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001 188596
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006 m|||||o||d||||||||
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008 220426t20211994txu fo d z eng d
020 _a9780292784604
_qPDF
024 7 _a10.7560/730595
_2doi
035 _a(DE-B1597)9780292784604
035 _a(DE-B1597)588729
035 _a(OCoLC)1286808816
040 _aDE-B1597
_beng
_cDE-B1597
_erda
072 7 _aPER000000
_2bisacsh
082 0 4 _a384.55/4/097309045
084 _aonline - DeGruyter
100 1 _aAnderson, Christopher
_eautore
245 1 0 _aHollywood TV :
_bThe Studio System in the Fifties /
_cChristopher Anderson.
264 1 _aAustin :
_bUniversity of Texas Press,
_c[2021]
264 4 _c©1994
300 _a1 online resource (355 p.)
336 _atext
_btxt
_2rdacontent
337 _acomputer
_bc
_2rdamedia
338 _aonline resource
_bcr
_2rdacarrier
347 _atext file
_bPDF
_2rda
490 0 _aTexas Film and Media Studies Series
505 0 0 _tFrontmatter --
_tContents --
_tAcknowledgments --
_tI. Introduction: Hollywood in the Home --
_tII. Thwarted Ambitions in the Studio Era --
_tIII. Escape from the Studio System: Independent Producers and Television --
_tIV. The Sponsor's Medium: Light's Diamond Jubilee and the Campaign for the Peaceful Atom --
_tV. David O. Selznick and the Making of Light's Diamond Jubilee --
_tVI. Disneyland --
_tVII. Origins of Warner Bros. Television --
_tVIII. Negotiating the Television Text: Warner Bros. Presents --
_tIX. Reviving the Studio System at Warner Bros. Television --
_tX. The Pathology of Mass Production --
_tXI. Epilogue --
_tNotes --
_tBibliography --
_tIndex
506 0 _arestricted access
_uhttp://purl.org/coar/access_right/c_16ec
_fonline access with authorization
_2star
520 _aThe 1950s was one of the most turbulent periods in the history of motion pictures and television. During the decade, as Hollywood's most powerful studios and independent producers shifted into TV production, TV replaced film as America's principal postwar culture industry. This pioneering study offers the first thorough exploration of the movie industry's shaping role in the development of television and its narrative forms. Drawing on the archives of Warner Bros. and David O. Selznick Productions and on interviews with participants in both industries, Christopher Anderson demonstrates how the episodic telefilm series, a clear descendant of the feature film, became and has remained the dominant narrative form in prime-time TV. This research suggests that the postwar motion picture industry was less an empire on the verge of ruin—as common wisdom has it—than one struggling under unsettling conditions to redefine its frontiers. Beyond the obvious contribution to film and television studies, these findings add an important chapter to the study of American popular culture of the postwar period.
538 _aMode of access: Internet via World Wide Web.
546 _aIn English.
588 0 _aDescription based on online resource; title from PDF title page (publisher's Web site, viewed 26. Apr 2022)
650 0 _aHollywood (Los Angeles, Calif.)--History--20th century.
650 0 _aMotion picture actors and actresses
_zUnited States
_y20th century.
650 0 _aMotion picture industry
_zCalifornia
_zLos Angeles
_xHistory.
650 0 _aMotion picture studios
_zCalifornia
_zLos Angeles
_xHistory
_y20th century.
650 0 _aMotion picture studios
_zCalifornia
_zLos Angeles
_xHistory.
650 0 _aMotion pictures and television
_zUnited States.
650 0 _aMotion pictures
_zCalifornia
_zLos Angeles
_xHistory.
650 0 _aTelevision
_xProduction and direction
_zUnited States.
650 7 _aPERFORMING ARTS / General.
_2bisacsh
850 _aIT-RoAPU
856 4 0 _uhttps://doi.org/10.7560/730595
856 4 0 _uhttps://www.degruyter.com/isbn/9780292784604
856 4 2 _3Cover
_uhttps://www.degruyter.com/document/cover/isbn/9780292784604/original
942 _cEB
999 _c188596
_d188596