Elder News Views March/April 2021
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Constructing, Programming, and Branding Celebrity on Reality Television
UNIVERSITY OF CALIFORNIA Los Angeles Producing Reality Stardom: Constructing, Programming, and Branding Celebrity on Reality Television A dissertation submitted in partial satisfaction of the Requirements for the degree Doctor of Philosophy in Film and Television by Lindsay Nicole Giggey 2017 © Copyright by Lindsay Nicole Giggey 2017 ABSTRACT OF THE DISSERTATION Producing Reality Stardom: Constructing, Programming, and Branding Celebrity on Reality Television by Lindsay Nicole Giggey Doctor of Philosophy in Film and Television University of California, Los Angeles, 2017 Professor John T. Caldwell, Chair The popular preoccupation with celebrity in American culture in the past decade has been bolstered by a corresponding increase in the amount of reality programming across cable and broadcast networks that centers either on established celebrities or on celebrities in the making. This dissertation examines the questions: How is celebrity constructed, scheduled, and branded by networks, production companies, and individual participants, and how do the constructions and mechanisms of celebrity in reality programming change over time and because of time? I focus on the vocational and cultural work entailed in celebrity, the temporality of its production, and the notion of branding celebrity in reality television. Dissertation chapters will each focus on the kinds of work that characterize reality television production cultures at the network, production company, and individual level, with specific attention paid to programming focused ii on celebrity making and/or remaking. Celebrity is a cultural construct that tends to hide the complex labor processes that make it possible. This dissertation unpacks how celebrity status is the product of a great deal of seldom recognized work and calls attention to the hidden infrastructures that support the production, maintenance, and promotion of celebrity on reality television. -
Dick Tracy.” MAX ALLAN COLLINS —Scoop the DICK COMPLETE DICK ® TRACY TRACY
$39.99 “The period covered in this volume is arguably one of the strongest in the Gould/Tracy canon, (Different in Canada) and undeniably the cartoonist’s best work since 1952's Crewy Lou continuity. “One of the best things to happen to the Brutality by both the good and bad guys is as strong and disturbing as ever…” comic market in the last few years was IDW’s decision to publish The Complete from the Introduction by Chester Gould’s Dick Tracy.” MAX ALLAN COLLINS —Scoop THE DICK COMPLETE DICK ® TRACY TRACY NEARLY 550 SEQUENTIAL COMICS OCTOBER 1954 In Volume Sixteen—reprinting strips from October 25, 1954 THROUGH through May 13, 1956—Chester Gould presents an amazing MAY 1956 Chester Gould (1900–1985) was born in Pawnee, Oklahoma. number of memorable characters: grotesques such as the He attended Oklahoma A&M (now Oklahoma State murderous Rughead and a 467-lb. killer named Oodles, University) before transferring to Northwestern University in health faddist George Ozone and his wild boys named Neki Chicago, from which he was graduated in 1923. He produced and Hokey, the despicable "Nothing" Yonson, and the amoral the minor comic strips Fillum Fables and The Radio Catts teenager Joe Period. He then introduces nightclub photog- before striking it big with Dick Tracy in 1931. Originally titled Plainclothes Tracy, the rechristened strip became one of turned policewoman Lizz, at a time when women on the the most successful and lauded comic strips of all time, as well force were still a rarity. Plus for the first time Gould brings as a media and merchandising sensation. -
Taking Comics Seriously
POP CULTURE clusively with daytime. The show features no gunfights or car chases; there are moments of leisurely, uneventful conversation between the younger and older generations. It is a curious inversion: Where once daytime TV fled prime time, prime time now copies daytime. The evidence is every- where, from the success of The Forsyte Saga and Upstairs Down- stairs (soap operas with extra starch) to major television serials like Rich Man Poor Man, Roots, and Captains and Kings. Spec- taculars aside, even a regular offering such as Family reflects a soap-opera sense of continuity. The major characters suffer. They have affairs, consider marriage, drop out of school, worry about mortality It goes too far to say that daytime dramas are genuinely realistic. The necessities of the form require too many brushes with the kinds of crises that most families would suffer only a few times in a generation. But both soaps and game shows have certainly tried to move television closer to what Paddy Chayefsky called "the marvelous world of the ordinary." What daytime TV has given prime time is the possibility of exploring characters not through the prism of fantasy, but through a focus closer to the way most of us spend our lives. And that is no mean contribution. TAKING COMICS SERIOUSLY by Arthur Asa Berger New art forms are often greeted with derision. Attic tragedy was denounced by conservative Greeks, impressionism by high- brow Parisians. Americans, too, have snubbed new, indigenous art forms. The comics, for example, like jazz music, are a home- grown American product; and like jazz, they were long ignored by "serious" critics. -
New York to Hollywood: Advertising, Narrative Formats, and Changing Televisual Space in the 1950'S
Bard College Bard Digital Commons Senior Projects Spring 2017 Bard Undergraduate Senior Projects Spring 2017 New York to Hollywood: Advertising, Narrative Formats, and Changing Televisual Space in the 1950's Peter McCormack Bard College, [email protected] Follow this and additional works at: https://digitalcommons.bard.edu/senproj_s2017 Part of the United States History Commons, and the Visual Studies Commons This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. Recommended Citation McCormack, Peter, "New York to Hollywood: Advertising, Narrative Formats, and Changing Televisual Space in the 1950's" (2017). Senior Projects Spring 2017. 148. https://digitalcommons.bard.edu/senproj_s2017/148 This Open Access work is protected by copyright and/or related rights. It has been provided to you by Bard College's Stevenson Library with permission from the rights-holder(s). You are free to use this work in any way that is permitted by the copyright and related rights. For other uses you need to obtain permission from the rights- holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. For more information, please contact [email protected]. From New York to Hollywood: Advertising, Narrative Formats, and Changing Televisual Space in the 1950’s Senior Project Submitted to The Division of Social Studies of Bard College by Peter McCormack Annandale-on-Hudson, New York May 2017 ii From New York to Hollywood iii Acknowledgements I would like to thank my parents first and foremost. I don’t think I’ve ever taken the time to bore them with the intimate details of this project. -
PDF Free Rip Kirby Volume 1
Register Free To Download Files | File Name : Rip Kirby Volume 1 PDF RIP KIRBY VOLUME 1 Tapa dura 1 diciembre 2009 Author : Alex Raymond Descripcin del productoCrticas"A treasure not to be missed." --ScoopBiografa del autorAlex Raymond (1909-1956) is regarded, with Milton Caniff and Hal Foster, as one of the three giants of newspaper adventure strip artists. Raymond apprenticed with Chic Young on Blondie, and Lymon Young on Tim Tyler's Luck. The year 1934 was a major turning point in his career: he illustrated X- 9, a new detective comic strip written by Dashiell Hammett, and then created Flash Gordon and Jungle Jim. Rip Kirby, created in 1946, signaled a grand departure, both thematically and artistically, from the science fiction classic. He promulgated a new art style--one of cinematic photo-realism--that influenced such artists as Stan Drake, Leonard Starr, Al Williamson, and Neal Adams. Great art, good printing IDW produced another great book, beautifully crafted, with an interesting essay on Alex Raymond and Rip Kirby. Every effort was made to find the best sources for the dailies: it's a pity that they are not - apparently - syndicated proofs; very few are from original art (the first week and some others); the bulk is made of pretty good reproductions, some from second generation sources; some are not so good... I wonder: where are the KFS proofs?Forgive my English Five Stars Presenting the first volume of Alex Raymond's modernist classic Rip Kirby from its start in 1946. Created by Alex Raymond when he was deactivated from the Marines after World War II, Rip Kirby was a fresh approach to the genre, a departure from the prevailing hard-boiled style of detective fiction. -
Volume 8, Number 1
POPULAR CULTURE STUDIES JOURNAL VOLUME 8 NUMBER 1 2020 Editor Lead Copy Editor CARRIELYNN D. REINHARD AMY DREES Dominican University Northwest State Community College Managing Editor Associate Copy Editor JULIA LARGENT AMANDA KONKLE McPherson College Georgia Southern University Associate Editor Associate Copy Editor GARRET L. CASTLEBERRY PETER CULLEN BRYAN Mid-America Christian University The Pennsylvania State University Associate Editor Reviews Editor MALYNNDA JOHNSON CHRISTOPHER J. OLSON Indiana State University University of Wisconsin-Milwaukee Associate Editor Assistant Reviews Editor KATHLEEN TURNER LEDGERWOOD SARAH PAWLAK STANLEY Lincoln University Marquette University Associate Editor Graphics Editor RUTH ANN JONES ETHAN CHITTY Michigan State University Purdue University Please visit the PCSJ at: mpcaaca.org/the-popular-culture-studies-journal. Popular Culture Studies Journal is the official journal of the Midwest Popular Culture Association and American Culture Association (MPCA/ACA), ISSN 2691-8617. Copyright © 2020 MPCA. All rights reserved. MPCA/ACA, 421 W. Huron St Unit 1304, Chicago, IL 60654 EDITORIAL BOARD CORTNEY BARKO KATIE WILSON PAUL BOOTH West Virginia University University of Louisville DePaul University AMANDA PICHE CARYN NEUMANN ALLISON R. LEVIN Ryerson University Miami University Webster University ZACHARY MATUSHESKI BRADY SIMENSON CARLOS MORRISON Ohio State University Northern Illinois University Alabama State University KATHLEEN KOLLMAN RAYMOND SCHUCK ROBIN HERSHKOWITZ Bowling Green State Bowling Green State -
Mr. Television
ZXAUncle Miltie.finaledit 2/21/02 11:26 AM Page 2 MR. TELEVISION ncle Miltie would do gave his all.You had to love anything for a laugh. him. He insisted on it. He jumped onstage in Berle had been one of the outlandish costumes— guest hosts of the Texaco Star sometimes in drag. Theater when it began in the HeU would have pies and spring of 1948, and he took powder puffs and buckets of over as permanent host begin- water thrown into his face. ning with the fall premiere. He would fall over face down— He was an immediate hit— hard—or backward, like a piece literally the reason many families of wood. He would tell jokes decided to buy a television that ranged from the obvious set. He became known as to the ridiculous, and when “Mr.Television” because he a joke died, he would mug, dominated the small screen in cajole, milk, or beg the his era, but the moniker stuck audience until they laughed. because he was an innovator— As an entertainer, he wanted one of the first comedians to to please, so much so that he really understand how to use the medium. Early television audiences had never seen anything like Texaco Star Theater before, even if they had seen Berle on Broadway or the vaudeville stage. From the moment the Texaco Service Men launched into the opening jingle (“Oh, we’re the men from Texaco”) to the end of the show (when he sang his theme song,“Near You”),Uncle Miltie worked tirelessly to entertain, bringing 36 ZXAUncle Miltie.finaledit 2/21/02 11:26 AM Page 3 a frantic and infectious energy Berle away from NBC, Berle was a physical comic to the screen. -
Peter Greene Holbrook April 13, 1940 - June 22, 2016
Peter Greene Holbrook April 13, 1940 - June 22, 2016 Peter Holbrook was born in New York City, NY. He attended Deerfield Academy in Massachusetts _and received a Bachelor of Fine Arts from Dartmouth College in1961. Peter was born an artist-winning his first award at the age of 7 in the 1s1 grade. His first solo exhibition was at the Carpenter Galleries at Dartmouth College in 1960. Peter in his studio (Photo by Fred Bauer) Following graduation, Peter spent 2 years traveling around Europe, Africa, the Middle East and India. Upon his return to the United States, he enrolled in the Brooklyn Museum Art School. For seven years he worked a variety of jobs in Chicago, from draftsman to taxi driver, and began to exhibit his art work professionally and lecture at the Unive.rsity of Illinois Chicago Circle Campus. It was during this period that photorealism began to emerge as a counter to abstract expressionism. This genre suited Peter's dual interests in photography and painting, although his own approach was to use deliberately applied brushwork and line to suggest the landscape rather than replicate it. In an interview with Rosemary Carstens for an article in Southwest Art magazine, Peter states: "I have always admired the great realists. There's a basic visual magic in the ability of pigment to credibly translate a three-dimensional world into a flat two-dimensional world on paper and canvas. A good painting allows us to momentarily enter another's consciousness and implies dimensions beyond what is normally seen. It makes painting a spiritual exercise, requiring imagination to create credibility." Peter decided he had had enough of city life and came West to California in 1970, bought land in Briceland in Humboldt County and began to build his home. -
Newfangles 51 1971-09
NLV.FANGLES 51, September 1971, a monthly news&opinion fanzine from Don & Maggie Thompson, 8786 Hendricks Rd., Mentor, Ohio 44060 for 200 a copy. There will be only 3 more issues, so don’t send us more than 600. The only back issue we have is $47; we have a print run of 600 or so which sells out; we don’t want to be stuck with a lot of unsold copies when we quit, so will print only enough of the last couple of issues to meet subscriptions. Do not wait until the last minute if your sub runs out before then. We have 546 subscribers at the moment, of which number 384 are permanent. Next; Cur antepenultimate issue!!!!!!! Heading this issue (or footing, considering its placement) by Dave Russell. 515151515151515151515151515151515151515151515151515151515151515151515151515151515151515151 Carmine Infantino, DC publisher, told the Academy of Comic Book Artists of a new DC incentive plan — profit-sharing on new concepts, including black&white comics. Neal Adams was robbed of a briefcase on the subway recently. The briefcase contained a great deal of art in various stages, including breakdowns and finished art for Marvel and DC and a model for the ACBA membership card., Adams has frequently been late getting his work in and this has caused him to miss several already-extended deadlines. He may lose several jobs as a result. Green Lantern/Green Arrow 87 will be all reprint as a result. Gil Kane will do an origin issue of Ka-Zar and then John Buscema will take over. There apparently will be at least 4 Blackmark books by Gil Kane from Bantam, vzith the first one due to be reissued with a new cover. -
KING of LATE NIGHT SCREENPLAY Script
THE KING OF LATE NIGHT Written by Patti Vasquez & Kevin Cleary Based on the book THE TONIGHT SHOW by Robert Metz Published by Playboy Press Contact: James Kellem JKA Talent & Literary 12725 Ventura Boulevard Suite H Studio City, CA 91604 FADE IN: INT. TV STUDIO - DAY Image opens on the bright red light of a huge RCA TK30, a large black and white television broadcasting camera, the top of the line network TV studio camera of 1951. SUPERIMPOSE: NEW YORK CITY, 1951 The camera pulls back to reveal the whole television camera and the studio in which it sits. The studio is broadcasting THE TODAY SHOW. DAVE GARROWAY (40), the host of the show, sits at a desk interacting with J. FRED MUGGS, the show’s chimpanzee “co- host”. CUT TO: INT. TV CONTROL ROOM - DAY SYLVESTER “PAT” WEAVER, 43, creator of the Today Show (and The Tonight Show), powerful Executive Vice President of NBC TV and modern programming genius is watching the show on the monitor. Weaver stands behind the show’s director and his crew who sit in front of a large bank of black and white monitors that feature each of the different camera shots. TV DIRECTOR Camera One. The “broadcast” monitor cuts to Garroway and Muggs at the desk. GARROWAY (To Fred) That’s right Fred, humans are silly. (To the camera) We’ll be right back after these commercial messages. TODAY SHOW DIRECTOR Roll commercial. ASSISTANT DIRECTOR We’re out. Back in two minutes. 2. As show goes to commercial the studio explodes into a frenzy of activity from cameramen, make-up people and lighting guys. -
Operation" Frontal Lobe" Versus The" Living Room Toy": the Battle Over Program Control in Early Television
DOCUMENT RESUME ED 293 490 IR 013 012 AUTHOR Boddy, William TITLE Operation "Frontal Lobe" versus the "Living Room Toy": The Battle over Program Control in Early Television. PUB DATE Jul 86 NOTE 16p.; Paper presented at the International Television Studies Conference (London, England; July 10-12, 1996). PUB TYPE Historical Materials (060) Speeches/Conference Papers (153) EDRS PRICE MF01/PC01 Plus Postage. DESCRIPTORS Agency Role; *Broadcast Industry; *Commercial Television; Federal Regulation; History; *Networks; *Programing (Broadcast); Radio; *Technological Advancement; Television Research IDENTIFIERS Corporate History; Corporate Politics; *National Broadcasting Company ABSTRACT The development of the television industry in the United States as it emerged in the 1950s is mirrored by tracing the policies and actions of NBC (the National Broadcasting Company) during this period. As the leading radio network and as a subsidiary of RCA (the Radio Corporation of America), NBC was in a uniquely powerful position to direct the structure of the new television industry, which by the mid-1550s was unlike network radio. In the latter, sponsored programs were produced or licensed to a specific sponsor or its advertising agency and the network brokered the time of its affiliates to the sponsor. In television this sponsor or agency role was taken over by the networks, which licensed programs themselves and relegated the advertiser to shared or participating sponsorship forms. While changes in institutional structures in commercial broadcasting were sometimes accomplished by battles, the victory of the networks by the mid-1950s largely defined the network relations with sponsors, advertising agencies, program producers, affiliates, and federal regulators which still largely obtain today. -
Winona Daily News Winona City Newspapers
Winona State University OpenRiver Winona Daily News Winona City Newspapers 1-11-1962 Winona Daily News Winona Daily News Follow this and additional works at: https://openriver.winona.edu/winonadailynews Recommended Citation Winona Daily News, "Winona Daily News" (1962). Winona Daily News. 221. https://openriver.winona.edu/winonadailynews/221 This Newspaper is brought to you for free and open access by the Winona City Newspapers at OpenRiver. It has been accepted for inclusion in Winona Daily News by an authorized administrator of OpenRiver. For more information, please contact [email protected]. Cloudy Tonight And Friday, Warmer Tonight Kennedy Asks Ta*, Tariff Powers Ava lanche in Peru Renews Plea 3 j 0004jOQQFeared For Federal Aid to Schools Lasf in Giant Slide WASHINGTON W — President Kennedy asked for LIMA, Peru (AP)—A giant ava- center of Huaraz, was feared to snow and water broke loose and unprecedented tax-cutting and tariff-slashing powers in lanche of snow and water caused have been wiped out. rumbled : like thunder down the laying before Congress today a massive legislative pro- by a thaw , roared . 'down . on the The town has a population of mountain and crashed onto the town of Ranrahica and several about" -3,000) and police said about agricultural community below. gram he described as keyed to "fulfill the world's hope by ranches in northwestern Peru that many persons were missing. It sped to' . the edge of the Santa fulfilling our own faith." Wednesday night. .Authorities said One unconfirmed report said a River and smashed into Ranra- 0 And, in a 6,060-word State of the Union message, the they feared between 3,000 and small mountain Me was pushed hica.