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FROM EPHEMERAL TO LEGITIMATE: AN INQUIRY INTO TELEVISION’S MATERIAL TRACES IN ARCHIVAL SPACES, 1950s -1970s by LAUREN MICHELLE BRATSLAVSKY A DISSERTATION Presented to the School of Journalism and Communication 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: Lauren Michelle Bratslavsky Title: From Ephemeral to Legitimate: An Inquiry into Television’s Material Traces in Archival Spaces, 1950s -1970s This dissertation has been accepted and approved in partial fulfillment of the requirements for the Doctor of Philosophy degree in the School of Journalism and Communication by: Dr. Janet Wasko Chairperson Dr. Carol Stabile Core Member Dr. Julianne Newton Core Member Dr. Daniel Pope 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 Lauren M. Bratslavsky This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs (United States) License. iii DISSERTATION ABSTRACT Lauren Michelle Bratslavsky Doctor of Philosophy School of Journalism and Communication September 2013 Title: From Ephemeral to Legitimate: An Inquiry into Television’s Material Traces in Archival Spaces, 1950s -1970s The dissertation offers a historical inquiry about how television’s material traces entered archival spaces. Material traces refer to both the moving image products and the assortment of documentation about the processes of television as industrial and creative endeavors. By identifying the development of television-specific archives and collecting areas in the 1950s to the 1970s, the dissertation contributes to television studies, specifically pointing out how television materials were conceived as cultural and historical materials “worthy” of preservation and academic study. -
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ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO 1 ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO 1 ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO CONTENTS 4 Cast and Crew 7 Swords and Sensationalism by Kat Ellinger 20 About the Restoration ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO 2 3 ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO CREW Gli invasori Directed by Mario Bava 1961 Produced by Ferruccio De Martino Executive Producer Lionello Santi Story and Screenplay by Oreste Biancoli, Piero Pierotti and Mario Bava Director of Photography Mario Bava Edited by Mario Serandrei ARROW VIDEO ARROW VIDEO Music by Roberto Nicolosi Set Designer Giorgio Giovannini Costume Designer Tina Loriedo-Grani ARROW VIDEO ARROW VIDEOCAST Cameron Mitchell as Eron Alice Kessler as Rama Ellen Kessler as Daya George Ardisson as Erik, Duke of Helford Andrea Cecchi as Sir Rutford Jacques Delbò as Olaf ARROW VIDEO ARROWFranco Giacobini as Rustichello VIDEO Raffaele Baldassarre as Blak Enzo Doria as Bennet Gianni Solaro as Ranco Franco Ressel as King Lotar Livia Contardi as Hadda Folco Lulli as Harald, King of the Vikings ARROW VIDEOFrançoise Cristophe asARROW Queen Alice VIDEO 4 5 ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO Swords and Sensationalism: Mario Bava’s grand-spectacle of blood, violence and sadism in Erik the Conqueror and the Italian peplum film by Kat Ellinger There is no denying Mario Bava was an innovator when it came to Italian genre film. -
Jane Russell
The Original Bombshell: A Tribute to Jane Russell By Katie Sirles SPECIAL FOR FILMS FOR TWO© My Path and My Detours Jane Russell with a copy of her memoir (1995) Photo Credit: Schnatmeyer/picture-alliance/dpa/NewsCom Jane Russell began making waves in the film industry the moment she entered it. She signed a seven-year contract with Howard Hughes who immediately wanted to show off his newest gem. He did so in a way that would go down in cinematic history. By showcasing the buxom figure of this 5-foot 7-inch woman, he lit a fire under Hollywood censorship. His first film starring Jane Russell, The Outlaw, was completed in 1941 but did not show to the public until 1943. Howard Hughes had Jane in revealing outfits throughout the film and the Hollywood censors would only okay a limited release in 1943. The film finally had a general release in 1946. Between making The Outlaw and its general release, Russell made a name for herself in Hollywood. Born Ernestine Jane Geraldine Russell in Bemidji, Minnesota, Russell died in Santa Maria, California due to respiratory failure. Russell married three times. Her first husband was Bob Waterfield. The two adopted three children together, but divorced in 1968. Her second husband was Roger Barrett. They met in Chicago, Illinois when they worked together in a stage show called Here Today. They married shortly after meeting in 1968. Barrett died of a heart attack later that year. Russell was quoted as saying “Everybody tells me to 'stay busy.' He was only 47 and strong as an ox. -
1948-06-25, [P ]
’ 'J TOLEDO UNION JOURNAL Page Tiv, Friday, June 25, 1948 The ft *?■ Mi Gossip of Stagerand Screen STAGE SCREEN RADIO By INEZ GERHARD JEAN ARTHUR has a way of ‘Salome9 Director “Emperor Waltz” Is stamping a role as her own To so definitely that is is impossible Do rangier HOLLYWOOD — Charles ? \ J to imagine anyone else playing < * A J* a' <■* * it as well. Returning to the Lamont, formerly under Coming To Princess screen in “A Foreign Affair,” contract to Universal-Inter she has taken on an assignment national, where he directed such pictures as “Salome, In these days of the quiz program, almost anyone within ear Where She Danced,” “Fron shot of a radio knows all about the Hanging Gardens of Babylon, A’8* tier Gal” and “Slave Girl,** one of the seven wonders of the ancient world. has ben signed by Colum i*- bia to direct “The Wrang It was Nebuchadnezzar who custom-built the lavish gardens ler,” Harry Joe Brown pro around the family hideaway in order to keep his brand new duction which will have bride from pinin for her native Sonny Tufffs, Barbara Brit land, where flowers ran riot. gerg. in *he person of lovely ton and Gabby Hayes in Today, Hollywood goes in for Joan Fontaine. pri ncipal roles. such massive re-orderings of the Soup To Nuts earth s surface on almost an The technical experts were in assembly-line basis. full cry on ’The Emperor One^iM inute Interviews Take Paramount’s newest Waltz” lot. reproducing just I morsel for the eye and ear, about everything from Franz From Hollywood The Emperor Waltz,” a tongue- VAN JOHNSON (on the set o( Josef’s antique Mercedes to in-cheek musical bow to the much of the marble, the murals M G-M’s “Command Decision”): royal house of Hapsburg. -
Master Class with Andrea Martin: Selected Filmography 1 the Higher
Master Class with Andrea Martin: Selected Filmography The Higher Learning staff curate digital resource packages to complement and offer further context to the topics and themes discussed during the various Higher Learning events held at TIFF Bell Lightbox. These filmographies, bibliographies, and additional resources include works directly related to guest speakers’ work and careers, and provide additional inspirations and topics to consider; these materials are meant to serve as a jumping-off point for further research. Please refer to the event video to see how topics and themes relate to the Higher Learning event. Films and Television Series mentioned or discussed during the Master Class 8½. Dir. Federico Fellini, 1963, Italy and France. 138 mins. Production Co.: Cineriz / Francinex. American Dad! (2005-2012). 7 seasons, 133 episodes. Creators: Seth MacFarlane, Mike Barker, and Matt Weitzman. U.S.A. Originally aired on Fox. 20th Century Fox Television / Atlantic Creative / Fuzzy Door Productions / Underdog Productions. Auntie Mame. Dir. Morton DaCosta, 1958, U.S.A. 143 mins. Production Co.: Warner Bros. Pictures. Breaking Upwards. Dir. Daryl Wein, 2009, U.S.A. 88mins. Production Co.: Daryl Wein Films. Bridesmaids. Dir. Paul Feig, 2011, U.S.A. 125 mins. Production Co.: Universal Pictures / Relativity Media / Apatow Productions. Cannibal Girls. Dir. Ivan Reitman, 1973, Canada. 84 mins. Production Co.: Scary Pictures Productions. The Cleveland Show (2009-2012). 3 seasons, 65 episodes. Creators: Richard Appel, Seth MacFarlane, and Mike Henry. U.S.A. Originally aired on Fox. Production Co.: Persons Unknown Productions / Happy Jack Productions / Fuzzy Door Productions / 20th Century Fox Television. Club Paradise. Dir. Harold Ramis, 1986, U.S.A. -
Famous Monsters DVD Releases for Oct. 19Th. Time to Stock up for Halloween
Famous Monsters » DVD Releases for Oct. 19th. Time to stock up for Ha... http://www.famousmonstersoffilmland.com/dvd-releases-for-oct-19th-tim... Famous Monsters Famous Monsters Famous Monsters of Filmland Home Famous Monsters Online Famous Monsters TV FM Events Inside Famous Monsters FM Forum CAPTAIN COMPANY Online Store DVD Releases for Oct. 19th. Time to stock up for Halloween. Posted by Dave in DVD & Blu-Ray , Latest News on October 19th, 2010 This week sees a ton of genre movies coming out on DVD and Blu- Ray. The biggest being Predators , followed up by the remake of the cult classic Night of the Demons , a sequel to Mirrors , and Anniversary editions for Rocky Horror Picture Show and Psycho . Add to that a slew of indie and classic horror and there is a lot to choose from. Predators Directed by Nimród Antal Robert Rodriguez presents Predators, a bold new chapter in the Predator universe. Adrien Brody stars as Royce, a mercenary who reluctantly leads a group of elite warriors mysteriously brought together on a jungle planet. But when these cold-blooded human “predators” find themselves in all-out war against a new breed of alien Predators, it’s the ultimate showdown between hunter and prey. Predators also star Laurence Fishburne, Topher Grace, Alice Braga, Walton Goggins, Danny Trejo, Mahershalalhashbaz Ali, Oleg Taktarov, and Louis Ozawa Changchien. Check out our coverage of Predators in Famous Monsters #251 Night of the Demon Directed by Adam Gierasch In Night of the Demons , Angela Feld is throwing the Halloween party to end all Halloween parties at the infamous Broussard Mansion in New Orleans, where dark events transpired almost a century ago. -
1948-04-09, [P ]
Friday, April 9, 1948 fOLEDO UNION JOURNAL Page Five Gab Fetd! Van Votes Story of Radio Bing Shares Scene Industry to Be i With Canine Star Brought to Screen HOLLYWOOD—A whistler and his dog turned a bend on “Radio Cavalcade,” the story the road to Mt. Edith Cavell in Jasper National Park, Alberta, of the growth of the nation’s Canada, and although the whistler is perhaps the most famous radio industry from its crystal man in the show world, at least half the 300 spectators had their ------------- I eyes on the dog. set beginning to its present vital Gloria Henry to Plav ' status, will be brought to the J • the dog Buttons, a seven-year- screen by Columbia Pictures In ‘Texas Sandman’ Lead . movie veteran, half fox- association with Jerrold T. terrier and half undetermined. Brandt. A film treatment la in Gloria Henry, soon to be seen It was a location scene in the as Gene Autry’s leading lady in Canadian Rockies for Para preparation y Emmet Lavery. the Western star’s first color pic mount’s "The Emperor Waltz,” The four chief networks leading ture, "The Strawberry Roam,” their cooperation to the film will continue her Western career produced by Charles Brackett as the feminine lead in “Texas and directed by Billy Wilder, have formed an advisory com Sandman,” Columbia action and supposed to take place in mittee headed by Justin Miller, musical which headlines the! Vienna and the Tyrol of 1901. president to the National As Hoosier Hot Shots. The Texas Jasper was the closest the Oscar- sociation of Broadcasters. -
GUNSMOKE TV CAST and DETAILS Premiered
GUNSMOKE TV CAST AND DETAILS Premiered: September 10, 1955, on CBS Rating: TV-PG Premise: This landmark adult Western centered on Marshal Matt Dillon of Dodge City. John Wayne turned down the lead, suggesting James Arness (who remained for its entire run). Originating on radio (with William Conrad as Dillon), it moved to TV in September 1955. Its popularity spawned a number of copycats, but none would enjoy the longevity (and few the consistent quality) of this classic. Airing for 20 years, it's TV's longest running prime-time drama (a record that `Law & Order' is currently chasing). Gunsmoke Cast • James Arness : Marshal Matt Dillon • Milburn Stone : Dr. Galen `Doc' Adams • Amanda Blake : Kitty Russell • Dennis Weaver : Chester Goode • Ken Curtis : Festus Haggen • Burt Reynolds : Quint Asper • James Nusser : Louie Pheeters • Charles Seel : Barney Danches • Howard Culver : Howie Culver • Tom Brown : Ed O'Connor • John Harper : Percy Crump • Dabbs Greer : Mr. Jonus • George Selk : Moss Grimmick • Hank Patterson : Hank Miller • Glenn Strange : Sam • Sarah Selby : Ma Smalley • Ted Jordan : Nathan Burke • Roger Ewing : Clayton Thaddeus `Thad' Greenwood • Roy Roberts : Mr. Bodkin • Woody Chamblis : Mr. Lathrop • Buck Taylor : Newly O'Brien • Charles Wagenheim : Halligan • Pat Hingle : Dr. John Chapman • Fran Ryan : Miss Hannah Gunsmoke Credits • Sam Peckinpah : Screenwriter Gunsmoke Directors • Harry Horner : Director Gunsmoke Guest Cast • Aaron Saxon : Basset • Aaron Spelling : Weed Pindle • Abraham Sofaer : Harvey Easter • Adam West : Hall -
Applying a Rhizomatic Lens to Television Genres
A THOUSAND TV SHOWS: APPLYING A RHIZOMATIC LENS TO TELEVISION GENRES _______________________________________ A Dissertation presented to the Faculty of the Graduate School at the University of Missouri-Columbia _______________________________________________________ In Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy _____________________________________________________ by NETTIE BROCK Dr. Ben Warner, Dissertation Supervisor May 2018 The undersigned, appointed by the dean of the Graduate School, have examined the Dissertation entitled A Thousand TV Shows: Applying A Rhizomatic Lens To Television Genres presented by Nettie Brock A candidate for the degree of Doctor of Philosophy And hereby certify that, in their opinion, it is worthy of acceptance. ________________________________________________________ Ben Warner ________________________________________________________ Elizabeth Behm-Morawitz ________________________________________________________ Stephen Klien ________________________________________________________ Cristina Mislan ________________________________________________________ Julie Elman ACKNOWLEDGEMENTS Someone recently asked me what High School Nettie would think about having written a 300+ page document about television shows. I responded quite honestly: “High School Nettie wouldn’t have been surprised. She knew where we were heading.” She absolutely did. I have always been pretty sure I would end up with an advanced degree and I have always known what that would involve. The only question was one of how I was going to get here, but my favorite thing has always been watching television and movies. Once I learned that a job existed where I could watch television and, more or less, get paid for it, I threw myself wholeheartedly into pursuing that job. I get to watch television and talk to other people about it. That’s simply heaven for me. A lot of people helped me get here. -
Citing Sources in MLA Style the Modern Language Association Citation Style Is Among the Most Widely Used in Academic Institutions
Citing Sources in MLA Style The Modern Language Association citation style is among the most widely used in academic institutions. For a research paper in literature, arts or any other discipline in humanities, MLA style will be the right choice for citing sources. Information below is taken from the following MLA style manual: MLA Handbook, 8th edition. The Modern Language Association of America, 2016, and reflects the changes brought by this new edition. The manual is located in the reference section of the library. Call number: REF Z253.G53 2016. MLA citation format is based on these core elements, common to most works: Fig. 1. MLA core elements in their specific order, from: https://style.mla.org/whats-new/ Researchers are advised to follow these elements and their order as much as possible. The image above also provides the appropriate punctuation for each element. Please note: container (element 3) is a space where a source is found. For example, an online article is found inside a journal and a library database. For updates on citation formats consult MLA website: http://www.mla.org Updated 08/2017 Works Cited List The Works Cited list is located at the end of research paper and contains complete citations of all the works mentioned by the researcher. To make works on the list easier to find, all entries are arranged in alphabetical order by the last name of the author/ editor/translator or the title of the source. The list should be double-spaced, with a hanging indent, which means that the first line of each entry is made flush left with the margin. -
Blood, Guns, and Plenty of Explosions: the Evolution of American Television Violence
Blood, Guns, and Plenty of Explosions: The Evolution of American Television Violence By Hubert Ta Professor Allison Perlman, Ph.D Departments of Film & Media Studies and History Professor Jayne Lewis, Ph.D Department of English A Thesis Submitted In Partial Completion of the Certification Requirements for The Honors Program of the School of Humanities and The Campuswide Honors Program University of California, Irvine 26 May 2017 ii Table of Contents ACKNOWLEDGMENTS III ABSTRACT IV INTRODUCTION 1 I. BONANZA, THE TV WESTERN, AND THE LEGITIMACY OF VIOLENCE 16 II. THE INTERVENING YEARS: 1960S – 1980S 30 III. COUNTERING THE ACTION EXTRAVAGANZA WITH NUCLEAR FIRE IN THE DAY AFTER 36 IV. THE INTERVENING YEARS: 1990S – 2010S 48 V. THE WALKING DEAD: PUSHING THE ENVELOPE 57 LOOKING AHEAD: VIEWER DISCRETION IS ADVISED 77 WORKS CITED 81 iii Acknowledgments First and foremost, I would like to thank Professor Allison Perlman for her incredible amount of help and guidance as my faculty advisor for this research project. Without her, I would not have been able to get this thesis off the ground and her constant supervision led me to many important texts and concepts that I used for my research. Our discussions, her recommendations and critiques, and her endless ability to be available and help me define my research path has made this research project possible. Thank you so much Professor Perlman! I would also like to thank Professor Jayne Lewis for her guidance as Director of the Humanities Honors Program for 2015 – 2017. She has been extremely supportive throughout my research project with her helpful reminders, her advice and critique of my papers, and her cheerful demeanor which has always made the process more optimistic and fun. -
A Study of the Motion Picture Relief Fund's Screen Guild Radio Program 1939-1952. Carol Isaacs Pratt Louisiana State University and Agricultural & Mechanical College
Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1976 A Study of the Motion Picture Relief Fund's Screen Guild Radio Program 1939-1952. Carol Isaacs Pratt Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Pratt, Carol Isaacs, "A Study of the Motion Picture Relief Fund's Screen Guild Radio Program 1939-1952." (1976). LSU Historical Dissertations and Theses. 3043. https://digitalcommons.lsu.edu/gradschool_disstheses/3043 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 material was produced from a microfilm copy of the original document. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the original submitted. The following explanation of techniques is provided to help you understand markings or patterns 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 thru an image and duplicating adjacent pages to insure you complete continuity. 2. When an image on the film is obliterated with a large round black mark, it is an indication that the photographer suspected that the copy may have moved during exposure and thus cause a blurred image.