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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 -
FILM SENIOR MOMENT (Goff Productions) Director: Giorgio Serafini
Pat McCorkle, CSA Jeffrey Dreisbach, Casting Partner Katja Zarolinski, CSA Kristen Kittel, Casting Assistant FILM SENIOR MOMENT (Goff Productions) Director: Giorgio Serafini. Starring: William Shatner, Christopher Lloyd, Jean Smart. THE MURPHYS (Independent Feature; Producer(s): The Murphy's LLC). Director: Kaitlan McGlaughlin. BERNARD & HUEY (In production. Independent Feature; Producer(s): Dan Mervish/Bernie Stein). Director: Dan Mervish. AFTER THE SUN FELL (Post Production. Independent feature; Producer(s): Joanna Bayless). Director: Tony Glazer. Starring: Lance Henriksen, Chasty Ballesteros, Danny Pudi. FAIR MARKET VALUE (Post Production. Feature ; Producer(s): Judy San Romain). Director: Kevin Arbouet. Starring: Jerry Adler, D.C. Anderson, Michael J. Arbouet. YEAR BY THE SEA (Festival circuit. Feature; Producer(s): Montabella Productions ). Director: Alexander Janko. Starring: Karen Allen, Yannick Bisson, Michael Cristofer. CHILD OF GRACE (Lifetime Network Feature; Producer(s): Empathy + Pictures/Sternamn Productions). Director: Ian McCrudden. Starring: Ted Lavine, Maggy Elizabeth Jones, Michael Hildreth. POLICE STATE (Independent Feature; Producer(s): Edwin Mejia\Vlad Yudin). Director: Kevin Arbouet. Starring: Sean Young, Seth Gilliam, Christina Brucato. MY MAN IS A LOSER (Lionsgate, Step One Entertainment; Producer(s): Step One of Many/Imprint). Director: Mike Young. Starring: John Stamos, Tika Sumpter, Michael Rapaport. PREMIUM RUSH (Columbia Pictures; Producer(s): Pariah). Director: David Koepp . Starring: Joseph Gordon-Levitt, Jamie Chung, Michael Shannon. JUNCTION (Movie Ranch; Producer(s): Choice Films). Director: David Koepp . Starring: Joseph Gordon-Levitt, Jamie Chung, Michael Shannon. GHOST TOWN* (Paramount Pictures; Producer(s): Dreamworks SKG). Director: David Koepp. Starring: Ricky Gervais, Tea Leoni, Greg Kinnear. WAR EAGLE (Empire Film; Producer(s): Downstream Productions). Director: Robert Milazzo. Starring: Brian Dennehy, Mary Kay Place, Mare Winningham. -
Broadcasting M Feb10
Family time from 7 to 9 ompli Program spotlight on m_ .1k TPE m BroadcastingThe newsweekly of broadcasting and allied arts Feb10Our 44th Year 1975 Andy Griffith Show Dick Van Dyke Show I Love Lucy Petticoat Junction In our Beverly Hillbillies Gomer Pyle Hogan's Heroes family, young women first! Viacom's family of sitcoms have been bringing 18 -34 women to television stations for a long time. "Family Affair;' our latest sitcom, showed up in the rating books with young women, as expected. 75% more 18 -34 women watched "Family Affair" than year -ago programs in 23 markets. And it drew 55% more 18 -49 wonien than year-ago programs in 27 markets. It's a family tradition. Family Affair Om Source: NSI, Nov. 1974. Audience estimates subject to qualifications available on request. ... an exceptional group of features to match the fabulous success of Prime I, Prime II, and Prime III ... three of the highest rated feature film groups ever released for television, currently airing in more than 100 markets and racking up the ratings everywhere ... in primetime, fringetime, daytime, late night, and weekend pro slots. Prime IV contains 26 outstanding eatures, with a "now" look ... with stars of today, many of whom have won Emmy and Academy Awards. Included are films from some of Hollywood's most prestigious producers such as Danny Thomas Productions, Filmways, Charles Fries Productions, Playboy Productions, Leslie Stevens Productions, RSO Films, and the Douglas S. Cramer Co. The plots run the gamut of entertainment... action, drama, comedy, supernatural, western ... all produced for family audiences. -
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. -
Text of the NCAI Prsident's Comments to the Annual Convention
DOCUMENT RESUME FD 046 606 PC 005 022 TITLE The National Conaross of American 'Indians, Annual Fenort 1969. INSTITUTION National Congress of American Indians, Washington, PUP DATF 6° NOT7 F7 p. 7DPS PRICE EDFS Price M7-T,0.65 FC-S3.20 DFSCRIPTORF *American Indians, *Annual Penorts, Community, * Development, Economics, *Faucatign, Financial Support, Government (Administrative Body), Legal Problems, 'Legislation, Organizati,m, *Policy Formation, Political Issues, 0roarams, Tribes APSTPArT Tho annual report of the National Congress of American Indian (NCAI)for 1960 provides a report of the year's work in each major area of NCAI activities, together with an occasional descrintion of specific actions, Also discussed are the present tate of Indian affairs, education, and imptovement in the liaison activities with the United States Congress. The document contains the text of the NCAI prsident's comments to the annual convention (196°) and the positicn paper he presented which carries recommendations for change in the Bureau of Indian Affairs. Other topics discussed in the report include Indian leaislation, the American Indian Media Service Committee, NCAI membership, Indian economic and community development, the National Indian Development Organization, the NCAI economic planning workshops, legal services, and the NCAI Industrial Development Program. The report points out that since the founding of NCAI in 19414, the major objective has been to unify the American Indians to work in harmony through NCAI. (EL) U.S. DEPARTMENT OF HEALTH. 14.0 -
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. -
Dan Curtis Productions Records PASC.0001
http://oac.cdlib.org/findaid/ark:/13030/kt1q2nc59j No online items Finding Aid for the Dan Curtis Productions Records PASC.0001 Finding aid prepared by UCLA Library Special Collections staff, additions by Erin Froschle in the Center for Primary Research and Training; machine-readable finding aid created by Julie Graham. UCLA Library Special Collections Online finding aid last updated on 2020 October 15. Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA 90095-1575 [email protected] URL: https://www.library.ucla.edu/special-collections Finding Aid for the Dan Curtis PASC.0001 1 Productions Records PASC.0001 Contributing Institution: UCLA Library Special Collections Title: Dan Curtis Productions records Creator: Curtis, Dan Creator: Dan Curtis Productions Identifier/Call Number: PASC.0001 Physical Description: 64.0 Linear Feet(162 boxes) Date (inclusive): 1963-2005 Abstract: The Dan Curtis Productions Records span the years 1963-2005. Dan Curtis predominantly produced television series, made for television movies, television episodes, and television miniseries. While Curtis produced many acclaimed productions, he is most known for his 1960's gothic soap opera Dark Shadows and the massive television miniseries Winds of War and War and Remembrance. Curtis also produced four motion picture projects including the horror film Burnt Offerings, Me and the Kid, as well as two films based on Dark Shadows. Series include television projects, motion picture projects, unproduced projects, and business records. Subseries are arranged alphabetically by project title and include scripts, production materials, and audio reels. Stored off-site. All requests to access special collections material must be made in advance using the request button located on this page. -
Ofgadeasti G the BUSINESS WEEKLY of TELEVISION and RADIO
JUNE 24, 1968 50 CENTS 37TH YEAR OfgadeaSti g THE BUSINESS WEEKLY OF TELEVISION AND RADIO Is CATV's future in the hands of the FCC? p19 Candidates digging deep for political buys. p24 Optimistic NCTA ready for convention this week. p33 What the exhibitors will be showing in Boston. p36 COMPLETE INDEX PAGE 7 =-4 ,r,-4 N %- $a WBAPTVEÑflL© 4.a. Represented Nationally by ers. Griffin. Woodward, Inc. 0*\4O ;MR IENCE _- Beginning this September, a minimum* of 62 half -hours of programming from Screen Gems is scheduled to be shown on New York's television stations each week. SCREEN GEMS Bewitched WABC -TV Thursdays and Weekdays. I Dream of Jeannie WNBC -TV Mondays. The Flying Nun WABC -TV Thurs- days. Here Come the Brides WABC -TV Wednesdays. The Outcasts WABC -TV Mondays. The Ugliest Girl in Town WABC -TV Thursdays. Days of Our Lives WNBC -TV Weekdays. The Farmer's Daughter WCBS -TV Weekdays. Hazel WNEW.TV Weekdays. The Flintstones WNEW -TV Weekdays and Sunday; and WNBC -TV Saturdays. Dennis the Menace WCBS -TV Weekdays. Burns and Allen WPIX Weekdays. The 3 Stooges WPIX Weekdays. The Perfect Match WPIX Saturdays. Jungle Jim Features WNBC -TV Saturdays. Johnny Quest WCBS -TV Saturdays. Top Cat WNBC -TV Saturdays. Route 66 WNBC -TV Saturdays. Donna Reed Show WCBS -TV Weekdays. *Does not include network originated feature films on WABC.TV and WCBS -TV, and locally originated feature films (from a library of more than 1,400 titles) on WABC -TV, WCBS -TV, WNBC -TV and WOR -TV, and specials, both network and locally originated. -
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