This work examines the change from live to filmed television dramas during the period 1952-1958 and the characteristics and programs that are most associated with filmed television drama. Along with many technical changes that had to be made in the industry in order to convert live television to filmed television came an interesting social one. The American society in general was developing a growing interest in the lives of ordinary people, and television moved with them, offering more programs that concentrated on the middle and lower classes. Because of the inherent qualities of filming, television began to feature more documentary-like realism, began to broaden its interpretation of traditional romantic escapism to include more outer space and supernatural science fiction, began to better fulfill materialistic desires through well-designed, enjoyable commercials, and began to offer the best dramas and most popular personalities, often leading viewers to greater self-appreciation and richer lives. This work focuses on the important anthology programs and specials that were on the air from 1952 to 1958 such as Kraft Television Theatre, Philco Television Playhouse, and The Hallmark Hall of Fame, filmed serials like Colgate Theatre, Amos 'n' Andy, and I Love Lucy, and the challenges of converting from live to filmed television drama.

From live productions of the 1950s like Requiem for a Heavyweight to big budget mini-series like Band of Brothers, long-form television programs have been helmed by some of the most creative and accomplished names in directing. Encyclopedia of Television Film Directors brings attention to the directors of these productions, citing every director of stand alone long-form television programs: made for TV movies, movie-length pilots, mini-series, and feature-length anthology programs, as well as drama, comedy, and musical specials of more than 60 minutes. Each of the nearly 2,000 entries provides a brief career sketch of the director, his or her notable works, awards, and a filmography. Many entries also provide brief discussions of key shows, movies, and other productions. Appendixes include Emmy Awards, DGA Awards, and other accolades, as well as a list of anthology programs. A much-needed reference that celebrates these often-neglected artists, Encyclopedia of Television Film Directors is an indispensable resource for anyone interested in the history of the medium.

The 525 notable works of 19th and 20th century American fiction in this reference book have many stage, movie, television, and video adaptations. Each literary work is described and then every adaptation is examined with a discussion of how accurate the version is and how well it succeeds in conveying the spirit of the original in a different medium. In addition to famous novels and short stories by authors such as Nathaniel Hawthorne, F. Scott Fitzgerald, and Willa Cather, many bestsellers, mysteries, children's books, young adult books, horror novels, science fiction, detective stories, and sensational potboilers from the past two centuries are examined.

From the Publisher: While critics have long disparaged commercial television as a vast wasteland, TV has surprising links to the urbane world of modern art that stretch back to the 1950s and '60s during that era, the rapid rise of commercial television coincided with dynamic new movements in the visual arts-a potent combination that precipitated a major shift in the way Americans experienced the world visually. TV by Design uncovers this captivating story of how modernism and network television converged and intertwined in their mutual ascent during the decades of the cold war. Whereas most histories of television focus on the way older forms of entertainment were recycled for the new medium, Lynn Spigel shows how TV was instrumental in introducing the public to the latest trends in art and design. Abstract expressionism, pop art, art cinema, modern architecture, and cutting-edge graphic design were all mined for staging techniques, scenic designs, and an ever-growing number of commercials. As a result, TV helped fuel the public craze for trendy modern products, such as tailfin cars and boomerang coffee tables, that was vital to the burgeoning postwar economy. And along with influencing the look of television, many artists-including Eero Saarinen, Ben Shahn, Saul Bass, William Golden, and Richard Avedon-also participated in its creation as the networks put them to work designing everything from their corporate headquarters to their company cufflinks. Dizzy Gillespie, Ernie Kovacs, Duke Ellington, and Andy Warhol all stop by in this imaginative and winning account of the ways in which art, television, and commerce merged in the first decades of the TV age.

Among shifting politics, tastes, and technology in television history, one genre has been remarkably persistent: the cop show. Claudia Calhoun returns to Dragnet, the pioneering police procedural and an early transmedia franchise, appearing on radio in 1949, on TV and in film in the 1950s, and in later revivals. More than a popular entertainment, Dragnet was a signifier of America’s postwar confidence in government institutions—and a publicity vehicle for the Los Angeles Police Department. Only the Names Have Been Changed shows how Dragnet’s “realistic” storytelling resonated across postwar culture. Calhoun traces Dragnet’s “semi-documentary” predecessors, and shows how Jack Webb, Dragnet’s creator, worked directly with the LAPD as he produced a series that would likewise inspire public trust by presenting day-to-day procedural justice, rather than shootouts and wild capers. Yet this realism also set aside the seething racial tensions of Los Angeles as it was. Dragnet emerges as a foundational text, one that taught audiences to see police as everyday heroes not only on TV but also in daily life, a lesson that has come under scrutiny as Americans increasingly seek to redefine the relationship between policing and public safety.

This work indexes books, dissertations and journal articles that mention television shows. Memoirs, autobiographies, biographies, and some popular works meant for fans are also indexed. The major focus is on service to researchers in the history of television. Listings are keyed to an annotated bibliography. Appendices include a list of websites; an index of groups or classes of people on television; and a list of programs by genre. Changes from the second edition include more than 300 new shows, airing on a wider variety of networks; 2000-plus references (more than double the second edition); and a large increase in scholarly articles. The book provides access to materials on almost 2300 shows, including groundbreaking ones like All in the Family (almost 200 entries); cult favorites like Buffy: The Vampire Slayer (200-plus entries); and a classic franchise, Star Trek (more than 400 entries for all the shows). The shows covered range from the late 1940s to 2010 (The Walking Dead). References range from 1956 to 2013.

Focuses on television fictions as short forms rather than expansive narratives, and how this relates to their seriality 12 case studies focusing on the short form in television fiction Covers a wide array of television, be it network, cable, or streaming, from several different national origins Focuses not just on fiction, but on relatively unstudied aspects of television: miniseries, web series, video essays as a form of brevity in television aesthetics Studies both television production (the TV series themselves) as well as reception (video essays) Features an extended interview with a television practitioner (Vincent Poymiro, the screenwriter of the French series En thérapie, an adaptation of BeTipul/In Treatment) This book offers various approaches to understanding the short form in television. The collection is structured in three parts, first engaging with the concept of brevity as inherent to television fiction, before going on to examine how the rapidly-changing landscape of "television" outside traditional networks might adapt this trope to new contexts made accessible by streaming platforms. The final part of the study examines how this short form is inextricable from a larger context, either in its relation to seriality (from the crossover to the "bottle episode") and/or a larger structure, for example in the reception of a larger whole through short but evocative clips in order to better weigh their impact (from "Easter Egg" fan videos to "Analyses of"). The collection concludes with an interview with award-winning screenwriter Vincent Poymiro about his French series En thérapie (an adaptation of BeTipul/In Treatment).

A fascinating exploration of the most significant superhero films and television shows in history, from the classic serial Adventures of Captain Marvel to the Disney+ hit show WandaVision. In The 100 Greatest Superhero Films and TV Shows, Zachary Ingle and David M. Sutera celebrate over eighty years of superhero cinema and television. Featuring blockbusters such as Black Panther and The Dark Knight, Ingle and Sutera also include lesser-known yet critically acclaimed shows like The Boys, cult films such as The Toxic Avenger, and foreign series like Astro Boy to provide a well-rounded perspective of the genre. All one hundred selections are evaluated based on qualities such as plot and character development, adherence to the original source materials, technological innovations, and social impact. The entries cover both live-action and animated films and TV series, and almost a third of the entries are not associated with Marvel or DC—a testament to the genre’s variety in its eighty-year history. The 100 Greatest Superhero Films and TV Shows includes an analysis of the superhero’s evolution and its relevance to the feminist movement, auteur theory, convergence culture, critical race theory, and more. Featuring more than 80 photographs alongside the authors’ selections, the diverse entries are sure to inspire debate and entertain all fans of superhero movies and television shows.

Television drama has come to rival cinema in its sophisticated narrative form and high production values. At the heart of this success is the television writer, and TV has become the home of some of the most exciting and high quality writing. In a series of original interviews, showrunners and writers from some of the biggest American TV dramas of recent years share their experiences and practices of the 'writers' room', on shows such as The Sopranos, The Wire, Mad Men and Game of Thrones. Christina Kallas frames these insider insights with an astute overview of the writer's instrumental role in the rise of sophisticated TV narrative, and concluding reflections which will be invaluable to writers, critics and fans alike.

Methods of Historical Analysis in Electronic Media provides a foundation for historical research in electronic media by addressing the literature and the methods--traditional and the eclectic methods of scholarship as applied to electronic media. It is about history--broadcast electronic media history and history that has been broadcast, and also about the historiography, research written, and the research yet to be written. Divided into five parts, this book: *addresses the challenges in the application of the historical methods to broadcast history; *reviews the various methods appropriate for electronic-media research based on the nature of the object under study; *suggests new approaches to popular historical topics; *takes a broad topical look at history in broadcasting; and *provides a broad overview of what has been accomplished, a historian's challenges, and future research. Intended for students and researchers in broadcast history, Methods of Historical Analysis in Electronic Media provides an understanding of the qualitative methodological tools necessary for the study of electronic media history, and illustrates how to find primary sources for electronic media research.