Download e-book for iPad: From Daytime to Primetime: The History of American by James Roman
By James Roman
The 20 th century should be safely defined because the tv century. probably no technological invention in fresh historical past has so enormously affected the yankee public. An related to mix of scholarship and nostalgia, this quantity bargains an clever exam of the numerous ways in which American society has shaped—and been formed by—television. Roman offers thematic chapters on all of television's significant genres.James Roman, writer of affection, gentle, and a Dream: Television's previous, current, and destiny (Greenwood, 1996), strains the evolution of yankee tv programming from its beginnings as an experimental by-product of radio broadcasting to its present function as an omnipresent and, a few may say, all-powerful strength of media and tradition.
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Extra resources for From Daytime to Primetime: The History of American Television Programs
Disneyland was ABC’s ﬁrst show in the top 10, and The Mickey Mouse Club was responsible for half of the network’s 1954 earnings TINSELTOWN COMES TO TV 17 and nearly a quarter of its earnings in 1955. The Disney programming was responsible for making 1955 ABC’s ﬁrst proﬁtable year as a station owner and network. Although MGM, a major Hollywood studio, was associated with CBS, in Ed Sullivan’s 1952 tribute to the studio it was Warner Brothers that led the majors to television. Shortly after the merger between ABC and United Paramount Theaters, Goldenson made the Hollywood ﬁlm studio rounds and was rebuffed by the fearful executives.
The plan enticed some of the most prominent radio personalities to move from NBC and ABC to CBS. Perhaps the most notable were Freeman F. Gosden and Charles Correll, the voices of the wildly popular Amos ’n’ Andy. They were lured from NBC to CBS by a $2 million payout. Other stars followed, including Jack Benny; Edgar Bergen and his dummy, Charlie McCarthy; Bing Crosby; and The Adventures of Ozzie and Harriet. Eventually, of course, NBC retaliated and recruited several CBS stars, including Groucho Marx, Bob Hope, Kate Smith, and Ed Wynn.
Children had their own heroes, which included afternoon dramas featuring Captain Midnight and Hop Harriagan (both swashbuckling pilots), Jack Armstrong (the All-American Boy), Terry and the Pirates (based upon a popular comic strip), and the cowboy Tom Mix. Other children’s radio heroes included Sky King, the singing cowboy Roy Rogers, and Space Patrol. Along with cowboys, Westerns proved to be popular with audiences, and Death Valley Days, an anthology series that made its debut in 1930, was one of the ﬁrst to capture the myth for radio, along with the enduring presence of the adult Western Gunsmoke, which later became a hit program for CBS, running for over 20 years.
From Daytime to Primetime: The History of American Television Programs by James Roman