p. 249
ABC, 64, 66; Broadcast Standards and Practices, 104, 115; programming, 68, 69, 70, 104, 115, 124; ratings, 69, 227, 228; soaps owned by, 68, 69, 70
abortion, 112-13
acting style, 51
Action for Children's Television, 102
Adair, John, 8, 248
Adam (character), see Thorpe, Adam
advertisers, 62, 63, 74-76
advertising, 228, 229; commercials, see commercials; costs, 63-64, 67, 89; radio, 80-81
advertising agencies, budgets and, 26
advisers, 99-100, 123
affiliated stations, 63
Alan (character), see Spaulding, Alan
alcoholism, 99, 113
All My Children, 20, 31, 64, 66, 68-71, 101, 103, 165
alternate world in soaps, 4950, 53, 60; commercials in context of, 76-77
Amanda (character), see McFarren, Amanda
Andy (character), see Nors, Andy
Another World, 26, 66, 92, 134, 238-239
Aquafresh (tooth paste), 76
Ashencraft, Mrs., 81
As the World Turns, 26, 66, 69-70, 71, 95, 107, 211
audiences: casting and, 133; commercials and, 76; competition for, 22, 27, 28, 62, 226; demographic makeup, 30, 31, 62-63, 69, 70, 184, 186, 226, 227; interaction with, 13, 51-52, 54-59, 159-60, 181; letters from, 30, 182-84, 187-225; perceptions about 9, 181-84; performers and, 21, 130; power of, 181, 183; product, as, 80; research on, 6, 93-94, 183, 184, 186, 231, 232; scriptwriting and, 82-86, 88, 89, 158; size of, 65; spot sales and, 68; stability of, 65, 182-83, 227; studio, 24; writers limited by, 126, 130
audio conventions, 173-74, 227
audio tracks, editing, 162, 163
auditions, 130-31, 132
awards, 225
Baby Fresh (moisturized pads), 76
Ballard, Diane (character), 45, 48; letters about, 202, 206, 210, 216, 217
Barbara (character), see Thorpe, Barbara
Barnouw, Eric, 30, 67, 103, 240
Barthes, Roland, 13, 240
Bauer, Bert (character), 41, 48, 114-15; letters about, 198, 212, 216, 217
Bauer, Bill (character), 19394
Bauer, Ed (character), 41, 56-57, 90, 124; letters
******
p. 250
about, 196, 198, 204, 205,210-11, 216, 217
Bauer, Hillary (character) 42, 57-58; letters about, 203, 204, 216, 217, 221, 222
Bauer, Leslie (character), 215
Bauer, Mike (character), 41-42, 56, 132; letters about, -200, 204-06, 216, 217
Bauer, Rita (character), 42; letters about, 191, 192, 198, 202, 203, 205, 210, 211, 213, 217
Bauer family, 196, 204, 215-16, 220
Bea (character), see Rear-don, Bea
Becker, Howard, 240
behaviorist studies, 11
behavior norms, 16, 17
Bell, Bill, 66
Ben (character), see McFarren, Ben
Berkley, Busby, 89, 173
Bernstein, Richard, 7, 240
Bert (character), see Bauer, Bert
B-52s (singing group), 90
blocking scenes, 138
Bogart, Leo, 5, 240
bombs, making of, 108
boom operators, 138
Bounce (fabric softener), 74
Bounty (paper towels), 74
boycotts, 102, 103, 116
Bradley, Joe (character), 45, 206
brand loyalty, 66, 72
Brandy, Leo, 77, 240
Breed, Warren, 184, 237, 240
bridges, 179
Brown, Lisa, 6, 63, 189, 209
Brown, Meredith, 6, 63, 239, 240
budgets: secrecy concerning, 22, 25-27; writers limited by, 125
business activities, portrayal of, 35
"cameo" appearances, 90
camera conventions, 164-73
camerapersons, 25, 138, 155, 164-65
cameras: fixed, 168, 170-71; handheld, 169; steady cam, 169
camera techniques, 78
Cantor, Muriel, 35, 64, 112, 181, 237, 238, 240
Capitol, 66, 70, 183
Carey, James, 1, 8, 10, 11, 241
Carrie (character), see Marler, Carrie
Cassata, Mary, 237, 241
casting, 130-34
Cawelti, John, 61, 83, 241
CBS, 62, 64, 66, 103; leasing of shows, 67, 69-70; Procter and Gamble and, 67-70, 81, 226, 227, 228; programming, 85, 124, 135; Program Practices, 103-05, 109, 112, 113-16, 127; ratings, 69, 72, 92; research, 232
censorship, 103-16, 230-31
Chalfen, Richard, 8, 237, 239, 241
Chamberlain, Henry (character), 40, 47, 48, 56-57
Chamberlain, Vanessa (character), 40, 47, 48, 60; letters about, 198, 199, 202, 205, 206, 210
Chaney, David, 3, 4, 6, 8-9, 49, 82, 241; fiction-nonfiction distinction, 15; ideological effects, 234; perceptions about audience, 181
characters, 230; audience desired and, 85; development, 100, 129, 134; emphasis on, 101; ethnic
*******
p. 251
background, 38-39, 48; identification with, 13, 51-52, 54-59, 159-60, 181; letters concerning, 188, 189, 196-99; plot vs., 101; Procter and Gamble emphasis on, 101
Charmin (toilet paper), 75
child abuse, 86, 233
children as characters, 48
close-ups, 140, 141, 167, 168 172-73; final takes, 73, 171-72
Coast (soap), 74
Colby, Derek (character), 44, 45
Colgate-Palmolive Peet, 67
Collins, Judy, 90, 180
Columbia, 66
commercials: audience characteristics and, 31, 63, 227-28; competitors, limitations on, 67; insertion, 24; pace of, 160; primacy of, 73; programming linked to, 31, 64; sample list, 73-76; spot, 67-68, 228
communication anthropological studies, 8-9, 10, 11; technology, forms of, 1; television role, 4
communications industry: audience influence by, on, 181-84; power of, 181
communicator-audience interaction, 181-82
competitiveness, 22, 27, 28, 62, 226
Compton Advertising, 67, 229
computerized editing, 161-63, 174, 231
Conboy Productions, John, 66
concensus on values, 226
consciousness industry, 4
consultants, 99-100
continuity, audience affected by, 51-52
contract players, see performers
controversy, avoidance of, 230, 233
conventions, 158-60; 227;
audio, 173-74, 227;
musical, 174-80, 227;
visual, 161-73, 227
Cooke, Jennifer, 91, 189
Corday Productions, 66
corporations: decision making in, 28, 30, 103-16; home and family care products, 62-63; risk reduction by, 103-16; and, 82-86; uncertainty reduction by, 89-102
cost per thousand viewers, 67, 228
costumes, 123, 125-26, 135; "look" of show and, 87, 88, 228, 231
"crawl," see credits, screen
credits, screen, 95, 98
crews, 24, 25, 26, 123, 126, 138; boredom, 25; salaries of, 26
Crisco (oil), 74, 75
critical letters, 188, 221, 232
crowd scenes, 167-68
cults, 97-98
cultural products, creation of, 7-8
cultural studies, British, 8-9
culture, 1-4, 6, 238; expression and instrumentality, 235, 237
Curran, James, 9, 10, 241
current affairs programming, 5
cuts: camera, 78; scripts, 127
Dallas, 65, 92
Dalton, Leslie, 132
Dash (laundry detergent), 74
Dawn (dishwashing liquid), 75
day players, 130-31
*******
p. 252
Days of Our Lives, 66
dead spots, 179-80
deBock, H., 247
Deerfield, Lynn, 216
demographic make-up of audience, 30, 31, 62-63, 69, 70, 184, 186, 226, 227
dialogue, 47, 51
dialogue writers, 123, 125
Diane (character), see Ballard, Diane
digests, program, 184
directors, 123, 135, 138-44, 230, 231; performers and, 140-43; production assistant and, 23; writers and, 126, 141-42
disease, portrayal of, 107-08
dissolves, 172
distances, significance of, 165-67
Dixon, John, 213
Doctors, The, 66
documentaries, 4, 5, 6, 15, 18, 21
"domains" concept, 30, 67
Downy (fabric softener), 74, 75, 79
Doxidan (laxative), 75
dramatic programming: extent of, 2, 5; fictional nature of, 15; soap operas, see soap operas; symbols in, 12-13; types of, 4, 15
dreams, 173, 174, 179
dress rehearsal, 138
Duke (character), 161
Duncan Hines (cake mix), 75
Dynasty, 65
echoes, 174
ectopic pregnancy, 203-04
Ed (character), see Bauer, Ed
Edge of Night, 20-25, 30, 66, 97-98, 114, 125;
budget, 26; camera work, 165, 167-68, 169; censorship, 104, 113, 114, 115; future story, 27; letters, 193; music, 175; ratings, 185; taping, 161
editing, 143-44, 161-64, 171; computerized, 161-63, 174, 231; pick up edits, 144, 171
editors, power of, 163
Elizabeth (character), see Marler, Elizabeth
Elliott, Jane, 186, 189
Elliott, Phillip, 4, 16, 89, 90, 91, 241; advisers advocated, 99; ideological effects, 234-35; meaning, creation of, 8-9; methodology, 16-17; phenomenological approach, 32; uncertainty, on, 89
Enzenberger, Hans Magnus, 4, 241
Epstein, Edward Jay, 237, 241
Espinosa, Paul, 237, 242
ethnic background of characters in soaps, 38-39, 48
ethnographic behavior, 6, 7, 8; Chaney on, 9
Evans, Jennifer Richards (character), 42, 52, 216, 219
Evans, Mark (character), 42, 48, 52, 58, 60, 233
Eve (character), see McFarren, Eve
experiences: limited portrayal of, 34, 53; meanings attached to, 1, 6, 14, 16; mediated and unmediated, 4, 6
experts, consulting, 99-100
extras, 27, 125, 130
"fades," 78
Fairness Doctrine, 112
family life, portrayal of, 34, 49, 53-54
fan magazines, 184, 197, 201, 220
*******
p. 253
fans, see audiences
fantasies of characters, 159, 173, 228
Faulkner, Robert, 121, 237, 242
fiction-nonfiction distinction, 15
filmmaking, studies of, 8
filters, sound, 173
final takes, 78, 171-72
Fischer, Heinz-Dietrich, 242
Flamingo Road, 65
flashbacks, 159, 173, 174, 179
Flax, Steven, 242
Floyd (character), see Parker, Floyd
focus research, 93
Folger's (coffee), 76
Ford Theatre, 170
Forkan, James, 69, 242
fortune telling, 106
Fox, Sonny, 227
frames, defined, 14
Frankfurt school, 7, 11
future story, 22, 27, 156
game shows, 65
Gans, Herbert, 11, 15, 21, 235, 237, 242; on audience research, 94
Garrett, Maureen, 216
Geertz, Clifford, 14, 242
General Hospital: characterplot relationship, 101; competitive position, 8485, 182, 185, 186, 226, 227; ownership, 66; performers, 90; ratings, 68, 69; scripts, 50, 92; spot costs, 69; writers, 83, 91
Gilbert, Annie, 35, 242
Gitlin, Todd, 10, 11, 242
Goethals, Gregor, 73, 243
Goffman, Erving, 14, 243
"golden age," nostalgia for, 23, 25
Golding, Peter, 13, 226, 243, 245
gothics, sets as showing conventions of, 37
Gray Panthers, 102, 114
Grey, Janet, 216
Guiding Light, 6-7, 22-23; audience, 69, 84, 186; budgets, 25, 26; censorship, 104-16; history, 34-55, 122, 226-27, 238; music theme, 175; ownership, 66, 67, 83; performers, 90; production process, 135-45; ratings, 69, 186; scripts, 28, 83, 84-86, 226-27; setting, 36; spot costs, 69
"Guiding Plight," 147
hairdressers, 123, 126
Hall, Edward, 8, 165
Hall, Stuart, 13, 243
Halloran, James, 5, 10, 243, 245
headwaiters, 122-33, 229; conventions used by, 153-60; performers and, 148-52
Hepburn, Katherine, 205
Hillary (character), see Bauer, Hillary
Hirsch, Paul, 89, 227, 243
Hoggart, Richard, 163-64, 243
holidays: portrayed in soaps, 50; ratings during, 186, 187
Holly (character), see Norris, Holly
home and family care products, 73-76, 227, 228
homosexuality, 86, 233
Hope (character), see Spaulding, Hope Bauer
Hulk, The, 170
Hulswit, Mart, 96, 124, 196, 197, 210-11
Hummert, 81
humor, 85, 97; studio, 146-47
Hymes, Dell, 8, 243
*******
p. 254
ideal community portrayal, 53
illicit sex, 211-14
image of show, 86-88, 227, 228, 231
immediacy of television, 164
incest, 86, 233
individual development, family concern and, 54, 233
inserts, 171
Ivory (dishwashing liquid), 74
Jackie (character), see Marler, Jackie Jackson, Steve (character), 45, 48, 114-15, 216
Janus, N., 244
Jennifer (character), see Evans,
Jennifer Joe (character), see Bradley,
Joe Johnson, John J., 244
Jones, Indiana, 51
Jones, Jim, 97, 98
Josh (character), see Lewis,
Josh Justin (character), 43
Katie (character), see Parker, Katie
Kelly (character), see Nelson, Kelly
kidnapping, 108
Kleenex Buggies (diapers), 75
Klein, Paul, 62, 227, 244
La Guardia, Robert, 34, 238, 244
Lainie (character), see Marler, Lainie
layered conversations, 159
leasing of programs, 67
Leed, Eric, 12, 244
legal experts, 99-100
legal procedures, presentation of, 108
legal threats, 102
LeMay, Harding, 51, 217, 229, 238-39, 244
length of programs, 159, 229, 231
letters, 182, 183, 184, 187225, 231, 232
Lever Brothers, 67
Levi-Strauss, Claude, 244
Lewis, Josh (character), 40, 48
Lewis, Trish (character), 40
libel actions, 114
Liebow, Elliott, 23, 244
line producers, 135, 139, 144-45, 229
live shows, 161, 162
location shooting, 38, 137, 163, 167, 228, 230-31; camera use, 169, 170; costs, 126, 138; crowd scenes, 167-68; letters on, 188
logos, use of, 113-14
loyalty, familial, 54
Lucille (character), see Wexler, Lucille
lunch hours, 28
lupus, 107
McAnany, E. G., 244
MacCannel, Dean, 3, 244
McCord, Quint (character), 41, 47, 50
MacDonald, J. Fred, 237, 244
McFarren, Amanda "Wexler" (character), 43, 48, 55-56, 58, 60, 233; letters concerning, 199, 203, 216
McFarren, Ben (character), 43; letters concerning, 199, 210, 216, 217
McFarren, Eve (character), 43, 197; letters concerning, 199, 216, 217, 219
McIntyre, Sara (character), 45, 48, 216, 217
McQuail, Dennis, 89, 90, 244 makeup staff, 123
Mark (character), see Evans, Mark
*******
p. 255
Marler, Carrie Todd (character), 44, 57, 58, 186, 225
Marler, Elizabeth (character), 44, 198, 200, 206
Marler, Jackie (character), 43-44, 215, 216
Marler, Justin (character), 43
Marler, Lainie (character)44, 216
Marler, Ross (character), 44, 56-57, 58; letters concerning, 186, 199, 206, 216,217
Mary Tyler Moore Show, 134
mass culture, television and, 2, 4
Maureen (character), seeReardon, Maureen
media culture, 3-4
medical experts, 99-100
Melnik, S. F., 242
mental illness, 115
Merton, Robert, 10, 15, 244
methodology of study, 2, 7-11, 16, 20-33
Mies, Debra, 244
Mike (character), see Bauer, Mike
minimizing risk, 102-16
miscarriages, 203, 204
Miss Universe Contest, 66
Modleski, Tania, 86, 244
monitors, 171
Monty, Gloria, 92
moral majority, 103, 111
Morgan (character), see Nelson, Morgan Richards
Murdock, Graham, 5, 13, 226, 243, 244, 245
music, 123, 162
musical catalogues, 175
musical conventions, 174-80, 227
musical directors, 174-75
musical instruments, 175
mysteries, 4
narrative, limits of, 82
Navajo, 8
NBC, 64, 66
Nelson, Kelly (character), 42, 52, 57-58, 161, 180; letters concerning, 180, 189, 195, 201-03, 206-09, 215, 217, 219, 221, 222
Nelson, Morgan Richards (character), 42, 161; letters concerning, 189, 195, 201-03, 206, 208, 209, 215, 217, 219, 221, 222
Nestle Toll House (chocolate chips), 76
networks, 26, 30, 31, 62; ABC, see ABC; CBS, see CBS; censorship by, 103-16; competition among, 227; leasing, 67; loyalty to, 72; market access, 63; NBC, 64, 66; programming, 63, 65, 67; ratings, 68-69; representatives, 126
Newcomb, Horace, 36-37, 245
news: advertising and, 73; story line and, 50, 97
news programs, 4, 5, 6, 15, 21, 27; preemptive, 217-19
Nielsen, A. C., Inc., 245
Nielson, Tom, 180
Nielson Reports, 70, 184, 187, 232
9-Lives (cat food), 76
Nisbet, Robert, 53, 245
Nixon, Agnes, 68, 102, 103
Nola (character), see Reardon Nola
Norris, Andy (character), 45; letters concerning, 195, 202, 206, 208, 215, 216, 224
Norris, Holly (character), 45; letters concerning, 192, 205, 206, 216
occupations, sets as indicating, 37
*******
p. 256
One Life to Live, 64, 66, 6869, 101, 103
opinion research, 15
organs, 174-75, 179
overtime, 137
Oxydol (detergent), 75, 79
pace of show, 159-61, 228, 231
Palmer, Jerry, 233, 245
paraphrases of lines, 152
Parker, Floyd (character), 46-47, 52; letters concerning, 180, 203, 208, 216, 217
Parker, Katie (character), 46; letters concerning, 203, 206, 208, 216, 217
participant observation, 20-33
Peacock, James, 15, 238, 245
Perkurny, Robert, 89, 91, 245
performers, 122, 123, 135-36, 230, 231; appearance, 13334; casting, 88; cameras and, 154-55; character identification, 148-52; commercials, appearances in, 78; contract guarantees, 128; day players, 130-31; directors and, 140-43; extras, 27, 125, 130; firing, 134; future story and, 156; letters concerning, 188, 194, 196, 232; letters to 188; noncontract, 125, 130-31; personal lives and script changes, 128; publicity, 95-97; ratings, 184; rewards for, 145; salaries, 26, 64; standardization and, 84; tardiness, 27; under-fives, 125, 130; writers and, 125, 129-30
personal care products, commercials for, 73
Peterson, Richard, 245
Phillip (character), see Spaulding, Philip
Phillips, Irna, 83, 124, 238
photographic techniques, 61
photograph requests, 221-22
Pickett, Cindy, 216
pick up edits, 144, 171
Pingree, Suzanne, 35, 238, 240
plot: characters and, 101; complications of, 60-61; emphasis on, 85; repetition, 92-93
Porter, Dennis, 34, 50, 77~ 78, 226, 245
power, protrayal of, 32
preemption of program, 217-19
pregnancy, 110
premarital sex, 109-10, 211-14
press interview, 23
prime time programming: plot emphasis on, 101; risks of, 63, 65
Pringle's (potato chips), 74
printed word, role of, 11-12
procedures of author, 21-33
Procter and Gamble, 30, 26, 62, 63, 66, 69-70; audience desired by, 72; audience research, 94, 232; CBS and, 81, 226, 227, 228; commercials, 64, 79; corporate image, 102, 103; expectations of, 184; hour programs and, 159; leasing by, 67; letters answered by, 188; ownership of shows, 66-67, 6970, 83, 228; prime time shows, 64; production process and, 122-24; programing control, 66-67, 69-70, 83, 126, 127, 135; publicity, 95-97; staff, 92
Procter and Gamble Productions, Incorporated, 67, 135
*******
p. 257
producers, 25, 131; executive, 122-24, 126, 132-34, 135; line, see line producers; supervising, 122-24, 126, 132-34, 135
production assistant, 23
production costs, 27, 63, 109, 135-37; budgets, see budgets; lengthening program, 159; location shooting, see location shooting; performers and, 155-56
production process, 121-45; casting, 130-33; shooting, 135-36, 138, 161-64, 171, 182, 231; table of organization, 123
production schedules, 23-24, 27-28, 30
production staff, 122, 126
production studies, 7-11
profanity, 212
professionalism, 27, 155-56, 177
professions, 99-100
programming: CBS, 229; commercials and, 76-77; types of, 4-5
promotional patterns, 145
propaganda, 15
prop persons, 25
props, 25, 121, 123, 125
public affairs programs, 30
public television, 30
punishment of evil characters, 109, 207-08, 213, 224, 230
Quint (character), see McCord, Quint
Raiders of the Lost Ark, 51
rape, 97, 98, 99, 106, 19293
Rather, Dan, 217, 218
ratings, 27, 68, 86, 88-89, 103, 182, 184-87, 188, 224-25, 230, 231; corporate timidity and, 103; sweeps, 89, 186
Reardon, Bea (character), 46, 47, 209, 220
Reardon, Maureen (character), 46, 57
Reardon, Nola (character), 46, 47, 52; letters concerning, 189-91, 195, 200-03, 207-09, 215, 217, 21921
Reardon, Tony (character), 46, 47, 220
recapitulations, 153, 159, 174
recasting, 134
rehearsals, 24, 27, 64, 138, 170, 171; dress, 138
religious faith, portrayal of, 34
Renfield, Mrs. (character), 47
retribution, 109, 207-08, 213, 224, 230
Ricoeur, Paul, 11-12
Riley, Linda, 52, 246
risk reduction, 102-16, 230
Rita (character), see Bauer, Rita
Roger (character), see Thorpe, Roger
romance elements in plot, 92-93
Rose, Brian, 246
Ross (character), see Marler, Ross
Roussel, Elvera, 198, 199
Ruby, Jay, 6, 20, 246
Ruffles (potato chips), 76
Ryan's Hope, 66, 69
salaries of performers, 64
Sara (character), see McIntyre, Sara
scenes, number of, 159, 231
Schechner, Richard, 3, 246
schedules, shooting, 135-38
*******
p. 258
Schiller, Dan, 73, 239, 246
Schipp, John, 180, 189
Schlesinger, Philip, 237, 246
Schnitman, J., 244
school year, scripts affected by, 88
Schroeder, Fred, 158, 246
Schudson, Michael, 8, 10, 241
scripts, 84; availability, 145, 182; changes in, 122, 127, 135; conventions in, 84, 158; future, 22, 27, 156
Search for Tomorrow, 26, 66, 168
Secret (deodorant), 75
secretiveness, 22; budgets and, 22, 25-27, 28; story and, 22, 27
self-understanding, 6, 7
sets, 123, 125 126, 135, 228, 232; moving, 137; shooting use of, 165, 167
settings, socioeconomic, 36-38
sex: crimes involving, 86, 97-99, 106, 192-193, 233; illicit, 86, 211-14, 233; programming and, 4
Shirley, 66
"show business, glamor of, 21, 29
Simon, Peter, 75, 79
situation comedies, 4, 15, 63
Skill, Thomas, 233, 237, 241, 246
Smith, Jackie, 68
Smythe, Dallas, 80, 246
soap companies, 62-63
Soap Opera Digest, The, 238
soap operas: choice of as dissertation topic, 20-22; comprehension of, 29; economic importance, 6, 13; history, 81; opinions of, 5-6; prime-time, 65
social classes: characters of, 38-39, 41, 47, 48, 61; sets and, 36-37
social messages, avoidance of, 102
society: defining, 4; soap opera reflecting, 1-7, 233; symbolic forms and, 238
sociovidistic studies, 8
Spaulding, Alan (character), 39, 52, 55-56; letters concerning, 198-99, 202, 205, 206, 208, 211, 212, 216, 217
Spaulding, Hope Bauer (character), 40, 55, 56; letters concerning, 198-99, 204-06, 208
Spaulding, Philip (character), 39, 48, 206
spinoffs, 93
sponsors, 62, 63
spot commercials, 67-68, 228
Springfield, U.S.A., 36
staff reactions to show, 184
Stafford, Chet (character), 43
Stafford family, 217
Stahl, Leslie, 217
standardization of narrative, 82-84, 91, 95; cost factors, 84
star system, 90
start-up costs, 159
statutory rape,, 110
steady cam, 169
Stedman, Raymond, 51, 246
Steinberg, Cobbett, 6, 63, 65, 246
Steve (character), see Jackson, Steve
story, 82, 227, 229-31; future projections, 22, 27; letters concerning, 188, 195, 211-23; music and, 177-79; number of, 228
*******
p. 259
story conferences, 126-27
strikes, writers, 28, 148
Studio One, 170
suspense, 52, 54, 223
sweeps, 89, 186
symbolic forms, 16; Peacock on, 238
symbols, 1, 2, 235, 236, 238
syndication, 65
tag lines, 152
take notes, 178
Tally's Corner (book), 28
Tannenbaum, Percy H., 246
taping, 135-36, 138, 161-64, 171, 182, 231
Taylor, Elizabeth, 90
technical staff, 24-26, 123, 135, 138, 227; camerapersons, 24, 25, 138, 155, 164-65
teenagers: alcoholism, 99; attracting, 70, 228, 232
telephone conversations, 159
teleprompters, 154-55
television, movies compared with, 77
Television Production Handbook, 171
Texas, 26, 66, 90, 92, 182-83, 215
textbooks, 6, 234
Theragram (vitamins), 75
Thomas, Sari, 10, 246
Thorpe, Adam (character), 44, 216, 217
Thorpe, Barbara (character), 45, 48; letters concerning, 206, 216, 217
Thorpe, Roger (character), 95, 129; letters concerning, 199, 200, 210, 213, 216
Thurber, James, 80-81, 247
Tim (character), see Werner, Tim
Timberg, Bernard, 164, 247
time condensation in scripts, 160
Tony (character), see Reardon, Tony
topicality, 50, 97
Total (cereal), 76
Tracey, Michael, 237, 247
Trish (character), see Lewis, Trish
Tuchman, Gaye, 21, 90, 237, 247; camera conventions, on, 165-67; news, on, 98-99, 184
Turner, Victor, 3, 8, 247
Tylo, Michael, 189
typology of mass communication, 17-18
uncertainty, reduction of, 89-102, 230
under-fives, 125, 130
unpleasant letters, 188
values, 16, 17, 226, 230, 233, 234-35; characters in soaps, 49, 53-55, 61; letters concerning, 188, 196, 204-05, 207, 211-14
Vanessa (character), see Chamberlain, Vanessa
videotape characteristics, 163
violence, programming and, 4
visual conventions, 161-73, 227
voice-overs, 174
Welby, Marcus (character), 79
Werner, Tim (character), 45, 203, 206, 215, 217, 219
westerns, 4
Wexler, Lucille (character), 43, 207, 216
wife beating, 86, 233
Wilhoit, G. Cleveland, 247
Williams, Raymond, 2, 3, 8-9, 20, 82, 237, 247; audience,
*******
p. 260
on, 66; scriptwriting, on, 83
Williams, Tennessee, 149, 220
women: abuse of, 86, 233; changing roles portrayed, 35, 48; primary audience, as, 31, 62-63, 65, 69
women's rights, 115
Woodward, Joan, 121, 248
work, unimportance in lives of characters, 49
Worth, Sol, 8, 248
writers: dialogue, 123, 125; directors and, 126, 14142; future story and, 135; headwaiters, 25, 122-33, 148-52, 158-60, 229; letters to, 195; performers and, 128-32; ratings, 184; strike by, 28, 148
Wyatt, Detective (character), 47
Young, Robert, 79
Young and the Restless, The, 66, 69, 70, 71
youth market, 70, 228, 232
Zaslow, Michael, 129, 200
Zettl, Herbert, 171, 248
Zillmann, Dolf, 223, 248
zoom lens, 170-71