Pub Date : 2021-01-02DOI: 10.1080/01956051.2020.1812043
Robinson Murphy
Abstract: This article begins with an analysis of the six-episode British television series Hit & Miss (2012) before moving back in time to a discussion of the films The Crying Game (1992) and Breakfast on Pluto (2005). Though seemingly counterintuitive, the article progresses in this fashion because, as a television show, Hit & Miss is afforded more space for developing trans characterization than is either of the films. In other words, the fuller conception of trans* thinking on offer in Hit & Miss provides a set piece, a lens whereby to reconsider the two films in more robust trans* terms than would otherwise be possible when just considering the films on their own. In particular, their comparative analysis with Hit & Miss helps draw out the manner in which The Crying Game and Breakfast on Pluto link trans* with decolonization. After the discussion of the two films, the article demonstrates that the trans* thinking outlined in Hit & Miss, The Crying Game, and Breakfast on Pluto can be furthermore mapped onto the first two seasons of Lisa McGee’s Derry Girls (2018–2019), which is not a trans show, as such, but rather a trans* show. All four texts—Hit & Miss, The Crying Game, Breakfast on Pluto, and Derry Girls—feature Irish-British colonial antagonisms framed by a trans* narrative that unfolds in the United Kingdom rather than the Republic of Ireland. These four texts stage a shared gender performance that has decolonization as its end goal.
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Pub Date : 2020-10-01DOI: 10.1080/01956051.2020.1833165
A music lover from a young age, Kevin Eubanks (1957–) followed his passion around the world, touring as a jazz musician before accepting a job in beautiful downtown Burbank. For nearly two decades, viewers watched Eubanks—first as a band member, then as the bandleader/music director—on The Tonight Show with Jay Leno. They also observed Eubanks’s and Leno’s easy rapport—a natural chemistry that made Eubanks’s decision to leave the program a difficult one. Amy Harrington conducted the interview on September 23, 2011, in North Hollywood, California.
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Pub Date : 2020-10-01DOI: 10.1080/01956051.2020.1833168
Agnes Nixon (1927–2016) started her career in radio soap operas under the tutelage of Irna Philllps, the “Queen of Soaps.” Nixon honed her craft in the early days of television, writing for Phillips’s The Guiding Light and Another World, and co-creating As the World Turns before eventually creating her own soap operas, One Life to Live, All My Children, and Loving. She gained a reputation for incorporating social issues and topical material into her programs, operating under the idea that you could both educate and entertain an audience at the same time. Connie Passalacqua conducted the interview on October 21, 1997, in New York City, New York.
{"title":"Agnes Nixon (Soap Opera Creator)","authors":"","doi":"10.1080/01956051.2020.1833168","DOIUrl":"https://doi.org/10.1080/01956051.2020.1833168","url":null,"abstract":"Agnes Nixon (1927–2016) started her career in radio soap operas under the tutelage of Irna Philllps, the “Queen of Soaps.” Nixon honed her craft in the early days of television, writing for Phillips’s The Guiding Light and Another World, and co-creating As the World Turns before eventually creating her own soap operas, One Life to Live, All My Children, and Loving. She gained a reputation for incorporating social issues and topical material into her programs, operating under the idea that you could both educate and entertain an audience at the same time. Connie Passalacqua conducted the interview on October 21, 1997, in New York City, New York.","PeriodicalId":44169,"journal":{"name":"JOURNAL OF POPULAR FILM AND TELEVISION","volume":"128 1","pages":"201 - 206"},"PeriodicalIF":0.1,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77097774","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-10-01DOI: 10.1080/01956051.2020.1833171
After building a successful career in television news, Jonathan Murray (1954–) wanted to develop entertainment programs. At the urging of his agent, Murray teamed up with soap opera producer Mary-Ellis Bunim to help transform his dream into reality. The partnership not only gifted Murray a creative collaborator with sharp business acumen, it also yielded MTV’s The Real World and ushered in the modern reign of reality TV. Stephen J. Abramson conducted the interview on December 14, 2011, in Van Nuys, California.
在电视新闻领域取得成功后，乔纳森·默里(1954 -)想要开发娱乐节目。在经纪人的敦促下，穆雷与肥皂剧制片人玛丽-埃利斯·布尼姆合作，帮助他把梦想变成现实。这次合作不仅给穆雷带来了一个具有敏锐商业头脑的创造性合作伙伴，还催生了MTV的《真实世界》(The Real World)，开创了真人秀电视的现代统治。2011年12月14日，斯蒂芬·j·艾布拉姆森在加州范奈斯进行了采访。
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Pub Date : 2020-10-01DOI: 10.1080/01956051.2020.1833173
James Burrows (1940–) knows a thing or two about camera placement. The famed sitcom director of Taxi, Cheers, Friends, and Will & Grace is one of the most prolific television directors of all time, with over one thousand episodes of TV on his resume. But Burrows didn’t always aspire to a career in television. The son of playwright/director Abe Burrows, he grew up with an inside look at the entertainment industry and wanted nothing to do with it. He changed his mind in the mid-1960s. Gary Rutkowski conducted the interview on December 17, 2003, in Los Angeles, California.
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Pub Date : 2020-10-01DOI: 10.1080/01956051.2020.1833166
Music has always been an integral part of Leslie Uggams’s (1943–) career—while still a teenager, she received her first recording contract and became a regular on the popular television show, Sing Along with Mitch, and in 1968 she won a Tony Award for Best Actress in a Musical for her performance in Hallelujah, Baby! Her TV credits—which include Beulah, The Leslie Uggams Show, Roots, and Empire—span more than six decades. Adrienne Faillace conducted the interview on June 3, 2016, in New York City, New York.
{"title":"Leslie Uggams (Performer)","authors":"","doi":"10.1080/01956051.2020.1833166","DOIUrl":"https://doi.org/10.1080/01956051.2020.1833166","url":null,"abstract":"Music has always been an integral part of Leslie Uggams’s (1943–) career—while still a teenager, she received her first recording contract and became a regular on the popular television show, Sing Along with Mitch, and in 1968 she won a Tony Award for Best Actress in a Musical for her performance in Hallelujah, Baby! Her TV credits—which include Beulah, The Leslie Uggams Show, Roots, and Empire—span more than six decades. Adrienne Faillace conducted the interview on June 3, 2016, in New York City, New York.","PeriodicalId":44169,"journal":{"name":"JOURNAL OF POPULAR FILM AND TELEVISION","volume":"102 1","pages":"191 - 196"},"PeriodicalIF":0.1,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73624237","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-10-01DOI: 10.1080/01956051.2020.1833163
Adrienne Faillace
Abstract The Television Academy Foundation’s The Interviews: An Oral History of Television is the television industry’s premier oral history collection, featuring over nine hundred conversations with key figures in professions in front of and behind the camera. The interviews provide first-hand accounts of those working within the TV industry, serving as valuable primary texts for scholarly engagement. This issue contains edited excerpts from ten interviews in the collection, a cross-section of voices in professional specialties across a spectrum of television genres and eras, races and ethnicities, genders, sexual orientations, and ages. The stories are presented as varied personal viewpoints of those working within one industry, and in some cases, within one television program, often experiencing the same reality very differently. Abridged conversations with James Burrows, Kevin Eubanks, Ellen Holly, Gwen Ifill, Sonia Manzano, Jonathan Murray, Agnes Nixon, Dick Smith, Darren Star, and Leslie Uggams are included.
电视学院基金会的《访谈:电视的口述历史》是电视行业最重要的口述历史收藏，收录了900多名专业人士在镜头前和镜头后的对话。这些访谈提供了电视行业工作人员的第一手资料，为学术参与提供了宝贵的主要文本。这一期包含了精选的十篇访谈，这是一个跨电视类型和时代、种族和民族、性别、性取向和年龄的专业领域的声音的横截面。这些故事呈现为在同一个行业工作的人的不同个人观点，在某些情况下，在一个电视节目中，经常以非常不同的方式体验相同的现实。其中包括与James Burrows, Kevin Eubanks, Ellen Holly, Gwen Ifill, Sonia Manzano, Jonathan Murray, Agnes Nixon, Dick Smith, Darren Star和Leslie Uggams的简短对话。
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Pub Date : 2020-10-01DOI: 10.1080/01956051.2020.1861578
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Pub Date : 2020-10-01DOI: 10.1080/01956051.2020.1833176
Gwen Ifill (1955–2016) was a dedicated viewer of The Huntley-Brinkley Report during her formative years, often witnessing footage of the Civil Rights Movement—images that her father would supplement with his own accounts of participating in marches. She felt an early pull towards journalism and writing, but didn’t anticipate a career in television. Ifill went on to work at NBC News, PBS NewsHour, and PBS’s Washington Week—at the latter as the program’s first female African-American moderator. Hers was a valued voice in television journalism, silenced too soon by her untimely passing at the age of sixty-one. Karen Herman conducted the interview on October 20, 2011, in Washington, D.C.
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Pub Date : 2020-10-01DOI: 10.1080/01956051.2020.1833170
Agnes Nixon created Carla Benari/Clara Gray and her famous storyline on One Life to Live, but Ellen Holly (1931–) brought the character and her actions to life. As a light-skinned Black woman, Holly struggled to find work as an actress, particularly in television. She’d enjoyed more success in theater, making her 1956 Broadway debut as Stephanie in Robert Yale Libott’s Too Late the Phalarope—a role for which she darkened her complexion. (Her father, a chemist, created the makeup she wore because the products she purchased at Gray’s Drug Store in New York “did not work” for her.) Then in 1968, television came calling and she was hired on One Life to Live, becoming the first Black actress to play a central role on a U.S. daytime soap opera. Adrienne Faillace conducted the interview on May 29, 2018 in White Plains, New York.
艾格尼丝·尼克松创造了卡拉·贝纳里/克拉拉·格雷和她在《我只有一条命》中著名的故事情节，但艾伦·霍莉(1931 -)将这个角色和她的行为赋予了生命。作为一名浅肤色的黑人女性，霍莉努力寻找一份女演员的工作，尤其是在电视上。1956年，她在百老汇首次亮相，在罗伯特·耶鲁·利博特的《为时已晚的法勒罗普》中饰演斯蒂芬妮——为了这个角色，她把肤色染黑了。(她在纽约格雷药店(Gray’s Drug Store)购买的化妆品“不管用”，她的化学家父亲为她设计了化妆品。)1968年，电视节目来了，她被《一生一世》(One Life to Live)录用，成为第一位在美国日间肥皂剧中扮演核心角色的黑人女演员。2018年5月29日，阿德里安娜·法莱斯在纽约怀特普莱恩斯接受了采访。
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