The New Entrepreneurs: An Institutional History of Television Anthology Writers

Index

INDEX Page numbers in italics refer to illustrations. ABC (American Broadcasting Company ), 33, 103, 124 Adorno, Theodor W., 41, 85 “adult audience” distribution, 94–95 adult-oriented science fiction, 155–56 Adventures of Superman, The, 152, 154 advertisers: anthology writers critique of, 44–45; censorship pressures from, 51, 53–54, 65–66; enthusiasm for film-adapted content , 32; single-sponsor vs. magazine style program advertising, 104 African Queen, The, 88 Agee, James, 106 Alcoa Hour, The, 181–82n24. See also Philco/Goodyear Television Playhouse Alexander the Great, 88 Alfred Hitchcock Presents, 142, 146 All the Way Home, 106 “Almanac of Liberty, An,” 109–10 Alvey, Mark, 123 amusement parks, 175 Anderson, Christopher, 104, 153 Anhalt, Edward, 106 anthology dramas: overview, 1; author crediting in, 28, 34–35; cost of adaptation rights, 33–34; cultural theory of, 30; displacement by series dramas, 103–4; lapsarian discourses about, 3, 172, 177; production strategies, 28, 72–74; shift to original scripts, 34–35; stand-alone script as feature of, 103; The Twilight Zone production plan and, 24–25, 141–42; use of art cinema narrative , 23–24, 71–72, 74–76, 81–83, 86–95; use of canonical scripts, 28–29, 31 anthology writers: adaptation strategies , 21, 23, 52, 65–69; authorial identity and, 22, 26–27, 35, 48–49, 99; critique of broadcasting industry , 44–48; as multimedia writers, 1–2; as new entrepreneurs , 4, 10–12; professional experience of, 37–38; Serling as chief example, 175–77; theatrical model for, 27–29; typical incomes of, 15–16, 19–21 anticommunism: Army-McCarthy hearings and, 117; blacklisting and, 18, 109–10, 117, 180n19; as issue in Rose dramas, 51, 107–15, 117, 121; Television Writers Association protection for political views and, 18 anticorporate ideology, 1, 5–6, 9–10 Arena Productions, 123 Aristotle, 73–74, 102 Arnaz, Desi, 143–44 Arnold, Jack, 167 Aronson, Arnold, 29 Around the World in 80 Days, 88 art cinema: anthology drama connections with, 23–24, 70–71, 74–76, 81–82, 86–95; authorship as feature of, 92–93; Hollywood compared with, 74; liberal democratic approach to media and, 71–72; Marty as art cinema release, 19, 24, 71, 76, 81–82, 83, 86–95, 90; 202 | i nd ex art cinema (continued): post-Marty film adaptations, 101–2; realism in, 72–75, 81–82, 98, 102; U.S. art house distribution network , 82–84. See also film industry Ashes and Diamonds, 75 Ashley, Ted, 166 Ashley-Steiner Famous Artists, 118, 121–22, 166, 170 Aurthur, Robert Alan, 35–36, 106. Works: Carry Me Back to Morningside Heights, 106; East Side/West Side pilot, 106; Grand Prix, 106; Kwamina, 106; Lilith, 106; The Lost Man, 106; For Love of Money, 106; A Very Special Baby, 106 authorship: in anthology book publications , 27, 48–49, 68–69; in anthology drama credits, 28, 34–35; in art cinema, 92–93; as part of anthology writers’ identities, 22, 26–27, 35, 48–49, 99; in Philco Television Playhouse, 28; in reviews and criticism, 28; theater influence on television writer authorship, 27–29; in The Twilight Zone, 140, 146–52 Authors League of America, 13–14, 15, 34 Bachelor Party, The, 1, 98, 101 Bailey, Anne Howard, 37 Balio, Tino, 87–88 Barefoot Contessa, The, 88 Barton, Glenn, 155 Batman, 174 Batten, Barton, Durstine, and Osborn Advertising Agency, 53–54, 66–67 Baughman, James L., 30, 86 Beal, Joseph Carleton, 38–39 Beaumont, Charles, 167, 171 Bell, Bernard Idding, 41 Ben Casey, 124 Berlin, Irving, 33 Berne Convention of 1886, 31 Bernstein, Walter, 18, 180n19 Best Man, The, 106 Bicycle Thief, The, 74 Billy Rose’s Playbill, 33 Bingham, Robert, 93 Biskind, Peter, 114 Blackboard Jungle, 92 blacklisting, 18, 109–10, 117, 180n19. See also anticommunism Blair, Betsy, 94, 96–97, 97 blockbuster films, 88 Boddy, William, 32, 105 “Bomber’s Moon,” 177 book publications: amateur television plays, 38–39; authorial identity and, 27, 48–49, 68–69; early script collection publications, 21, 37; licensing issues and, 17 Bordwell, David, 75, 79, 92 Boretz, Alvin, 105, 122 Borgnine, Ernest, 94–97, 97, 98, 99 Bourdieu, Pierre, 84 Branch, William, 53 Brave One, The, 117 Breaking Point, 124 Broadway. See theater Brodkin, Herbert, 45, 121–22, 126–27, 171–72 Buhle, Paul, 109–10 “Bus to Nowhere,” 16, 38 Call Me Madam, 33 Cannes Film Festival, 19, 71, 93–94 Captain Midnight, 152 Captain Video and His Video Rangers, 154 Carry Me Back to Morningside Heights, 106 Casablanca, 103–4...