com/qyyrf69hu7yis9m8 6—9 pm Opening Reception & Get Together @ Wissenschaftsetage Potsdam (rsvp) Bildungsforum Potsdam, Am Kanal 47, 14467 Potsdam (4th floor) > www.wis-potsdam.de/en Friday, 17 October 9 am Registration (entrance hall, first floor) 10 am Welcome by PROFESSOR DR. SUSANNE STÜRMER, PRESIDENT OF FILM UNIVERSITY BABELSBERG KONRAD WOLF, PROFESSOR DR. KERSTIN STUTTERHEIM, CONFERENCE HOST AND KIRSI RINNE, CHAIR SRN 10:30 am Keynote by MILCHO MANCHEVSKI: WHY I LIKE WRITING AND HATE DIRECTING: NOTES OF A RECOVERING WRITER-DIRECTOR (Writer/Director, Scholar, Macedonia/USA) 11:30 am Coffee Break 11:45 am—1:15 pm Panel 1: WRITER–DIRECTOR’S SCREENPLAYS Ian W. Macdonald (University of Leeds, UK) SCREENWRITING AND SUBJECTIVITY Carmen Sofia Brenes (University of Los Andes, Chile) THE POETIC DENSITY OF THE STORY AS KEY ISSUE IN THE FILM NEGOTIATION BETWEEN WRITER, DIRECTOR AND PRODUCER Temenuga Trifonova (York University, Canada) THE WRITER’S SCREENPLAY AND THE WRITER/DIRECTOR’S SCREENPLAY: A COMPARATIVE ANALYSIS Jarmo Lampela (Aalto University Helsinki, Finland) ENSEMBLE AS A SCRENWRITER – THEATRE GOES MOVIES Panel 2: AUTEUR–FILM Gabriel M.
    [Show full text]
  • Translating the Exiled Self: Reflections on Translation and Censorship*
    Intercultural Communication Studies XIV: 4 2005 Samar Attar TRANSLATING THE EXILED SELF: REFLECTIONS ON TRANSLATION AND CENSORSHIP* Samar Attar Independent Researcher Self-Translating and censorship Translators tend to select foreign literary texts for translation into their mother-tongue for different reasons. Sometimes, their selection is based on the fame of a certain writer among his or her own people, or for the awarding of a prestigious international prize to a writer, or on the recommendation of an authoritative figure: a scholar, a critic, or a publisher. At other times, however, the opposite can be true. A writer who is not known among his or her own people is translated into another language, because his or her writing subverts the values of the national tradition, or destroys certain clichés about other nations, or simply because his or her work appeals to the translator.1 But we should not entertain the illusion that literary translators are always free agents. Although their literary taste and ideology may play an important role in their selection of foreign texts they often have to consider the literary, political and economic climate of their time. They simply do not translate texts because they like them. They are very much aware of the fact that translation cannot be brought to a fruitful end unless other authoritative bodies support them, and unless a publisher is found at the end of the ordeal. In short, personal, literary, social, political and economic factors always play an important role in the selection and translation of a foreign text. Normally the literary translator, who selects or is helped in selecting a foreign text, is expected to be a master of at least two languages including his or her own native tongue.
    [Show full text]
  • GRUET, Charlie
    CHARLIE GRUET DIRECTOR OF PHOTOGRAPHY www.charliegruet.com TELEVISION SATURDAY NIGHT LIVE Broadway Video/NBC Prod: Lorne Michaels Dir: Paul Briganti (Season 42 & 43) (Film Unit) FLORIDA GIRLS (Season 1) Lionsgate/Pop TV Prod: Lilly Burns, Laura Chinn, Lynn Appelle Dir: Kat Coiro Tony Hernandez Matt Sohn HIGH MAINTENANCE (Seasons 1-4) HBO Prod: Katja Blichfield, Ben Sinclair, Dir: Various Willy Friedman, Russell Gregory THE OTHER TWO (Pilot, Seasons 1-2) Comedy Central Prod: Lorne Michaels, Andrew Singer, Dan Hank Dir: Various *Nomination – TV Critic Awards, 2019 – Outstanding New Program Chris Kelly (p) PICK ME UP (Pilot) MTV Prod: Dave Becky, Jon Gabrus, Betsy Sodaro Dir: Paul Briganti BREAM GIVES ME HICCUPS (Pilot) Jax Media Prod: Tony Hernandez Dir: Jesse Eisenberg IMAGINARY FRIEND (Pilot Pres) NBC Prod: Kiel Elliot, Sean Hayes,Todd Milliner Dir: Paul Briganti STAND UP 2 CANCER SIMULCAST Tenth Planet Productions Prod: Peter Terrill Dir: Matthew Ogens ALL OVER IT (Pilot) Backseat Conceptions Prod: Nick Esposito, Laris Kreslins Dir: Ted Pauly AMERICAN MUSCLE (Season 1, Episode 1) Funny or Die Prod: Jen O’Connor, Eric Wiener Dir: Seth Friedman STEVEN SEAGAL: LAWMAN A&E Prod: Phillip B. Goldfine, Rob Sharenow Dir: Lucas Platt ALL ACCESS (Season1, Episode 2) Showtime Prod: Jason Bowers, Jody Heaps Dir: Derek Barbanti, Jason Bowers FIGHT CAMP 360: Showtime Prod: Earl Fash, Jody Heaps, Josh Glaser Dir: Jason Bowers, INSIDE THE SUPER SIX (Cam Op) Jesse Cook, Earl Fash STAREDOWN: Showtime Prod: Jesse Cook, Adam Kushner Dir: Jesse Cook WARD
    [Show full text]
  • John Lithgow ‑‑ "The Crown"
    AWARD 1 Supporting Actor – Drama John Lithgow ‑‑ "The Crown" JOHN LITHGOW: Well, this is fantastic. I feel so lucky to have won this in the company of my fellow nominees. You guys, so many of you are my friends and former cast mates. I can congratulate all of you. Congratulations. You deserve this. "The Crown" just keeps on giving, and this is just the last of its gifts. Once again, I have to thank Peter Morgan, Stephen Daldry, Andy Harries, Ted Sarandos of Netflix, my reps, my wife, the magnificent English crew and company of actors led by the wonderful Claire Foy. (Applause.) But most of all, I have to thank Winston Churchill. In these crazy times, his life, even as an old man, reminds us what courage and leadership in government really looks like. I thank Winston Churchill. I thank the Academy. And I thank all of you.This is simply wonderful. AWARD 2 OUTSTANDING SUPPORTING ACTRESS IN A COMEDY SERIES KATE MCKINNON ‑ "SATURDAY NIGHT LIVE" KATE McKINNON: Yikes. Well, I can't ‑‑ thank you so much. Being part of this season of "Saturday Night Live" was the most meaningful thing that I will ever do. So I should probably just stop now. Thank you so much to Lorne Michaels for letting me be a part of this and for everything else in my life. Congratulations to our incredible cast, especially Vanessa, Leslie, and Alec. Love you all so much. Thank you to our crew and thank you to our amazing writers. It's all about the writing, you guys.
    [Show full text]
  • Language of American Talk Show Hosts
    LANGUAGE OF AMERICAN TALK SHOW HOSTS - Gender Based Research on Oprah and Dr. Phil Författare: Erica Elvheim Handledare: Michal Anne Moskow, PhD Enskilt arbete i Lingvistik 10 poäng, fördjupningsnivå 1 10 p Uppsats Institutionen för Individ och Samhälle February 2006 © February 2006 Table of Contents: 1. Introduction and Importance of the Problem………………….…………….3 2. Statement of the Problem…………………………………………………...…4 3. Literature Review…………………………………………………………..4 - 8 4. Methods…………………………………………………………………….…...9 5. Delimitations and Limitations………………………………………..…...9 - 10 6. Definitions………………………………………...………………………10 - 12 7. Findings……………………………………………………...…………...12 – 25 7.1. Speech-event………………………………………………………….13 - 15 7.2. Swearwords, slang and expressions…………………………….…….15 - 16 7.3. Interruptions, minimal- and maximal responses………………...……16 - 18 7.4. Tag-questions…………………………………………………………18 - 20 7.5. “Empty” adjectives……………………………………………...……20 - 21 7.6. Hedges…………………………………………………………...……21 - 22 7.7. Repetitions...................………………………………………….……22 - 23 7.8. Power and Command…....…………………………………….…...…23 - 25 8. Conclusion……………………………………………………………..…25 - 29 9. Works Cited…………………………………………………………………...30 10. Appendix………………………………………………………………….31 - 68 2 1. Introduction: The Talk Show concept is a modern mass media phenomenon. The Oprah and Dr Phil show are aired in countries all over the world. People seem to have a huge interest in other people’s lives and there seem to be an amazingly endless line of topics to talk about. Celebrities, placed in a fake comfort zone that they can’t escape, are forced to talk about their personal business. People just like you and me are willing to tell all about their problems on a TV- show that is aired to millions of people. I can’t let go of my contradictory feelings concerning talk shows – I am fascinated but at the same time scared about how a person can make a total stranger feel so comfortable in front of millions of people.
    [Show full text]
  • CBS, Rural Sitcoms, and the Image of the South, 1957-1971 Sara K
    Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2013 Rube tube : CBS, rural sitcoms, and the image of the south, 1957-1971 Sara K. Eskridge Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the History Commons Recommended Citation Eskridge, Sara K., "Rube tube : CBS, rural sitcoms, and the image of the south, 1957-1971" (2013). LSU Doctoral Dissertations. 3154. https://digitalcommons.lsu.edu/gradschool_dissertations/3154 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. RUBE TUBE: CBS, RURAL SITCOMS, AND THE IMAGE OF THE SOUTH, 1957-1971 A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of History by Sara K. Eskridge B.A., Mary Washington College, 2003 M.A., Virginia Commonwealth University, 2006 May 2013 Acknowledgements Many thanks to all of those who helped me envision, research, and complete this project. First of all, a thank you to the Middleton Library at Louisiana State University, where I found most of the secondary source materials for this dissertation, as well as some of the primary sources. I especially thank Joseph Nicholson, the LSU history subject librarian, who helped me with a number of specific inquiries.
    [Show full text]