43 research outputs found
Montana Kaimin, November 5, 2008
Get PDFStudent newspaper of the University of Montana, Missoula.https://scholarworks.umt.edu/studentnewspaper/6223/thumbnail.jp
HOW WIDE IS BROADWAY? : THE THEATRE GUILD'S RADIO AND TELEVISION PRODUCTIONS IN POST-WORLD-WAR-II AMERICA
Get PDFIn the fall of 1947, the Theatre Guild, arguably the theatrical producing organization that had defined the American theatre aesthetic since its inception in 1918, splashed confidently and unhesitatingly into the barely-charted waters of the nascent medium of live television. The attempt seemed destined for success since the Guild had been producing a successful radio program for two years and was paired with NBC, the most successful of the early television networks. However, fourteen months later the Guild retired from television. It had failed in its ambitious plan to bring the sights, sounds of Broadway to every living room from coast to coast. I argue that the principal reason for its failure was artistic rather than commercial and that by 1948 the Guild's various broadcasting ventures illustrate that the Theatre Guild, which had once defined itself as farsighted and experimental had in reality become nearsighted and stodgy.
This dissertation explores the background of the Theatre Guild before it entered broadcasting, during the time it was developing its position as Broadway's leading exponent of artistic plays and experimental theatre. It continues the story through the Guild's production of The Theatre Guild on the Air, a weekly series of hour-long adaptations of stage plays that it began producing in 1945, and on to the Guild's abortive first attempt at live television from 1947-1948. Finally, it documents the Guild's efforts to return to television, which it ultimately did in 1953, although with a different purpose in mind and with a much more successful approach
Yale Medicine : Alumni Bulletin of the School of Medicine, Fall 1996- Fall 1998
Get PDFThis volume contains Yale medicine: alumni bulletin of the School of Medicine, v.31 (Fall 1996) through v.32 (Fall 1998). Prepared in cooperation with the alumni and development offices at the School of Medicine. Earlier volumes are called Yale School of Medicine alumni bulletins, dating from v.1 (1953) through v.13 (1965).
Digitized with funding from the Arcadia fund, 2017.https://elischolar.library.yale.edu/yale_med_alumni_newsletters/1013/thumbnail.jp
Yale Medicine : Alumni Bulletin of the School of Medicine, Fall 1990- Summer 1992
Get PDFThis volume contains Yale medicine: alumni bulletin of the School of Medicine, v.25 (Fall 1990) through v.26 (Summer 1992). Prepared in cooperation with the alumni and development offices at the School of Medicine. Earlier volumes are called Yale School of Medicine alumni bulletins, dating from v.1 (1953) through v.13 (1965).
Digitized with funding from the Arcadia fund, 2017.https://elischolar.library.yale.edu/yale_med_alumni_newsletters/1010/thumbnail.jp
Crying in the wilderness : the outlaw and poet in Ben Hecht's militant Zionism
Get PDFDuring the Second World War, the American journalist and screenwriter Ben Hecht had been one of the lone voices to break the silence about the Nazi Holocaust. Then, in 1947, Hecht shocked and outraged people across the world when he called for "terrorism" against his country's closest military ally, Britain, in the fight for a Jewish state. Crying in the Wilderness is an effort to explain, through biography, Hecht's increasingly militant propaganda campaign. This study argues that two friends, one the Jewish gangster Mickey Cohen and the other the Jewish poet Max Bodenheim, provide keys to understanding Hecht's militant rhetoric and its historical relevance. While the Cohen narrative explains the political dimension of Hecht's ideology and the Bodenheim story explains the cultural dimension, both overlap on the issue of ethnicity, the question of Jewish American identity. Hecht's political response to the genocide and the struggle for a homeland in its aftermath was informed by a cynical worldview that he developed as a crime reporter covering gangland Chicago and the rise of Al Capone. At the same time, his propaganda can be understood as the cultural rebellion of a modernist artist, who was chafing against rules imposed by the "respectable" assimilationist Jews of the New York theater, publishing and newspaper worlds, and against the Jewish moguls of Hollywood. This dissertation weaves the two narratives together: one of Hecht's affinity for the militant outlaw, and the other of his devotion to the uncompromising spirit of the artist-poet.Includes bibliographical references (pages 578-599)
