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Christophe Honoré a Critical Introduction
WAYNE STATE UNIVERSITY PRESS Fall & Winter 2015 w WAYNE STATE UNIVERSITY PRESS CONTENTS SUPPORT THE PRESS New and forthcoming titles . 1–20 Wayne State University Press is an indispensable asset to the Detroit and worldwide community. A distinctive urban publisher, the Press is committed to supporting Wayne State University’s Architecture . 1 core research, teaching, and service mission by generating high-quality works of global importance. Since 1941 we have produced books and journals that make contributions to Armenian studies . 20 scholarship and arts and culture, and many have received both critical acclaim and commercial Art . 7, 14 attention. Autobiography . 3, 16 Biography . 1, 4 Cultivating our programs and publishing extraordinary books takes time, nurturing, and unique resources. To maintain our customary excellence, the Press needs extraordinary friends who Children’s literature . 6 share our passion for learning and believe that books are fundamental to our lives and to our Citizenship studies . 17–19 culture. The Press invites you to be one of these friends by making a gift that will ensure that Creative nonfiction . 5 essential Press efforts will continue and thrive. Detroit . 1–3, 5 Like most nonprofit publishers, book sales only account for a small portion of the Press’s total Education . 5 revenue. In order to continue to publish the highest quality work, WSU Press relies on the Fairy-tale studies . 6–7 generosity of an ever-growing group of dedicated supporters. Consider giving at one of the Film history . 8–9 three following levels: FIlmmakers . 8 1) BECOME A FRIEND OF THE PRESS Gender . 13 For a gift of $100 or more, receive a copy of our biannual newsletter. -
Introduction to the Complete Directory to Prime Time Network and Cable TV Shows
Broo_9780345497734_2p_fm_r1.qxp 7/31/07 10:32 AM Page ix INTRODUCTION In the following pages we present, in a sin- eral headings. For example, newscasts are gle volume, a lifetime (or several lifetimes) of summarized under News, movie series under television series, from the brash new medium Movies and sports coverage under Football, of the 1940s to the explosion of choice in the Boxing, Wrestling, etc. All other series are 2000s. More than 6,500 series can be found arranged by title in alphabetical order. There here, from I Love Lucy to Everybody Loves is a comprehensive index at the back to every Raymond, The Arthur Murray [Dance] Party cast member, plus appendixes showing an- to Dancing with the Stars, E/R to ER (both nual network schedules at a glance, the top with George Clooney!), Lost in Space to Lost 30 rated series each season, Emmy Awards on Earth to Lost Civilizations to simply Lost. and other information. Since the listings are alphabetical, Milton Network series are defined as those fed out Berle and The Mind of Mencia are next-door by broadcast or cable networks and seen si- neighbors, as are Gilligan’s Island and The multaneously across most of the country. Gilmore Girls. There’s also proof that good Broadcast networks covered are ABC, CBS, ideas don’t fade away, they just keep coming NBC, Fox, CW, MyNetworkTV, ION (for- back in new duds. American Idol, meet merly PAX) and the dear, departed DuMont, Arthur Godfrey’s Talent Scouts. UPN and WB. We both work, or have worked, in the TV Original cable series are listed in two dif- industry, care about its history, and have ferent ways. -
Richard Butsch a HALF CENTURY of CLASS and GENDER In
Butsch, Richard. « A Half Century of Class and Gender in American TV Domestic Sitcoms », Cercles 8 (2003) : 16-34 <www.cercles.com>. ©Cercles 2003. Toute reproduction, même partielle, par quelque procédé que ce soit, est interdite sans autorisation préalable (loi du 11 mars 1957, al. 1 de l’art. 40). ISSN : 1292-8968. Richard Butsch Rider University, Lawrenceville A HALF CENTURY OF CLASS AND GENDER in American TV Domestic Sitcoms Over a half-century of television, domestic situation comedies have reinforced images of the middle class as better than the working class. Similar inequalities have been portrayed for men versus women, black versus white, old versus young, and for other status hierarchies. Already embedded in the larger culture, these stereotypes are used to signify character types that advance dramatic goals. Nevertheless, the pervasiveness of network tele- vision and the persistence over five decades have contributed immeasurably to reproducing these same stereotypes. Women, for example, have been cast as main characters only where the subjects of romance or family are salient; they have been absent from rational discussions in scripts [Gerbner, 1972]. Women’s presence thus signals certain themes. Similarly, traits culturally associated with a lower status, applied to a person of higher status devalues that person. Men are devalued by characte- rizing them as feminine. Such status inversion can then effectively confirm other lower statuses held by the person. Female, black and lower-class adults have been devalued by characterizing them as child-like. Child-like attribu- tions undercut their adult status, confirming their lower status as female, black or lower-class. -
Detroit Tues, July 29, 1975 from Detroit News 2 WJBK-CBS * 4 WWJ-NBC * 7 WXYZ-ABC * 9 CBET-CBC
Retro: Detroit Tues, July 29, 1975 from Detroit News 2 WJBK-CBS * 4 WWJ-NBC * 7 WXYZ-ABC * 9 CBET-CBC (and some CTV) * 20 WXON-Ind * 50 WKBD-Ind * 56 WTVS-PBS [The News didn't list TVO, Global or CBEFT] Morning 6:05 7 News 6:19 2 Town & Country Almanac 6:25 7 TV College 6:30 2 Summer Semester 4 Classroom 56 Varieties of Man & Society 6:55 7 Take Kerr 7:00 2 News (Frank Mankiewicz) 4 Today (Barbara Walters/Jim Hartz; Today in Detroit at 7:25 and 8:25) 7 AM America (Bill Beutel) 56 Instructional TV 7:30 9 Cartoon Playhouse 8:00 2 Captain Kangaroo 9 Uncle Bobby 8:30 9 Bozo's Big Top 9:00 2 New Price is Right 4 Concentration 7 Rita Bell "Miracle of the Bells" (pt 2) 9:30 2 Tattletales 4 Jackpot 9 Mr. Piper 50 Jack LaLanne 9:55 4 Carol Duvall 10:00 2 Spin-Off 4 Celebrity Sweepstakes 9 Mon Ami 50 Detroit Today 56 Sesame Street 10:15 9 Friendly Giant 10:30 2 Gambit 4 Wheel of Fortune 7 AM Detroit 9 Mr. Dressup 50 Not for Women Only 11:00 2 Phil Donahue 4 High Rollers 9 Take 30 from Ottawa 50 New Zoo Revue 56 Electric Company 11:30 4 Hollywood Squares 7 Brady Bunch 9 Family Court 50 Bugs Bunny 56 Villa Alegre Afternoon Noon 2 News (Vic Caputo/Beverly Payne) 4 Magnificent Marble Machine 7 Showoffs 9 Galloping Gourmet 50 Underdog 56 Mister Rogers' Neighborhood 12:30 2 Search for Tomorrow 4 News (Robert Blair) 7 All My Children 9 That Girl! 50 Lucy 56 Erica-Theonie 1:00 2 Love of Life (with local news at 1:25) 4 What's My Line? 7 Ryan's Hope 9 Showtime "The Last Chance" 50 Bill Kennedy "Hell's Kitchen" 56 Antiques VIII 1:30 2 As the World Turns 4 -
Civic Participation Within Postwar Suburban Sitcoms, 1952-1972
Sitcom Citizenship: Civic Participation within Postwar Suburban Sitcoms, 1952-1972 A Dissertation SUBMITTED TO THE FACULTY OF UNIVERSITY OF MINNESOTA BY Michael Cheyne IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY Kevin Murphy and Laurie Ouellette May 2014 © Michael Cheyne 2014 i Acknowledgements This project would not have been possible without the invaluable assistance of my advisers at the University of Minnesota, Kevin Murphy and Laurie Ouellette, as well as the other members of my thesis committee, Tracey Deutsch and Elaine Tyler May. Through the years of researching and writing, they gave me feedback, guidance, and above all, encouragement. In particular, I thank Kevin, who, as my initial graduate adviser, helped shepherd me through life as a doctoral candidate. I also acknowledge the very helpful feedback provided by my peers in the dissertation writing group led by Kevin Murphy and Regina Kunzel during the 2011- 2013 academic years. Their varied suggestions, praise, and criticism were especially helpful during the formative years of turning years of research into a workable thesis. My fellow graduate students within the American Studies program were unfailing in their personal and professional support. My colleagues at the University of Minnesota-Morris, particularly within the history discipline, were extremely supportive to me during my final two years working on this project. They provided time and funding to assist my research and the presentation of my work. I am particularly thankful for their cheerful willingness to support a colleague during a year of teaching and writing. Finally, I thank my family, friends, and church family, who provided years of love and support while I finished this project. -
Gender in Teievision Sitcoms in the 1950S
Images of Dissent, Persistence of an Ideal: Gender in TeIevision Sitcoms in the 1950s. by Rachel S.M. Yates A thesis submitted to the Department of Kistory in conformity with the requirements for the degree of Master of Arts Queen's University Kingston, Ontario October, 1997 copyright 8 Rachel S.M. Yates, 1997 National Library Bib!iothèque nationale (*Iof Canada du Canada Acquisitions and Acquisitions et Bibliographie Sewices services bibliographiques 395 Wellington Street 395, nie Wellington OttawaON KIAON4 Ottawa ON KIA ON4 Canada canada YœIr &? vmRifemnce Our dle Notre rEi18mUa The author has granted a non- L'auteur a accordé une licence non exclusive licence allowing the exclusive permettant à la National Library of Canada to Bibliothèque nationale du Canada de reproduce, loan, distribute or sell reproduire, prêter, distribuer ou copies of this thesis in microform, vendre des copies de cette thèse sous paper or electronic formats. la fome de microfichelfihn, de reproduction sur papier ou sur format électronique. The author retains ownership of the L'auteur conserve la propriété du copyright in this thesis. Neither the droit d'auteur qui protège cette thèse. thesis nor substantial extracts fiom it Ni la thèse ni des extraits substantiels may be printed or otherwise de celle-ci ne doivent être imprimés reproduced without the author's ou autrement reproduits sans son permission. autorisation. ABSTRACT This study se& to expand the understanding of postwar gender codes through an exploration of the domestic ideal in television sitcoms of the era. Its sigdcance lies in the intersection of history with television studies and postwar social science perspectives. -
WGTD Radio Theater to Air New Donna Reed Show, Addams Family(Link Is External)
News release October 29, 2010 Contact: Lee Colony 262.564.2512 262.359.0798 (cell) WGTD Radio Theater to air new Donna Reed Show, Addams Family WGTD Radio Theater will air new productions of TV shows on the ends of the entertainment spectrum – “The Donna Reed Show,” and “The Addams Family” before a live studio audience 11:15 a.m. Nov. 6 at Gateway’s Center for Bioscience and Information Technology, 3520-30th Ave. Kenosha. The radio theater also welcomes Paul Petersen, who played Jeff Stone on the Donna Reed Show. Petersen’s part will be delivered during the WGTD Radio Theater production through a recorded segment, singing a snippet from his two big hit songs from the early 1960s, “She Can’t Find Her Keys,” and “My Dad.” Audience members are welcome and admission is free. The audience should arrive by 10:45 a.m. In addition to being aired over WGTD, the program will also be streamed live online at WGTD.org. WGTD can be heard in Racine and Kenosha counties at 91.1 FM, in the Elkhorn area at 101.7 FM, and in the Lake Geneva area at 103.3 FM. “The Donna Reed Show” aired on ABC Television from 1958 to 1966. Its premise focused on middle class couple Donna Stone (Reed), a housewife to pediatrician Alex Stone, played by Carl Betz. The couple had two children together, Mary (Shelley Fabares) and Jeff (Petersen). In the radio theater original episode, Mary has a date with Scotty, and Jeff, as usual, is trying to ditch his math and English homework for a game of basketball with his friend Smitty. -
Valerie A. Reimers AMERICAN FAMILY TV SITCOMS the EARLY
Reimers, Valerie A. « American Family TV Sitcoms. The Early Years to the Present : Fathers, Mothers, and Chil- dren—Shifting Focus and Authority », Cercles 8 (2003) : 114-121 <www.cercles.com>. ©Cercles 2003. Toute repro- duction, même partielle, par quelque procédé que ce soit, est interdite sans autorisation préalable (loi du 11 mars 1957, al. 1 de l’art. 40). ISSN : 1292-8968. Valerie A. Reimers Southwestern Oklahoma State University AMERICAN FAMILY TV SITCOMS THE EARLY YEARS TO THE PRESENT Fathers, Mothers, and Children—Shifting Focus and Authority In approaching domestic sitcoms, we might usefully employ the chiasmus raised by Clifford Geertz in his essay, “Culture, Mind, Brain/Brain, Mind, Culture” wherein he presents the double consideration of “the mental nature of culture, the cultural nature of mind” [204]. Applying this mirror image viewpoint to television, we may consider the degree of cultural influence upon television and conversely, the influence of television in shaping culture. The shifting roles of family members within American society and the ways in which those roles are depicted on television provides one area for exploring this concept. In first thoughts on this topic, we might ponder the father figure of the 1950s and 1960s as the somewhat stern and almost infallible Ward Cleaver, flanked by the somewhat gentler demeanors of Jim Anderson of Father Knows Best or Andy Griffith of The Andy Griffith Show, but father figures no less force- ful in their assurance about the right way to handle the events faced by their families. The fathers’ roles in Leave It to Beaver and Father Knows Best give fa- thers the primary voice in the household. -
Alumni History and Hall of Fame Project
Los Angeles Unified School District Alumni History and Hall of Fame Project Los Angeles Unified School District Alumni History and Hall of Fame Project Written and Edited by Bob and Sandy Collins All publication, duplication and distribution rights are donated to the Los Angeles Unified School District by the authors First Edition August 2016 Published in the United States i Alumni History and Hall of Fame Project Founding Committee and Contributors Sincere appreciation is extended to Ray Cortines, former LAUSD Superintendent of Schools, Michelle King, LAUSD Superintendent, and Nicole Elam, Chief of Staff for their ongoing support of this project. Appreciation is extended to the following members of the Founding Committee of the Alumni History and Hall of Fame Project for their expertise, insight and support. Jacob Aguilar, Roosevelt High School, Alumni Association Bob Collins, Chief Instructional Officer, Secondary, LAUSD (Retired) Sandy Collins, Principal, Columbus Middle School (Retired) Art Duardo, Principal, El Sereno Middle School (Retired) Nicole Elam, Chief of Staff Grant Francis, Venice High School (Retired) Shannon Haber, Director of Communication and Media Relations, LAUSD Bud Jacobs, Director, LAUSD High Schools and Principal, Venice High School (Retired) Michelle King, Superintendent Joyce Kleifeld, Los Angeles High School, Alumni Association, Harrison Trust Cynthia Lim, LAUSD, Director of Assessment Robin Lithgow, Theater Arts Advisor, LAUSD (Retired) Ellen Morgan, Public Information Officer Kenn Phillips, Business Community Carl J. Piper, LAUSD Legal Department Rory Pullens, Executive Director, LAUSD Arts Education Branch Belinda Stith, LAUSD Legal Department Tony White, Visual and Performing Arts Coordinator, LAUSD Beyond the Bell Branch Appreciation is also extended to the following schools, principals, assistant principals, staffs and alumni organizations for their support and contributions to this project. -
Section 1: Studios and Backlots
ESTUDIOS STUDIOS CINEMA E TV http://www.retroweb.com/tv_studios_and_ranches.html Section 1: Studios and Backlots 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. 1 The Prospect Studios (ABC Television Center West) (Google Maps Street View) aerial view of The Prospect Studios (ABC Television Center West) (Bing Maps) 2 California Studios (name circa 1960) Formerly: Clune Studios Currently: Raleigh Studios Hollywood Location: 5300 Melrose Avenue Hollywood, CA a home to independent filmed television production in the early years of television, including productions by Gross-Krasne and Ziv-TV in the 1950's studio dates to 1915 (as Famous Players Fiction Film Company) known as Clune Studios in 1920's later named California Studios, then Producers Studios, Inc. -
The Donna Reed Show, the Feminine Mystique and the Rise of the Modern Maternal Feminist Movement
Virginia Commonwealth University VCU Scholars Compass Theses and Dissertations Graduate School 2018 Mother Knows Better: The Donna Reed Show, The Feminine Mystique and the Rise of the Modern Maternal Feminist Movement Anne M. Newton VCU Follow this and additional works at: https://scholarscompass.vcu.edu/etd Part of the Cultural History Commons, United States History Commons, and the Women's History Commons © The Author Downloaded from https://scholarscompass.vcu.edu/etd/5458 This Thesis is brought to you for free and open access by the Graduate School at VCU Scholars Compass. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of VCU Scholars Compass. For more information, please contact [email protected]. Mother Knows Better: The Donna Reed Show, The Feminine Mystique and the Rise of the Modern Maternal Feminist Movement A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts at Virginia Commonwealth University. By Anne Mullino Newton Bachelor of Arts, History and Art History, Randolph-Macon Woman’s College, 2007 Master of Arts in Teaching, Social Studies, University of North Carolina – Chapel Hill, 2010 Director: Dr. Emilie Raymond, Professor, Department of History, College of Humanities and Sciences, Virginia Commonwealth University Virginia Commonwealth University Richmond, Virginia May 2018 ii Acknowledgements Most importantly, I would like to express my sincerest gratitude to my advisor Dr. Emilie Raymond. Without her guidance and direction this project would not have been possible. I would also like to thank Dr. Ryan Smith for his support and encouragement throughout this program. Thank you to my family for their unwavering support throughout this endeavor. -
Milton and Barbara Merlin Collection
Thousand Oaks Library American Radio Archives Milton and Barbara Merlin Collection Introduction The Milton and Barbara Merlin Collection of the American Radio Archives at the Thousand Oaks Library consists of 28 linear feet of papers, plus approximately 20 hours of sound recordings, which document the careers of radio and television writers Milton and Barbara Merlin. The collection contains scripts of radio and television programs, story outlines, presentation material, and correspondence that range from 1923-1996, the bulk of the material dating from the years 1941-1967. Radio programs represented in this collection include Big Town, Everything for the Boys, The Ginny Simms Show, Boston Blackie, The Man Called X, The Adventures of Bill Lance, This Is Hollywood, Mr. President, Presenting Charles Boyer, and Halls of Ivy. The television series that are included among the scripts are Halls of Ivy, The Millionaire, Tramp Ship, The Littlest Hobo, The Breaking Point, and Four Star Theatre. Biographies Milton S. Merlin was born as Milton Stanley Harris in Whittier, California in 1905. His mother Bessie Waktor, married Joseph Zuckerman in 1909, and Milton carried the Zuckerman name through high school (Manual Arts, Los Angeles) and college. After attending the University of California, Southern Campus, Merlin attended the University of California, Berkeley, graduating with a degree in philosophy. Having an avid interest in writing and literature, Merlin gravitated towards poets and other literati while at Berkeley, counting Kenneth Rexroth among his friends there. In the years following graduation, Merlin worked in a variety of jobs related to writing, working in Los Angeles on trade journals and local newspapers, and began a long association with the Los Angeles Times as a book reviewer.