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Young Adult Novels Into Television Films: a Content Analytic Study. Charlotte Dawn D'armond Louisiana State University and Agricultural & Mechanical College

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Young Adult Novels Into Television Films: a Content Analytic Study. Charlotte Dawn D'armond Louisiana State University and Agricultural & Mechanical College Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1984 Young Adult Novels Into Television Films: a Content Analytic Study. Charlotte Dawn D'armond Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation D'armond, Charlotte Dawn, "Young Adult Novels Into Television Films: a Content Analytic Study." (1984). LSU Historical Dissertations and Theses. 3978. https://digitalcommons.lsu.edu/gradschool_disstheses/3978 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 Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS This reproduction was made from a copy of a document sent to us for microfilming. While the most advanced technology has been used to photograph and reproduce this document, the quality of the reproduction is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help clarify markings or notations which may appear on this reproduction. 1.The sign or “target” for pages apparently lacking from the document photographed is “Missing Page(s)”. If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure complete continuity. 2. When an image on the film is obliterated with a round black mark, it is an indication of either blurred copy because of movement during exposure, duplicate copy, or copyrighted materials that should not have been filmed. For blurred pages, a good image of the page can be found in the adjacent frame. If copyrighted materials were deleted, a target note will appear listing the pages in the adjacent frame. 3. When a map, drawing or chart, etc., is part of the material being photographed, a definite method of “sectioning” the material has been followed. It is customary to begin filming at the upper left hand corner of a large sheet and to continue from left to right in equal sections with small overlaps. If necessary, sectioning is continued again—beginning below the first row and continuing on until complete. 4. For illustrations that cannot be satisfactorily reproduced by xerographic means, photographic prints can be purchased at additional cost and inserted into your xerographic copy. These prints are available upon request from the Dissertations Customer Services Department. 5. Some pages in any document may have indistinct print. In all cases the best available copy has been filmed. University Microfilms International 300 N. Zeeb Road Ann Arbor, Ml 48106 8511748 D’Armond, Charlotte Dawn YOUNG ADULT NOVELS INTO TELEVISION FILMS: A CONTENT ANALYTIC STUDY The Louisiana State University and Agricultural and Mechanical Ph.D.Col. 1984 University Microfilms International300 N. Zeeb Road, Ann Arbor, Ml 48106 Copyright 1985 by D’Armond, Charlotte Dawn All Rights Reserved YOUNG ADULT NOVELS INTO TELEVISION FILMS: A CONTENT ANALYTIC STUDY 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 Speech Communication, Theatre, and Communication Disorders by Charlotte Dawn D'Armond A.A., Lees-McRae College, 1975 B.A., Carson-Newman College, 1977 M.A., Louisiana State University, 1980 M.L.S., Louisiana State University, 1981 August 1984 © 1985 CHARLOTTE DAWN D'ARMOND All Rights Reserved ACKNOWLEDGMENTS The author wishes to acknowledge the assistance of many generous people without whom the study would have been seriously handicapped. Chief among them are Bette Green, Richard Peck, and Beatrice Sparks for their novels and interviews. Charles Fries Productions, Highgate Pro­ duction Company, and Metromedia Producers Corporation provided scripts and copies of the television movies. Betty Ann Palmer Schmid's dissertation formed the basis of the current study. Each member of the committee provided invaluable advice and support for the author. Special thanks are extended to Dr. J. Donald Ragsdale, chairman, Dr. Clinton Bradford, Dr. David England, Dr. Harold Mixon, Dr. John Pennybacker, and Dr. Patsy Perritt. Dr. Mary Frances HopKins and Mrs. Jean Jackson allowed the author to com­ plete the study in a very conducive environment. Special friends continue to provide strong hearts and hands. They will be forever remembered for their kindness and encouragement: Susan Batten, Mr. and Mrs. H. L. Helton, Kate Lemon, Patty and Mark McCann, Rachel Reed, B. Jaye Schooley, Cindy and Wade Shepard, Paula Thompson, POETS, Ken and Nancy Lynn Younger, Arleene and ii Wayne Ward, the Waller Clan, and all the children brought into the world by the above who gave the author a true perspective on the importance of this study. The administration, faculty, staff, and students of Johnson C. Smith University contributed support both financially and emotionally to the completion of the pro­ ject . Past academic personnel Drs. Kim and Lois Anne Harris, Dr. John Lee and Margaret Weiton, and Mr. James and Cindy Stonesifer started the author on her studies and have remained faithful to the finish. Finally, to Timothy D'Armond who allowed the author the freedom of long days of writing unencumbered by daily chores and served as a mathematical consultant and Jack and Ann D'Armond who were unfailing in their support of the author. Most importantly to Jack and Kitty, who con­ tributed patience, love, and funds in large quantities. For my parents iv TABLE OF CONTENTS Page ACKNOWLEDGMENTS......................................... ii LIST OF TABLES........................................... viii ABSTRACT.................................................... x CHAPTER I. INTRODUCTION.................................... 1 Statement of the Problem................. 3 Contributory Studies..................... 7 Methodology............................... 9 Limitations of Study..................... 17 Significance of Study.................... 19 II. TELEVISION F I L M S ............................... 22 Decline of the Feature.................. 22 Creating Telefilms....................... 31 Developing the Concept.................. 38 Coming of Age ............................. 48 Nature of the Telefilm.................. 53 Summary.................................... 58 III. YOUNG ADULT LITERATURE........................ 61 Nature of Adolescence.................... 61 Development of Young Adult Literature.. 6 5 1700-1900: Didactism..................... 67 1900-Post WWII: Sentimentalism Toward Realism......................... 72 1945-1966: Coping with the Future ...... 74 1966-1984: Confrontations with Reality. 80 Value of Young Adult Literature........ 89 IV. TABLES OF CONTENT CORRESPONDENCE............. 93 Procedure................................. 93 Limitations of the Method 9 7 Tables and Definitions.................. 99 Summary.................................... 109 v V. ANALYSIS OF CHANGES IN THEME ................. 112 Definition of "Theme".................... 112 Method of Analysis....................... 112 Analysis of Theme ........................ 114 Summary.................................... 123 VI. ANALYSIS OF CHANGES IN DRAMATIC CONSTRUCTION.................................... 125 Plan of the Chapter...................... 125 Major and Minor Plot Lines.............. 126 Method of Analysis....................... 126 Plot Construction........................ 123 Results.................................... 124 Major Features in Scenes and Sequence Changes....................... 127 Sources of the Telefilm Scenes...... 140 Major Features in Sources of the Telefilm Scenes........................ 143 Chronological Order ...................... 146 Basic Changes in P l o t .................... 148 Summary.................................... 123 VII. ANALYSIS OF CHANGES IN CHARACTERIZATION...... 158 Introduction............................. 158 Changes in the Number of Characters.... 160 Treatment of Major Characters.......... 16 2 Treatment of Minor Characters.......... 166 Changes in the Names of Characters 168 Major Features in Characterization C h a n g e s................................. 172 Summary.................................... 182 VIII. ANALYSIS OF CHANGES IN DIALOGUE AND NARRATION........................................ 186 Introduction.............................. 186 Distinction Between Dialogue and Narration............................... 186 Amount of Dialogue and Narration....... 18 7 Sources of Dialogue...................... 190 Sources of Narration..................... 194 Features of Dialogue in the Telefilm... 200 Use of the Narrator...................... 206 Summary.................................... 216 vi IX. ANALYSIS OF CHANGES IN DESCRIPTION AND DESCRIPTIVE ACTION .............................. 219 Introduction.............................. 219 Amount of Description.................... 221 Methods of Presentation................. 223 Sources of Description.................. 227 Major Features in the Presentation and Sources of Description........... 230 Summary.................................... 23 5 X. ANALYSIS OF CHANGES IN SETTING................ 237 Introduction.............................
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