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001			188979
003			IT-RoAPU
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008			220426t20212005txu fo d z eng d
020			_a9780292796942 _qPDF
024	7		_a10.7560/706262 _2doi
035			_a(DE-B1597)9780292796942
035			_a(DE-B1597)588447
035			_a(OCoLC)1286806848
040			_aDE-B1597 _beng _cDE-B1597 _erda
072		7	_aPER000000 _2bisacsh
082	0	4	_a791.45/6
084			_aonline - DeGruyter
100	1		_aCassidy, Marsha F. _eautore
245	1	0	_aWhat Women Watched : _bDaytime Television in the 1950s / _cMarsha F. Cassidy.
264		1	_aAustin : _bUniversity of Texas Press, _c[2021]
264		4	_c©2005
300			_a1 online resource (276 p.)
336			_atext _btxt _2rdacontent
337			_acomputer _bc _2rdamedia
338			_aonline resource _bcr _2rdacarrier
347			_atext file _bPDF _2rda
490	0		_aLouann Atkins Temple Women & Culture Series
505	0	0	_tFrontmatter -- _tContents -- _tAcknowledgments -- _t1. Introduction -- _t2. The Dawn of Daytime -- _t3. Kate Smith -- _t4. The Charm Boys Woo the Audience -- _t5. Misery Loves Company -- _t6. Domesticity in Doubt -- _t7. Matinee Theater and the Question of Soap Opera -- _t8. At a Loss for Words -- _t9. Conclusion -- _tNotes -- _tWorks Cited -- _tIndex
506	0		_arestricted access _uhttp://purl.org/coar/access_right/c_16ec _fonline access with authorization _2star
520			_aIn this pathfinding book, based on original archival research, Marsha F. Cassidy offers the first thorough analysis of daytime television's earliest and most significant women's genres, appraising from a feminist perspective what women watched before soap opera rose to prominence. After providing a comprehensive history of the early days of women's programming across the nation, Cassidy offers a critical discussion of the formats, programs, and celebrities that launched daytime TV in America—Kate Smith's variety show and the famed singer's unsuccessful transition from patriotic radio star to 1950s TV idol; the "charm boys" Garry Moore, Arthur Godfrey, and Art Linkletter, whose programs honored women's participation but in the process established the dominance of male hosts on TV; and the "misery shows" Strike It Rich and Glamour Girl and the controversy, both critical and legal, they stirred up. Cassidy then turns to NBC's Home show, starring the urbane Arlene Francis, who infused the homemaking format with Manhattan sophistication, and the ambitious daily anthology drama Matinee Theater, which strove to differentiate itself from soap opera and become a national theater of the air. She concludes with an analysis of four popular audience participation shows of the era—the runaway hit Queen for a Day; Ralph Edwards's daytime show of surprises, It Could Be You; Who Do You Trust?, starring a youthful Johnny Carson; and The Big Payoff, featuring Bess Myerson, the country's first Jewish Miss America. Cassidy's close feminist reading of these shows clearly demonstrates how daytime TV mirrored the cultural pressures, inconsistencies, and ambiguities of the postwar era.
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	_aTelevision and women _zUnited States _xHistory.
650		0	_aWomen's television programs _zUnited States _xHistory.
650		7	_aPERFORMING ARTS / General. _2bisacsh
850			_aIT-RoAPU
856	4	0	_uhttps://doi.org/10.7560/706262
856	4	0	_uhttps://www.degruyter.com/isbn/9780292796942
856	4	2	_3Cover _uhttps://www.degruyter.com/document/cover/isbn/9780292796942/original
942			_cEB
999			_c188979 _d188979