Camp Tv

Sitcoms of the 1950s and 1960s are widely considered conformist in their depictions of gender roles and sexual attitudes. In Camp TV Quinlan Miller offers a new account of the history of American television that explains what campy meant in practical sitcom terms in shows as iconic as The Dick Van Dyke Show as well as in more obscure fare, such as The Ugliest Girl in Town. Situating his analysis within the era's shifts in the television industry and the coalescence of straightness and whiteness that came with the decline of vaudevillian camp, Miller shows how the sitcoms of this era overflowed with important queer representation and gender nonconformity. Whether through regular supporting performances (Ann B. Davis's Schultzy in The Bob Cummings Show), guest appearances by Paul Lynde and Charles Nelson Reilly, or scripted dialogue and situations, industry processes of casting and production routinely esteemed a camp aesthetic that renders all gender expression queer. By charting this unexpected history, Miller offers new ways of exploring how supposedly repressive popular media incubated queer, genderqueer, and transgender representations.

Camp TV of the 1960s offers a comprehensive understanding of all of the many forms camp TV took during that critical decade. In reevaluating the history of camp on television, the authors reconsider the infantilized conceptualization of sixties television, which has generally been characterized as the creative and cultural ebb between the 1950s Golden Age of television and the networks' shift to "relevance" in the early 1970s. Encompassing contributions from a broad range of media and television scholars that (re)consider programs like Batman, The Monkees, The Addams Family, Bewitched, F Troop, The Beverly Hillbillies, and Rowan & Martin's Laugh-In, chapters closely examine beloved 1960s American prime-time programs that drew significantly on aspects of camp, many of which were widely syndicated and left continuing imprints on popular culture. Other chapters consider key TV precursors from the early sixties; British camp television programs such as The Avengers; the use of musical codes to convey camp humor (even on black-and-white sets); the role that the viewing strategies of queer communities played - and continued to play even decades later; and how camp's multivalence allowed for more conservative readings, especially among older audiences, which were critical for the move to "mass camp" throughout American culture by the early seventies. Camp TV of the 1960s is essential reading for students and scholars in television studies and others interested in the history and theory of camp, the 1960s, or popular culture, as well as fans of these well-known but generally understudied television programs.

Sitcoms of the 1950s and 1960s are widely considered conformist in their depictions of gender roles and sexual attitudes. In Camp TV Quinlan Miller offers a new account of the history of American television that explains what campy meant in practical sitcom terms in shows as iconic as The Dick Van Dyke Show as well as in more obscure fare, such as The Ugliest Girl in Town. Situating his analysis within the era's shifts in the television industry and the coalescence of straightness and whiteness that came with the decline of vaudevillian camp, Miller shows how the sitcoms of this era overflowed with important queer representation and gender nonconformity. Whether through regular supporting performances (Ann B. Davis's Schultzy in The Bob Cummings Show), guest appearances by Paul Lynde and Charles Nelson Reilly, or scripted dialogue and situations, industry processes of casting and production routinely esteemed a camp aesthetic that renders all gender expression queer. By charting this unexpected history, Miller offers new ways of exploring how supposedly repressive popular media incubated queer, genderqueer, and transgender representations.

Discover the bone-chilling adventures that made Goosebumps one of the bestselling children's book series of all time. Now with all-new bonus materials! Swimming, basketball, archery. King Jellyjam's sports camp has it all. Too bad Wendy isn't a total sports freak like her brother, Elliot. But how excited can you get over a game of softball. It's just a game, right? WRONG.Camp Jellyjam is no ordinary sports camp. And Wendy's about to find out why. Why the counselors seem a little TOO happy. And why they are so obsessed with winning. It might have something to do with the hideous, slimy discovery lurking in the darkness....Now with all-new bonus features including an author interview, bizarre sports trivia, and more!

Who doesn’t want to be a rockstar? After years of producing rock tours throughout the world and working with icons like Roger Daltrey, Ringo Starr, Joe Walsh, and so many more, David Fishof wanted to capture the rock ‘n’ roll experience for everyone. He was inspired to create the one-of-a-kind Rock and Roll Fantasy Camp, where over the past twenty-five years 6,000 campers and counselors have lived, played, and become family with rockstars. Campers get to meet and jam with their musical idols—including Joe Perry, Vince Neil, Jack Bruce, and Jeff Beck—in such legendary venues like Abbey Road Studios in London, Whisky a Go Go in Hollywood, and Atlantis Resort in the Bahamas. Rock Camp: An Oral History shares the history of the camp through interviews from the people who got to live out their dreams. Fishof gives a behind-the-scenes look at the origins, early struggles, and challenges he faced to meet the level of excellence he envisioned for the campers and rockers. With original photos and illustrations, the camp experience comes to life and celebrates the heart of its mission: ordinary fans right in the middle of it all! A portion of the proceeds from the book directly benefit the Rock and Roll Fantasy Camp Foundation.

Intercollegiate sports is an enterprise that annually grosses over $1 billion in income. Some schools may receive more than $20 million from athletic programs, perhaps as much as $10 million simply from the sale of football tickets. Drawing on nontechnical economic data, the authors present a persuasive case that the premier sports organization of colleges and universities in the United States--the NCAA--is a cartel, its members engaged in classically defined restrictive practices for the sole purpose of jointly maximizing their profits. This fresh perspective on the NCAA offers explanations of why illicit payments to athletes persist, why non-NCAA organizations have not flourished, and why members have readily agreed on certain suspect rules. Tracing the historical development of this institutional behavior, the authors argue that the major football powers in the early 1950s were able to gain control of the internal processes of NCAA enforcement. Over time--as other schools' teams improved and began to win on the playing field--the more powerful institutions applied pressure to bring the newcomers under NCAA investigation and, ultimately, to place them on probation. By carefully managing NCAA enforcement regulations, major schools blunted the threat to their continued growth presented by other teams. Offering a valuable case study for sports analysts and students of economics and cartel behavior, this book is a revealing glimpse inside the embattled NCAA.

Holocaust movies have become an important segment of world cinema and the de-facto Holocaust education for many. One quarter of all American-produced Holocaust-related feature films have won or been nominated for at least one Oscar. In fact, from 1945 through 1991, half of all American Holocaust features were nominated. Yet most Holocaust movies have fallen through the cracks and few have been commercially successful. This book explores these trends--and many others--with a comprehensive guide to hundreds of films and made-for-television movies. From Anne Frank to Schindler's List to Jojo Rabbit, more than 400 films are examined from a range of perspectives--historical, chronological, thematic, sociological, geographical and individual. The filmmakers are contextualized, including Charlie Chaplin, Sidney Lumet, Steven Spielberg, Quentin Tarantino and Roman Polanski. Recommendations and reviews of the 50 best Holocaust films are included, along with an educational guide, a detailed listing of all films covered and a four-part index-glossary.

From the award-winning author of Under the Udala Trees and Happiness, Like Water comes a brilliant, provocative, up-to-the-minute satirical novel about a young white man’s education and miseducation in contemporary America. Harry Sylvester Bird grows up in Edward, Pennsylvania, with his parents, Wayne and Chevy, whom he greatly dislikes. They’re racist, xenophobic, financially incompetent, and they have quite a few secrets of their own. To Harry, they represent everything wrong with this country. And his small town isn’t any better. He witnesses racial profiling, graffitied swastikas, and White Power signs on his walk home from school. He can’t wait until he’s old enough to leave. When he finally is, he moves straight to New York City, where he feels he can finally live out his true inner self. In the city, he meets and falls in love with Maryam, a young Nigerian woman. But when Maryam begins to pull away, Harry is forced to confront his identity as he never has before—if he can. Brilliant, funny, original, and unflinching, Harry Sylvester Bird is a satire that speaks to all the most pressing tensions and anxieties of our time—and of the history that has shaped us and might continue to do so.