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Televising the South: Race, Gender, and Region in Primetime, 1955-1980
TELEVISING THE SOUTH: RACE, GENDER, AND REGION IN PRIMETIME, 1955-1980 by PHOEBE M. BRONSTEIN A DISSERTATION Presented to the Department of English and the Graduate School of the University of Oregon in partial fulfillment of the requirements for the degree of Doctor of Philosophy September 2013 DISSERTATION APPROVAL PAGE Student: Phoebe M. Bronstein Title: Televising the South: Race, Gender, and Region in Primetime, 1955-1980 This dissertation has been accepted and approved in partial fulfillment of the requirements for the Doctor of Philosophy degree in the Department of English by: Carol Stabile Chairperson Priscilla Ovalle Core Member Courtney Thorsson Core Member Meslissa Stuckey Institutional Representative and Kimberly Andrews Espy Vice President for Research and Innovation; Dean of the Graduate School Original approval signatures are on file with the University of Oregon Graduate School. Degree awarded September 2013 ii © 2013 Phoebe M. Bronstein This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License iii DISSERTATION ABSTRACT Phoebe Bronstein Doctor of Philosophy Department of English September 2013 Title: Televising the South: Race, Gender, and Region in Primetime, 1955-1980 This dissertation traces the emergence of the U.S. South and the region’s role in primetime television, from the post-World War II era through Reagan’s election in 1980. These early years defined, as Herman Gray suggests in Watching Race, all subsequent representations of blackness on television. This defining moment, I argue, is one inextricably tethered to the South and the region’s anxiety ridden and complicated relationship with television. This anxiety was rooted in the progress and increasing visibility of the Civil Rights Movement, concern over growing white southern audiences in the wake of the FCC freeze (ended in 1952), and the fear and threat of a southern backlash against racially progressive programming. -
Aleuts: an Outline of the Ethnic History
i Aleuts: An Outline of the Ethnic History Roza G. Lyapunova Translated by Richard L. Bland ii As the nation’s principal conservation agency, the Department of the Interior has re- sponsibility for most of our nationally owned public lands and natural and cultural resources. This includes fostering the wisest use of our land and water resources, protecting our fish and wildlife, preserving the environmental and cultural values of our national parks and historical places, and providing for enjoyment of life through outdoor recreation. The Shared Beringian Heritage Program at the National Park Service is an international program that rec- ognizes and celebrates the natural resources and cultural heritage shared by the United States and Russia on both sides of the Bering Strait. The program seeks local, national, and international participation in the preservation and understanding of natural resources and protected lands and works to sustain and protect the cultural traditions and subsistence lifestyle of the Native peoples of the Beringia region. Aleuts: An Outline of the Ethnic History Author: Roza G. Lyapunova English translation by Richard L. Bland 2017 ISBN-13: 978-0-9965837-1-8 This book’s publication and translations were funded by the National Park Service, Shared Beringian Heritage Program. The book is provided without charge by the National Park Service. To order additional copies, please contact the Shared Beringian Heritage Program ([email protected]). National Park Service Shared Beringian Heritage Program © The Russian text of Aleuts: An Outline of the Ethnic History by Roza G. Lyapunova (Leningrad: Izdatel’stvo “Nauka” leningradskoe otdelenie, 1987), was translated into English by Richard L. -
Alaska Subsistence: a National Park Service Management History
National Park Service U.S. Department of the Interior r»l BM vf3<Cfiiiia Kl M>WJ A National Park Service Management History • JreJTTl ^Kc fS^Tvul Katie John near her Copper River fish wheel. For more than a decade, she fought state and federal officials for the right to fish at Batzulnetas village. Four years after a landmark lawsuit reaffirmed her fishing rights, manage ment authority over many of Alaska's navigable waters shifted from state to federal jurisdiction. Erik Hill photo, Anchorage Daily News Alaska Subsistence A National Park Service Management History Produced by the Alaska Support Office, National Park Service U.S. Department of the Interior Anchorage, Alaska Author: Frank Norris September 2002 Cover photo: Inupiat woman at Shishmaref boiling walrus flip pers. This photo was taken in 1974 by the late Robert Belous, who was one of the primary ar chitects of the National Park Service's policy toward subsis tence management during the critical, nine-year period between the passage of the Alaska Native Claims Settlement Act and the Alaska National Interest Lands Conservation Act. NPS (Alaska Task Force Box 8), Photo 4467-5 Norris, Alaska Subsistence - Errata sheet Front cover - the photo subject is Fannie Kigrook Barr of Shishmaref. Title page - Frank Broderick of Archgraphics was responsible for graphics and layout, Angelika Lynch (also of Archgraphics) prepared the maps, and A.T. Publishing Co. of Anchorage printed the volume under a Government Printing Office contract, page 2 - The source for Map 1-2 is: Federal Field Committee for Development Planning in Alaska, Alaska Natives and the Land (1968), p. -
Discussion About Henry Kuttner and C.L. Moore
Science Fiction Book Club Interview with Allen Mueller August 2019 Allen Mueller is an expert on Henry Kuttner and C.L. Moore. He wrote his MA thesis on them and has published several articles about them. Øyvind Strømsvåg: What was the reason for using so many different pseudonyms as Kuttner did? As with many authors, the Kuttners started using pseudonyms in situations where they had more than one story in a given publication (in a few cases, the Kuttners had up to 4 stories in a given magazine) and also as a way of distancing themselves from weaker stories published in less prestigious magazines. In a letter to August Derleth, Kuttner spoke quite frankly about, “sending (Leo) Margulies my W. T. duds.” Sam Moskowitz claimed that Kuttner was forced to publishing under pseudonyms for a time due to the negative criticism he received for publishing “The Time Trap,” with its (tame by today’s standard) sexual content. I also believe that, after a time, the pseudonyms took on a life of their own, in a sense. Fritz Leiber relates an appropriate anecdote after Kuttner’s death, “(Kuttner) and Bob (Bloch) had just been amusing themselves by formulating the personalities of a few pen names. As I recall a few of them, Lewis Padgett was a retired accountant who liked to water the lawn of an evening and then mosey down to the corner drugstore to pick up a quart of ice cream and whose wife collected recipes to surprise her bridge club. Lawrence O’Donnell was a wild Irishman who lived in Greenwich Village with a malicious black cat who had an infallible instinct for check letters and generally managed to chew up their contents before his master had shaken loose from his latest hangover. -
American Heritage Center
UNIVERSITY OF WYOMING AMERICAN HERITAGE CENTER GUIDE TO ENTERTAINMENT INDUSTRY RESOURCES Child actress Mary Jane Irving with Bessie Barriscale and Ben Alexander in the 1918 silent film Heart of Rachel. Mary Jane Irving papers, American Heritage Center. Compiled by D. Claudia Thompson and Shaun A. Hayes 2009 PREFACE When the University of Wyoming began collecting the papers of national entertainment figures in the 1970s, it was one of only a handful of repositories actively engaged in the field. Business and industry, science, family history, even print literature were all recognized as legitimate fields of study while prejudice remained against mere entertainment as a source of scholarship. There are two arguments to be made against this narrow vision. In the first place, entertainment is very much an industry. It employs thousands. It requires vast capital expenditure, and it lives or dies on profit. In the second place, popular culture is more universal than any other field. Each individual’s experience is unique, but one common thread running throughout humanity is the desire to be taken out of ourselves, to share with our neighbors some story of humor or adventure. This is the basis for entertainment. The Entertainment Industry collections at the American Heritage Center focus on the twentieth century. During the twentieth century, entertainment in the United States changed radically due to advances in communications technology. The development of radio made it possible for the first time for people on both coasts to listen to a performance simultaneously. The delivery of entertainment thus became immensely cheaper and, at the same time, the fame of individual performers grew. -
ABC Television Center Studios (Name Circa 1960)
ESTUDIOS DE CINEMA QUE VIRARAM ESTUDIOS DE TV Antigos estúdios de Hollywood http://www.retroweb.com/tv_studios_and_ranches.html ABC Television Center Studios (name circa 1960) Formerly: Vitagraph Studios Currently: The Prospect Studios (aka ABC Television Center West) Location: 4151 Prospect Avenue, Hollywood, California opened in 1912 as Vitagraph Studios, making it one of the oldest studios in Hollywood. eventually purchased by Warner Bros in 1925 ABC Television acquired the studio property in 1949, and opened the world's largest, state-of-the-art television center. "The old Vitagraph lot, then ABC, now Disney in East Hollywood, once had a large backlot, but by the time of television, the backlot was gone. For an early live western tv show, the side of one of the sound stages was painted to look like a western town or desert scene or something, and the show was show live from in front of that painted building." - Jerry S. "I've been told that all the scenes [in 42nd STREET] inside the theater were shot at Prospect on [what was known as] the Vitaphone theater stage. That stage later became Studio E at ABC, (now Stage 5). Eventually, the auditorium end of the stage was demolished to make way for a new studio now called Stage 4. The Vitaphone stage was sort of like the Phantom stage at Universal in that a portion of it had a permanent auditorium set with seats and boxes. It was removed once ABC took over. The old TV series SPACE PATROL was shot on those combined stages." - Richard P. -
Open Cho YS Thesis.Pdf
The Pennsylvania State University The Graduate School College of Communications COMPETITION AND PROGRAM TYPE DIVERSITY IN THE OVER-THE-AIR TELEVISION INDUSTRY, 1943-2005 A Thesis in Mass Communications by Young Shin Cho © 2007 Young Shin Cho Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy August 2007 The thesis of Young-Shin Cho was reviewed and approved* by the following: Richard Taylor Palmer Chair of Telecommunications Studies and Law Thesis Advisor Chair of Committee Matt Jackson Associate Professor of Communications Krishna Jayakar Associate Professor of Communications Lynette Kvasny Assistant Professor of Information Sciences and Technology John S. Nichols Professor of Communications Associate Dean for Graduates Studies and Research *Signatures are on file in the Graduate School ABSTRACT Competition and diversity are touchstones in media policy, but the relationship between them is not clear despite a great number of studies because even studies dealing with their relationship, did not measure the intensity of competition. This paper investigates the relationship between market competition and program type diversity in the over-the-air television industry. Specifically, market competition is divided into intra-network competition and intra-media competition, i.e. terrestrial television vs. cable TV. Also this paper uses a comprehensive model of program types, with 281 program type categories, which have never been used in previous studies. The results show that program type diversity keeps decreasing over time and intra-network competition has a negative effect on program type diversity. Also, intra- network competition is a more important factor on program type diversity than inter- media competition. -
MASTER's THESIS M-1800 CLINES, Jr., Carroll V. ALASKA's PRESS and the BATTLE for STATEHOOD. the American University, M.A., 1969
MASTER'S THESIS M-1800 CLINES, Jr., Carroll V. ALASKA'S PRESS AND THE BATTLE FOR STATEHOOD. The American University, M.A., 1969 Journalism University Microfilms, Inc., Ann Arbor, Michigan Carroll V. Glines, Jr. 1969 ©. ALL RIGHTS RESERVED ALASKA'S PRESS AND THE BATTLE FOR STATEHOOD by Carroll V. Glines Submitted to the Faculty of the College of Arts and Sciences of The American University in Partial Fulfillment of the Requirements for the Degree of Master of Arts Journalism Signatures of Committ Chairman Z Dean of the College Date ; ^ Date: y . n ( > 9 AMERICAN UNiVtKbii LIBRARY 1969 APR 11 1969 The American University Washington, D.C. WASHINGTON. D ^ PREFACE Alaska is the largest of the fifty states in size, yet has fewer people living there than reside in Rhode Island, the smallest state. It is a land of mystery and stark con trasts and for all practical purposes is as much an island as is the State of Hawaii. Alaska lies mostly above the 60th parallel where the massive North American and Asian continents nearly touch each other before they flow apart to edge the widening expanses of the Pacific Ocean. No railroad connects the forty-ninth state with the "Lower 48." The Alaska Highway, still an unimproved clay and gravel surfaced country road, cannot be considered an adequate surface artery connecting Alaskan communities either with their Canadian neighbors or other American communities. Sea transportation, augmented by air transportation, remains the primary method of commerce. It is estimated that about 99 per cent of the state's imports and exports are water- transported, leaving only one per cent to be shipped by air or over the Alaska Highway. -
The Inventory of the Howard Browne Collection #1195
The Inventory of the Howard Browne Collection #1195 Howard Gotlieb Archival Research Center BROWNE, HOWARD 1908- (Pseudonym: John Evans] Arrived February 1988 - March 1993 Novelist, mystery, crime, and short story writer; television and film script writer. A collection of 6 manuscript boxes (3 linear feet) consisting of over 30 TV scripts, many for popular series; a few film scripts; short stories; prefaces to mystery reissues; articles; photographs; correspondence, mainly 1987-1992, with a few 1962-1986 (Correspondents include agent, editors, friends and fans); printed pieces, a few by him; publicity and reviews for recent novels and films; general items about him, including interview. Photocopies of manuscript material permitted only with permission of Howard Browne. 1 I. SCRIPTS, 1956-1974 Box 1 A. Television Scripts: by series and alphabetical by title within series. Most mimeo. 1. Alias Smith and Jones The Girl in Boxcar #3 December 28, 1970 2. Bourbon Street Beat Public Enemy Final March 18, 1958 Rev. Final November 9, 1959 3. Bus Stop ••• And the Pursuit of Evil September 5, 1961 4. Cheyenne Hard Bargain March 25, 1967 Hell Waits at Dodge September 11, 1956 Renegades November 14, 1957 White Warrior December 30, 1957 5. Chrysler Theatre The War and Eric Kurtz Prod. #25557 n.d. (carbon typescript) 6, Colt ,45 Circle of Fear December 24, 1957 7, Conflict The Incorrigible January 23, 1957 Pattern for Violence March 18, 1957 8. Destry One Hundred Bibles Prod. #2420 n.d. 9. Follow the Sun Another Part of the Jungle September 25, 1961 Box 2 A Rage For Justice August 15, 1961 10. -
11 Metijlline Hews R J H Jdmety-Lajineg > HEADLINES from Hazel
O C T O B ER , 1968 11 metijlline Hews r J h JDmety-LAJineg > HEADLINES from Hazel My doesn't the month go by fast? This issue is a bit nostalgic with a Here st is news time again. We have bit of the old and new. Last month done such a great job this month on we received a very interesting news the reports that I think we should article about CAL ROGERS and his all take next month off. THEREFORE first transcontinental flight in the '‘Vin NO DEADLINE UNTIL NOV. 20, Fiz” . The lady who sent the article in 1968, included a newspaper clipping and a There are some of you that are not plea for help for the widow of CAL OCTOBER, 1968 reading the NEWS. PEG got several ROGERS. I carefully put the informa THE NINETY-NINES, Inc. reports which she delivered last night tion aw ay and now I cannot find it. Will Rogers World Airport at 11:00 P.M. Come on now, send the (Nothing like having the News in cap International Headquarters ole report to me . able hands). Please, whoever sent the information, send the pertinent infor Oklahoma City, Oklahoma 73159 How many of you knew the names mation again, so 1 can include it in of the people in the Gipson R ace in Headquarters Secretary the News. I saw the Vin Fiz while in last month’s issue. MELBA BEARD LORETTA GRAGG Washington recently and am most sent the following list: anxious to buy the book and to do 1. -
Viewing Quids Reliability Summary
This dissertation has been 61—5070 microfilmed exactly as received BELL, Richard Henry, 1921- A STUDY OF THE IMAGE OF THE AMERICAN CHARACTER AS PRESENTED IN SELECTED NETWORK TELEVISION DRAMAS. The Ohio State University, Ph.D., 1961 Education, general University Microfilms, Inc., Ann Arbor, Michigan A STUD! 0* THE IMAGE OF THE AMERICAN CHARACTER AS PRESENTED IN SELECTED NETWORK TELEVISION DRAMAS DISSERTATION Presented in Partial fulfillm ent of the Requirements for the Degree Doctor of Philosophy in the Graduate School of the Ohio State University Richard Henry Bell, A.B., A.M. The Ohio State University 1961 Approved by Department of Education ACKNOWLEDGMENTS In planning the approach to this study, invaluable suggestions were received from Ik*. E. G. Barnett, Department of Anthropology, University of Oregon; Geoffrey Gorer, author and anthropologist, Sussex, England; Dr. Margaret Mead, Associate Curator of Ethnology, the American Museum of Natural History; and David Riesman, Department of Social Relations, Harvard University* Hie author is indebted to three colleagues on the Arizona State University faculty for their willingness to undertake the thankless task of vising selected television dramas. Giving of their time and professional insight to check the validity of the instrument for this study were Ik*. Lester S. Perril, Professor of Sociology; Dr. Carolyn K. Staats, Assistant Professor of Sociology and Psychology; and Ik*. John P. Vergis, Professor of Education and Head of the Department of AndLo-7i8ual Instruction. For his invaluable advice on things statistical, the author thanks Dr. Robert L. Baker, Associate Professor of Education at Arizona State University. Without the help of these individuals and the generous contribution of typing time by Mrs. -
Cowboy Way Jubilee
eryt ng Ev hing ati Cow br b le o e y C A Cowboy Way Jubilee P re reser Cultu ving Cowboy ATribune Triannual Publication, Oleeta Jean, LLC, Publisher VOLUME 3, ISSUE 1—SUMMER 2020 Celebrating Everything Cowboy—New & Old! Event Sponsors The Cowboy Way Code — Meet George Stamos TO BECOME A SPONSOR, CALL LESLEI 580.768.5559 FORT CONCHO Charlene & George Stamos with Leslei Fisher & Gene Ford @ the 2017 National Rodeo Finals, Las Vegas, Nevada THE COWBOY WAY, Code, Creed, Rules who was in the wrong, would say, “oh gosh, to Live By, Ethics, whatever you want to yes! I broke the code. I am sorry!” and gen- call it, is a set of rules or guidelines around uinely mean it. These codes mattered to us. which one attempts to fashion his life. Our Heros followed them, they certainly There are many ‘sets’ of these rules. appeared to whenever they were in public, • Roy Rogers’ Riders Rules so we were religious about following them • Gene Autry’s Cowboy Code as well. • Hopalong Cassidy’s Creed for Boys I can recall more than once an argument and Girls breaking out amongst the kids on the play- • The Lone Ranger’s Creed ground as to WHO’S code was THE ONE. And at least a dozen more. Those of us Gene’s or Roy’s or Hoppy’s or the Lone born in the 1940s to 1960s grew up on Ranger’s or… but since all the codes were these codes of conduct. They were import- very similar we simply agreed to disagree.