Made-From-TV Movies: Turning 1950s Television into Films
2009; Routledge; Volume: 29; Issue: 2 Linguagem: Inglês
10.1080/01439680902890670
ISSN1465-3451
Autores Tópico(s)Cinema and Media Studies
ResumoClick to increase image sizeClick to decrease image size Notes Notes 1. Christopher Anderson, Hollywood TV: the studio system in the fifties (Austin, 1994), 13. 2. Kenneth McGowan, Screen wonders of the past—and to come?, The Quarterly of Film, Radio and Television, II(4) (Summer 1957), 390. In 1958, the journal was given its current name, Film Quarterly. 3. Douglas Gomery, Failed opportunities: the integration of the US motion picture and television industries, in: Nick Browne (ed.) American Television: new directions in history and theory (Langhorne, PA, 1994), 25–26. 4. Richard Corliss, Made-From-TV Movies, Time, May 30, 1994, http://www.time.com/time/magazine/article/0,9171,980805-1,00.html. 5. The 1950 film The Goldbergs was based on a 1949 television series of the same name, yet the latter was itself adapted from a long-running radio program. The Captain Video serial is therefore a pioneering film in terms of how it adapts a program originating in the medium of television. 6. More TV Stars for Theatres, Variety, May 11, 1955, p. 3. 7. The B's once again anticipate this trend, however, as screen cowboys Gene Autry and Roy Rogers debuted in their own television shows between 1950 and 1951. Each actor played the same character (essentially themselves) as they had in so many films for Republic Pictures. Also making the leap from film to television was Hopalong Cassidy in 1952; see Michael Kackman, Nothing on but hoppy badges: Hopalong Cassidy, William Boyd Enterprises, and emergent media globalization, Cinema Journal, 47(4) (2008), for further details on Cassidy's role in television history. 8. Thomas F. Brady, Some Film-makers Turn to Television, The New York Times, December 6, 1950, p. 56. 9. Anderson, 53. 10. Ibid., 9. 11. See Todd McCarthy and Charles Flynn's Kings of the B's (New York, 1975), for further info on States’ rights distribution and four-walling exhibition practices. 12. Anderson, 53. 13. Jane Stokes, On-Screen Rivals: cinema and television in the United States and Britain (New York, 2000), 3. 14. Kerry Segrave, Movies at Home: how Hollywood came to television (Jefferson, NC, 1999), 42–43. 15. Jack Gould, A Plea for Live Video, The New York Times, December 7, 1952, p. X17. 16. Rod Serling, TV in the Can VS TV in the Flesh, The New York Times, November 24, 1957, p. 49. 17. While there were certainly live programs in a variety of different genres, the quality of their special effects was often not as good as that of filmed shows, particularly with science fiction programs. The live show Tom Corbett, Space Cadet displays effects that are often not as sophisticated in execution as those of Rocky Jones. In one episode of Tom Corbett, for example, an awkward delay occurs between Corbett's ship firing a missile and an enemy ship exploding. Also, an approaching spaceship seen on an interior view screen eventually extends past the boundaries of the screen by mistake. See Tom Corbett, Space Cadet, YouTube, http://www.youtube.com/watch?v=uEyvy-waDuU. 18. See Michael Conant, Antitrust in the Motion Picture Industry: economic and legal analysis (New York, 1978). 19. Serling, p. 49. 20. Fromkess Plans to Resume on ‘Ramar,’ Variety, March 16, 1955, p. 35. 21. Hollywood Tie-Up, The New York Times, April 17, 1955, p. X5. 22. Majors Burrow Deep in TV, Variety, March 16, 1955, p. 5. 23. Jack Gould, TV Films Boom Hollywood into Its Greatest Prosperity, Variety, July 3, 1955, p. 1. 24. Nick Browne, The Rise of the Telefilm, American Television: new directions in history and theory (Harwood Academic, 1993), 12. 25. The Movie Makers Look For Gold on the TV Screen, Business Week, April 23, 1955, p. 154. 26. Jack Gould, The Video Freeze, The New York Times, October 3, 1948, p. X9; William Boddy, Fifties Television: the industry and its critics (Urbana, 1990), 51. 27. Vitapix, Princess Plan First Runs Made-For-TV, Broadcasting, Telecasting, September 7, 1953, p. 34. 28. Will Vitapix Create a TV Film Revolution?, Sponsor, January 11, 1954, p. 93. 29. Boddy, 65. 30. William Lafferty, Feature films on prime-time television, in: Tino Balio (ed.) Hollywood in the Age of Television (Boston, 1990), 248–249. 31. J. P. Telotte, Disney TV (Detroit, 2004), 95. Some of the success of the Davy Crockett films is surely due to audiences wanting to see their hero in color, given that Disneyland episodes were filmed in Technicolor and most homes had black and white television sets. 32. Anderson, 150. 33. Thirty-six of the series’ 39 episodes featured this three-part structure, with the remaining three episodes resolving their narratives in a single episode. With regards to the first airing of the show, there are even some fans that claim that it debuted as early as December of 1953. See Jeffery Davis, Children's Television, 1947–1990 (Jefferson, NC, 1995). 34. Telotte, 22. 35. Television in Review, The New York Times, August 31, 1953, p. 15. 36. George Woolery, Children's Television: the first 35 years, 1946–1981. Part II: Live, film and tape series (Metuchen, NJ, 1985), 410. 37. Jeffery Davis, 29; Wheeler Winston Dixon, Lost in the Fifties: recovering phantom Hollywood (Carbondale, IL, 2005), 40–41. 38. For further details on the show's mode of production see Gary Grossman, Superman: from serial to cereal (New York, 1977). 39. The exception is Disney's Zorro films, which feature posters that include a small line of text at the bottom declaring the film to be ‘Adapted From the Original Television Series.’ The production values of Disney's shows were much better than those of most independent shows, however, such that film audiences often paid to see the ‘Disney brand’ as much as they did to see a particular story or character. 40. An alternative strategy was to use the titles of individual episodes as the name of a MFTVM, with the assumption being that audiences likely wouldn’t be able to remember every episode's title and might therefore think that the film contained a new story. 41. For a larger overview of the post-colonial critiques of Ramar of the Jungle, see Dixon, Lost in the Fifties. 42. To Trap a Spy (1965); Spy in the Green Hat (1966); One Spy Too Many (1966); The Spy With My Face (1966); One of Our Spies is Missing (1966); The Karate Killers (1967); How to Steal the World (1968); The Helicopter Spies (1968). 43. Anderson, 13–14. 44. See Gomery and Stokes, as well as Michelle Hilmes, Hollywood and Broadcasting: from radio to cable (Chicago, IL, 1990). 45. Cineplex Big Screen Available to Xbox Gamers, CBC, http://www.cbc.ca/technology/story/2008/08/13/tech-cineplex.html. 46. Lafferty, 235. 47. Anderson, 16.
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