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Bonanza aired on NBC from September 12, 1959, to January 16, 1973, playing to 480,000,000 viewers in over 97 countries. It was the second longest running western series, surpassed only by Gunsmoke, and continues to provide wholesome entertainment to old and new fans via syndication. This book provides an in-depth chronicle of the series and its stars. A history of the show from its inception to the current made-for-television movies is provided, and an episode guide includes a synopsis of each show and lists such details as the main characters of each episode and the actors who portrayed them, the dates they stayed with the show, date and time of original broadcast, writer, director, producer, executive producer, and supporting cast. Also provided are character sketches for each of the major recurring characters, career biographies of Lorne Green, Pernell Roberts, Dan Blocker, and Michael Landon, brief biographical sketches of the supporting cast, a discography of recordings of the Bonanza theme and recordings of the four major stars, and information on Bonanza television movies.
Hollywood’s West examines popular perceptions of the frontier as a defining feature of American identity and history. Seventeen essays by prominent film scholars illuminate the allure of life on the edge of civilization and analyze how this region has been represented on big and small screens. Differing characterizations of the frontier in modern popular culture reveal numerous truths about American consciousness and provide insights into many classic Western films and television programs, from RKO’s 1931 classic Cimarron to Turner Network Television’s recent made-for-TV movies. Covering topics such as the portrayal of race, women, myth, and nostalgia, Hollywood’s West makes a significant contribution to the understanding of how Westerns have shaped our nation’s opinions and beliefs—often using the frontier as metaphor for contemporary issues.
This work indexes books, dissertations and journal articles that mention television shows. Memoirs, autobiographies, biographies, and some popular works meant for fans are also indexed. The major focus is on service to researchers in the history of television. Listings are keyed to an annotated bibliography. Appendices include a list of websites; an index of groups or classes of people on television; and a list of programs by genre. Changes from the second edition include more than 300 new shows, airing on a wider variety of networks; 2000-plus references (more than double the second edition); and a large increase in scholarly articles. The book provides access to materials on almost 2300 shows, including groundbreaking ones like All in the Family (almost 200 entries); cult favorites like Buffy: The Vampire Slayer (200-plus entries); and a classic franchise, Star Trek (more than 400 entries for all the shows). The shows covered range from the late 1940s to 2010 (The Walking Dead). References range from 1956 to 2013.
The Wild Wild West premiered on CBS in 1965, just as network dominance of television Westerns was waning and the global James Bond phenomenon was in full force. Described as "James Bond on horseback," the series was like nothing else on TV before or since--a genre hybrid that followed the adventures of 1870s Secret Service agents James West and Artemus Gordon, on special assignment from President Ulysses S. Grant. The show featured clever gadgets and costumes, carefully choreographed action and fight sequences, and stories that melded elements of Western, science fiction, fantasy, espionage and detective genres. This book provides in-depth critical analysis of this unique, eclectic series, considered one of the primary influences on Steampunk subculture.
From 1955 to 1964, American television was awash in adult Westerns, as much as one quarter of all prime-time programming. During its six seasons (1957-1963), Have Gun-Will Travel was recognized as one of the best shows on television--politically the most liberal, and intellectually and aesthetically the most sophisticated, largely because of Richard Boone. This work places the series in its larger historical context, exploring why the Western was so popular at the time, and examines how the early history of television affected the shows. A brief biography of Boone is included, revealing how his values and experiences shaped the series. Behind-the-scenes life on the show is compared with that of its most popular competitors, Gunsmoke, Wagon Train and Bonanza. Major themes and patterns of the shows are compared, in particular the figures of the lawman, the gunfighter and the outlaw, racial and ethnic minorities, and women.
A playful embrace of tall tales and exaggeration, Monumental Lies explores the evolution of folklore in the Wild West. Monumental Lies: Early Nevada Folklore of the Wild West invites readers to explore how legends and traditions emerged during the first decades following the “Rush to Washoe,” which transformed the Nevada Territory after in 1859. During this Wild West period, there was widespread celebration of deceit, manifesting in tall tales, burlesque lies, practical jokes, and journalistic hoaxes. Humor was central, and practitioners easily found themselves scorned if they failed to be adequately funny. The tens of thousands of people who came to the West, attracted by gold and silver mining, brought distinct cultural legacies. The interaction of diverse perspectives, even while new stories and traditions coalesced, was a complex process. Author Ronald M. James addresses how the fluidity of the region affected new expressions of folklore as they took root. The wildly popular Mark Twain is often a go-to source for collections of early tall tales of this region, but his interaction with local traditions was specific and narrow. More importantly, William Wright—publishing as Dan De Quille—arose as a key collector of legends, a counterpart of early European folklorists. With a bedrock understanding of what unfolded in the nineteenth century, James considers how these early stories helped shaped the culture of the Wild West.
When the space drama Battlestar Galactica debuted on ABC in 1978, it was expected to be the most popular new program of the year. Instead, it was attacked as a Star Wars rip-off and canceled after a mere 17 stories. The author acknowledges the show was full of dramatic cliches and scientific inaccuracies, but despite these shortcomings, Battlestar Galactica was a dramatically resonant series full of unique and individual characters, such as Commander Adama (Lorne Greene) and ace warrior Captain Apollo (Richard Hatch). The author contends that Battlestar Galactica was a memorable attempt to make science fiction accessible to mainstream television audiences. The brilliant work of artist John Dykstra brought a new world of special effects to network television. Battlestar Galactica also skillfully exploited legends and names from both the Bible and ancient mythology, which added a layer of depth and maturity to the weekly drama.
At rodeos in the 1940s, Gene Autry sang and jumped his horse, Champion, through a flaming hoop. In 1960s rodeo arenas, Lorne Greene and Dan Blocker acted out a skit from their hit television show Bonanza. In the same era familiar rodeo personalities like Hoot Gibson and Slim Pickens could be seen in movies or television shows. This book profiles performers who crossed over between film studio and rodeo arena when Hollywood and the rodeo circuit were closely linked. The first part traces the careers of rodeo participants who also contributed to film or television. The next two sections describe rodeo appearances of Western screen stars who entertained at rodeos. Some appeared solo and others with a television co-star or two. A fourth section summarizes rodeo-related films. Appendices introduce golden age rodeo personalities and outline rodeos known for presenting Western stars.
For nearly two centuries, Americans have embraced the Western like no other artistic genre. Creators and consumers alike have utilized this story form in literature, painting, film, radio and television to explore questions of national identity and purpose. Westerns: The Essential Collection comprises the Journal of Popular Film and Television’s rich and longstanding legacy of scholarship on Westerns with a new special issue devoted exclusively to the genre. This collection examines and analyzes the evolution and significance of the screen Western from its earliest beginnings to its current global reach and relevance in the 21st century. Westerns: The Essential Collection addresses the rise, fall and durability of the genre, and examines its preoccupation with multicultural matters in its organizational structure. Containing eighteen essays published between 1972 and 2011, this seminal work is divided into six sections covering Silent Westerns, Classic Westerns, Race and Westerns, Gender and Westerns, Revisionist Westerns and Westerns in Global Context. A wide range of international contributors offer original critical perspectives on the intricate relationship between American culture and Western films and television series. Westerns: The Essential Collection places the genre squarely within the broader aesthetic, socio-historical, cultural and political dimensions of life in the United States as well as internationally, where the Western has been reinvigorated and reinvented many times. This groundbreaking anthology illustrates how Western films and television series have been used to define the present and discover the future by looking backwards at America’s imagined past.