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Understanding Star Trek’s initial conditions of production and distribution requires an understanding of the basic operations of the classic network era: 1. Star Trek and American Television History 18 / Star Trek and American Television History that period, from roughly 1960 to 1980, in which the oligopoly constituted by the big three networks—CBS, NBC, and ABC—secured control of pro- duction, distribution, and exhibition through what Michele Hilmes calls a “tight vertical integration, similar to that of the movie studios before 1947.”1 In terms of production

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Contents Acknowledgments ix Abbreviations xi Foreword by Sir Patrick Stewart xiii introduction: “it’s a television show” 1 1. star trek and american television history 17 2. art, commerce, and creative autonomy 55 3. the craft-workshop mode of production 86 4. actors: the public face of star trek 106 5. world building 126 6. character building 149 conclusion: “it’s not a television show” 185 Appendix: List of Interviewees Quoted 193 Notes 195 References 221 Index 231 This page intentionally left blank

America’s Network
Anthropology on New Terrain
Ed Sullivan's America
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this book owes a great deal to the formidable critical intelligence of Michael Rogin, my unseen re- viewer at the University of California at Berkeley, who commented extensively on two versions. Two anonymous reviewers made sug- gestions that greatly eased the work of revision. In Boston, Andrea Walsh brought her prodigious knowledge of film and television to bear on successive drafts of the manuscript. Joel Greifinger was my first guide through the labyrinth of Ameri- can television history. His erudition in cultural theory and televi- sion studies have influenced

author or editor of several books on broadcasting history, including Radio Voices: Amer- ican Broadcasting, 1922–1952 (University of Minnesota Press, 1997); Only Connect: A Cultural His- tory of Broadcasting in the United States (Wadsworth/Thomson Learning, 2002); The Radio Reader: Essays in the Cultural History of Radio (co-edited with Jason Loviglio, Routledge, 2002); and The Television History Book (British Film Institute, 2003). She is currently at work on a history of the mutual influence and opposition between U.S. and British broadcasters during radio and

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Section d’histoire et esthétique du cinéma at the University of Lausanne. Her research examines the history of television outside broadcast- ing institutions. She is currently preparing her first monograph on interwar television and exhibition culture. She is the editor of La télévision du téléphonoscope à YouTube: Pour une archéologie de l’audiovision (with Mireille Berton; Lausanne: Antipodes, 2009) and an issue of View: Journal of European Television History and Culture (“Archaeologies of Tele-Visions and -Realities,” with Andreas Fickers, 2015).

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in Montréal, Guadalajara, Stockholm, Bologna, and Melbourne, as well as the Doing Women’s Film and Television History conferences in England. Colleagues at these groundbreaking events pro- vided indispensable sounding boards, methodological models, research tips, and inspiration. I must also thank a group of truly remarkable colleagues and students in the Film and Digital Media Department at UC–Santa Cruz for providing such a warm and supportive working environment. At or with the University of California Press, Mary Francis, Kim Hogeland, Bradley Depew