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Frank and Anne Hummert brought at least 125 separate series to the airwaves. The production dynasty over which they presided extended far beyond the serialized melodrama that became their trademark. Their genres also included music, mystery, juvenile adventure, quiz, sports, news, comedy and dramatic theater. The Hummerts tried to appeal to everyone's tastes and probably influenced more old time radio listeners than anyone else. By the 1940s the twosome controlled four and a half hours of the national weekday broadcast schedule. This book explores the private lives and professional dealings of broadcasting's most prolific creator-producers. There are five appendices: a list of all broadcast series that were created, adapted, supervised, augmented or influenced by the Hummerts; a list of the most active players among radio producers stemming from the Golden Age and their best-remembered titles; a collection of statements attributed to Frank or Anne that express their philosophy of broadcast programming; a chronology of defining moments in the Hummerts' lives; and three sample programming schedules that give the reader a clear understanding of the Hummerts' involvement in radio producing.
The period from 1925 to 1960 was the heyday of the American Radio Soap Opera. In addition to being part of popular culture, the soap opera had important commercial aspects as well that were not only related to their production, but also to the desperate need to sell products or perish. Both sides of this story are traced in this comprehensive compendium. The dictionary section, made up of more than 500 cross-referenced entries, provides brief vignettes of the more popular and also less well-known 'soaps,' among them Back Stage Wife, Our Gal Sunday, Pepper Young's Family and The Guiding Light. Other entries evoke those who brought these programs to life: the actors, announcers, scriptwriters, networks, and even the sponsors. Nor are the basic themes, the stock characters and the gimmick, forgotten. The book's introduction defines the soap opera, examines the span of the radio serial, reviews its origins and its demise, and focuses on the character types that made up its denizens. The chronology outlines the period and the bibliography offers further reading. Together, these elements make a comprehensive reference work that researchers will find invaluable long into the future.
That "kindly old investigator," Mr. Keen, sought missing persons and unraveled crimes longer than any other fictional detective ever heard or seen on the air. For 18 years (1937-1955) and 1690 nationwide broadcasts, Keen and his faithful assistant Mike Clancy kept listeners coming back for more. The nearest competitor, Nick Carter, Master Detective, ran for 726 broadcasts. This definitive history recounts the actors and creators behind the series, the changes the show underwent, and the development of the Mr. Keen character. A complete episode guide details all of the program's 1,690 broadcasts.
How was it that America would fund its nascent national radio services? Government control and a subscription-like model were both considered! Soon an advertising system emerged, leading radio into its golden age from the 1920s to the early 1960s. This work, divided into two parts, studies the commercialization of network radio during its golden age. The first part covers the general history of radio advertising. The second examines major radio advertisers of the period, with profiles of 24 companies who maintained a strong presence on the airwaves. Appendices provide information on 100 additional advertisers, unusual advertisement formats, and a glossary. The book has notes and a bibliography and is fully indexed.
From Archibald MacLeish to David Sedaris, radio storytelling has long borrowed from the world of literature, yet the narrative radio work of well-known writers and others is a story that has not been told before. And when the literary aspects of specific programs such as The War of the Worlds or Sorry, Wrong Number were considered, scrutiny was superficial. In Lost Sound, Jeff Porter examines the vital interplay between acoustic techniques and modernist practices in the growth of radio. Concentrating on the 1930s through the 1970s, but also speaking to the rising popularity of today's narrative broadcasts such as This American Life, Radiolab, Serial, and The Organist, Porter's close readings of key radio programs show how writers adapted literary techniques to an acoustic medium with great effect. Addressing avant-garde sound poetry and experimental literature on the air, alongside industry policy and network economics, Porter identifies the ways radio challenged the conventional distinctions between highbrow and lowbrow cultural content to produce a dynamic popular culture.
In the days before television, radio was the constant voice in American life. When radio spoke, America listened--especially to the men and women who spoke directly to their unseen audience. Sometimes formal, sometimes as familiar as the friend next door, their presence filled the airwaves: announcers, newscasters, sportscasters, showbiz reporters, advice consultants, emcees and breakfast chatterboxes. These radio personalities became as popular and familiar as the most public faces of the time. Here among profiles of more than 1100 "radio speakers" are famous names like George Ansbro, Red Barber, H.V. Kaltenborn, Dorothy Kilgallen, Edward R. Murrow, Louella Parsons, Walter Winchell and more. Also amply represented are hundreds of lesser known individuals who left indelible auditory impressions. Whether their fame was forever or fleeting, all were a part of the American voice during the grand epoch of network radio.
On January 12, 1926, radio audiences heard the first exchanges of wit and wisdom between "Sam 'n' Henry"--the verbal jousters who would evolve into Amos 'n' Andy and whose broadcasts launched the radio sitcom. Here is a detailed look at 20 of the most popular such sitcoms that aired between the mid-1920s and early 1950s, the three-decade heyday of radio. Each series is discussed from an artistic standpoint, with attention to the program's character development and style of comedy as well as its influence on other shows. The book provides complete biographical profiles of each sitcom's stars as well as several actors whose careers consisted primarily of supporting roles. Appendices include an abbreviated summary of 13 sitcoms beyond those discussed in the main body of the book, and a comprehensive list of 170 radio sitcoms. Notes, bibliography, index.
Casablanca is one of the most celebrated Hollywood films of all time, its iconic romance enshrined in collective memory across generations. Drawing from archival materials, industry trade journals, and cultural commentary, Barbara Klinger explores the history of Casablanca's circulation in the United States from the early 1940s to the present by examining its exhibition via radio, repertory houses, television, and video. By resituating the film in the dynamically changing industrial, technological, and cultural circumstances that have defined its journey over eight decades, Klinger challenges our understanding of its meaning and reputation as both a Hollywood classic and a cult film. Through this single-film survey, Immortal Films proposes a new approach to the study of film history and aesthetics and, more broadly, to cinema itself as a medium in constant interface with other media as a necessary condition of its own public existence and endurance.
The golden age of radio is often recalled as a time when the medium unified the nation, when families gathered around the radios in homes across the country to listen to live, commercially sponsored network broadcasts. In Points on the Dial, Alexander Russo revises our understanding of radio’s past by revealing the hidden histories of production, distribution, and reception practices during this era, which extended from the 1920s into the 1950s. Russo brings to light a tiered broadcasting system with intermingling but distinct national, regional, and local programming forms, sponsorship patterns, and methods of program distribution. Examining a wide range of practices, including regional networking, sound-on-disc transcription, the use of station representatives, spot advertising, and programming aimed at homes with several radios, he not only recasts our understanding of the relationship between national networks and local stations but also charts the development of new ways of listening—often distractedly rather than attentively—that set the stage for radio in the second half of the twentieth century.
The period from 1925 to 1960 was the heyday of the American Radio Soap Opera. In addition to being part of popular culture, the soap opera had important commercial aspects as well that were not only related to their production, but also to the desperate need to sell products or perish. Both sides of this story are traced in this comprehensive compendium. The dictionary section, made up of more than 500 cross-referenced entries, provides brief vignettes of the more popular and also less well-known 'soaps,' among them Back Stage Wife, Our Gal Sunday, Pepper Young's Family and The Guiding Light. Other entries evoke those who brought these programs to life: the actors, announcers, scriptwriters, networks, and even the sponsors. Nor are the basic themes, the stock characters and the gimmick, forgotten. The book's introduction defines the soap opera, examines the span of the radio serial, reviews its origins and its demise, and focuses on the character types that made up its denizens. The chronology outlines the period and the bibliography offers further reading. Together, these elements make a comprehensive reference work that researchers will find invaluable long into the future.