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How the Business of Comics Became the Business of Hollywood

productions; television productions Australia, 62–63, 64, 186, 190 author branding, 205–8 authorial control, 50 author marketing campaigns, 203–8 i n de x 254 Index Authors Alliance, 97, 114 Authors Guild, 51, 60–61, 77, 238, 239 Author’s Republic, 139 author support services, 237–40, 245. See also lawyers and legal guidance author websites, 205–14, 231. See also branding; marketing AVVO.com, 241 Axanar, 93 barcodes, 142–43 Barnes & Noble, 138 Barton, Bree, 57 Beautiful Disaster (McGuire), 36 Berne Convention, 21, 32 Big Five publishers, 128, 249n4 (ch. 7). See also

a sustainable U.K. film in- dustry—concluded there were serious skills and development problems (“Towards a Sustainable Film Industry in the UK,” UK Film Council, London, May 2000). In addition, the majority of television writers spend most of their time complaining in public and in print about the lack of re- spect and understanding they encounter in television production. The writer may be king in terms of U.K. heritage, and everyone has heard of Shakespeare—in or out of love—but in terms of contemporary screen- writers everything in the screen garden is not

motion,” before it fades out, followed by the dreamer. The music is strangely disembodied. Beckett’s first stage direction for it, “Softly hummed, male voice,” suggests that the singing voice does not come from the figure we see, but rather comes to him, in the form of mem- ory. In the original television production, the sound does seems to be com- ing from the figure, but he is so shrouded by dimness, distance, and his shaggy hair that we cannot see his lips move; the sound is disembodied before our ears. For the audience it is music in the air. In any case, the

owned by or a‹liated with one of the Big Three: ABC, CBS, or NBC. By the late 1960s, the Big Three networks essentially held television production in thrall, purchasing shows for less than it cost to make them. As a result, inde- pendent producers in particular were dependent on network investment to stay afloat; they had essentially become production arms of the network. Hollywood studios increasingly resented the large cut that the networks took out of domestic syndication. Scheduling each evening’s lineup became something of an art form, as the Big Three juggled

in NBC
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–18; openendness of, 157 Geo TV productions, 150 Gillard, Julia, 2 Girl Declaration, 4 Girl Effect, 3, 6, 98, 99, 115 Girl Rising, 4, 10, 99 G(irls)20 Summit, 4 girls’ education discourse: overview, 1–4; archive analysis, 19–21; archive assembly, 18–19; case study, 105–9; education difficulties, 120–21; gender and development, 8–9; genealogy in feminist research, 16–18; governmentality, 13–16; Muslim woman/girl figure, 4–7; reforming women and girls, 9–13; women’s narratives, 21–22. See also educated girlhoods Girl Up campaign, 3, 6 Good Muslim Woman/Bad Muslim Woman

[ 186 ] Rudy Bretz FROM VOL. 5, NO. 3, SPRING 1951 The Limitations of Television Rudy Bretz, TV pioneer, entered the television field eleven years ago when CBS formed its original staff. Cameraman, director, and inventor, he later became production manager of station WPIX. He is at present preparing one of the first definitive books on television production facilities and techniques. His article, “Television as an Art Form,” appeared in Volume V, Number 2, of the Hollywood Quarterly. . . . . . AN EXAMINATION OF THE equipment and the methods of operation today in

33 In the heady air of an MIT Transmedia conference, the “aca-pro” audience voiced appreciation as the futurist digital media consultant bragged about how nonhier- archical innovation hot spots like the one he’d created in his boutique company were poised to make old, conservative approaches to film and television produc- tion obsolete. Like dinosaurs and “Detroit,” he argued, lazy, inefficient “old media” film/TV production professionals—who, like the auto industry, had lived long past their prime—could vanish and no tears would be shed. The unequivocal mes