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The article focuses on the Mexican music television show "1, 2, 3, 4, 5, a gogó." The author discusses Mexico City, Mexico's popular culture experiences in the 1960s and explores the relationship between avant-garde, television, and postmodern culture.

The re-use of storylines from radio plays on early television was not uncommon; indeed, much of the television programming of the 1950s and early 1960s consisted of repurposed radio scripts. Columbia Presents Corwin 'Moat Farm Murder' (Bernard Herrmann, 18 July 1944) was among the many radio programmes from the 1940s that had music featured in The Twilight Zone. Of the radio plays to feature music in the series, 'Moat Farm Murder' provided more cues than any other CBS radio score. Cues from 'Moat Farm Murder' are found in eleven episodes of The Twilight Zone (CBS, 1959-1964). The use of music from radio dramas and their re-uses in television has thus far not been examined. This essay looks at the composition of the 'Moat Farm Murder' radio score and Corwin's collaboration with Herrmann in it, as well as the re-use of radio music in The Twilight Zone. Through this case study of 'Moat Farm Murder', better knowledge of how the CBS Stock music library was used, in tandem with the way in which other similar network and production company cue libraries worked. [ABSTRACT FROM AUTHOR]

In Indonesia the industry producing the most popular commercial TV programmes, known as sinetron, is largely dominated by Indonesians of Indian (Sindhi) origin. This article examines social relations within the sinetron production houses and argues that between the 1990s and the early 2010s the distribution of symbolic and material capital depended on ethnicity, as it was imagined and constituted by two rather different cultural frameworks and historical experiences. One is based on the occupational distinction, rooted in the South Asian caste system, while the other can be traced back to ethnic classifications in colonial Indonesia. [ABSTRACT FROM PUBLISHER]

El artículo discurre sobre la representación de la transexualidad como un discurso médico en programas televisivos. La autora comenta sobre la inclusión de la transexualidad en el manual diagnóstico de la Asociación Americana de Psiquiatría en 2013 y examina estudios de personajes transexuales de televisión desde mediados del siglo 20.

This article uses what was a very popular programme, Hunters Walk, to challenge dominant understandings of the British police series in the 1970s. Studies of British television drama often characterize this genre as being epitomized by The Sweeney throughout this decade; remembered for its use of film cameras on location to regularly depict action sequences in a somewhat escapist fashion. This article complicates such a dominant critical opinion by drawing attention to a popular series shot in the studio with video cameras and analysing its engagement with feminist concerns and representations of gender, a trait usually attributed to soap operas at that time. [ABSTRACT FROM AUTHOR]

An interview with Christine Becker, author and University of Notre Dame associate professor specializing in film and television criticism and history, is presented. Topics discussed include how her interest and passion for film and television criticism and history started, the influence of her blog News for TV Majors on her current thoughts about modern television, and the differences and similarities between British and American television series.

For decades, numerous made-for-television movies have featured sociocultural, countercultural, and/or multicultural narratives. In success, commercially and critically, these programs raised awareness, educated mass audiences, and became cultural events that transformed society. [ABSTRACT FROM PUBLISHER]

CHRIS GROSZ gives us a run down of life in a small television channel in New Zealand during the 1970s, where a surplus of ideas and a deficit of budget [...]

In this short essay, Professor Underwood addresses an important development in the law dealing with eyewitness testimony and the New Jersey case of State v. Henderson. He gets at the subject by looking back to a 1950s television play starring fellow Kentucky resident, William Shatner. However, in this particular instance, William Shatner would not change the world. [ABSTRACT FROM AUTHOR]

The author discusses her research on gender and socialist television beginning in the 1970s and 1980s. Commenting on the differences between western and eastern feminism, she examines the development of female identity through postfeminism and postsocialism. Particular attention is given to the cultural criticism of television, especially in Europe, of those who view it as unworthy of cultural significance. Noted television series mentioned include "Women Behind the Counter" and "Hospital on the Edge of Town."

Issues concering the manner in which television dramatic series are able to portray personal lives and political issues are examined, focusing on critical arguments that television portrays the personal at the expense of the historical and political, and answers to that argument that indicate television dramatic series portray the seriousness of personal lives and can deepen one's understanding of history.

The author describes his experiences as an associate director of 'The Lawrence Welk Show' on a two-week tour in the 1970s. Problems in transportation, scheduling, production, and other issues are discussed.

Lyndon B. Johnson helped his family get one of the first VHS television broadcast licenses. Johnson, then a US senator, influenced members of the Senate's Commerce Committee to grant the license and then contracted with William Paley for the station to carry CBS programming, assuring a considerable fortune for both.

The author discusses the reasons behind the decision of NBC to drop Arlene Francis' daytime television show 'Home' in 1957. Topics include Francis' widespread popularity among American women and the show's emotional final broadcast.

An essay is presented on depictions of family life in 1950s U.S. situation comedy (sitcom) television shows. It is suggested that these shows, largely regarded in the 21st century as presenting unrealistic, idealized families, in fact explored the relationship between military service and domestic violence. Details on depictions of marriage and parenting in shows such as "I Love Lucy," "Leave it to Beaver," and "The Donna Reed Show" are presented.

The article examines the television series "Broken Arrow," with a particular focus on its depiction of historical events and of the Chiracahua Apache people. According to the author, the series obscured the unfair treatment of Native Americans by the U.S. government and helped to create a mythology of the American West which flattered Euro-American settlers. Topics discussed include the U.S. government's termination, or dissolution, of several Native American nations, the Western film and television genre, the relationship between film and politics, and the depiction of government officials in the series.

This paper examines the Midwest Program on Airborne Television Instruction (MPATI), an educational television program that used airplanes to broadcast instructional television to schools across a six-state area in the Midwestern United States. The MPATI formed in 1959, telecast from 1961-1968, and officially dissolved in 1971. As this article argues, the history of the MPATI both challenges core assumptions about the uses and spaces of television and complicates our understanding of the development of the noncommercial television sector in the United States. The MPATI defined the social role, financial structure, mode of distribution, and geographical scope of television in ways that countered concurrent understandings of the medium. The MPATI removed television from the domestic sphere and placed it in the schools; it functioned as a regional broadcaster, evading the local-national binary that had come to define American television; it was to be funded by subscription fees, rather than sponsorship dollars, public monies, or philanthropic contributions. In addition, the MPATI's history complicates how we understand the development of the noncommercial television in the United States by exposing the diversity of the educational television sector in the period prior to the creation of the public broadcasting system. [ABSTRACT FROM AUTHOR]

Celebrating its 75th anniversary in 2010, the BFI National Archive is one of the world's largest collections of film and television. This article is a short exploration of the Archive's television fiction collections and the ways in which they may be accessed by researchers. [ABSTRACT FROM AUTHOR]

BBC motoring show Top Gear claims to be the most popular television programme in the world, but despite this, has been subject to no scholarly investigation. The article explores its history, reasons for its popularity and the central role played by its three presenters, particularly its longest-serving, Jeremy Clarkson. Four reasons are advanced to explain its academic invisibility: generic hybridity (combining consumer advice with comedy); excess masculinity; anti-environmentalism; and a scholarly nervousness about approaching a text that blatantly flaunts its reactionary political positions. Discourses of fantasy and failure, permeating the programme, are also explored for their role in disarming criticism. [ABSTRACT FROM AUTHOR]

While it is nowadays often difficult to think of television apart from film, thanks to their mutual functioning as what Henry Jenkins terms 'convergence media', the early days of American television were marked by an industry focus on media differentiation. However, in Rod Serling's The Twilight Zone (1959-64) we can glimpse an early and successful effort at developing what we might term a 'convergence aesthetic' by merging an often-acknowledged theatrical influence with a seldom-noted cinematic consciousness that derives from both the series' nature as sf and its marshalling of a variety of film industry resources. By reading The Twilight Zone in this 'cinematic' light, we can better appreciate the contribution the sf series made to the eventual convergence of film and television, and thus more accurately sketch a significant part of television history. [ABSTRACT FROM AUTHOR]

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In this article the authors examine problems associated with assembling the history of local live performance television as it existed in the 1950s, the early era of the medium. Through examination of the ephemera associated with two local television programs for children, the authors contend that such programs were symbols of a wider American experience of the period. The two programs studied are western-themed shows, one broadcast in Cedar Rapids, Iowa starring Jay "Marshall jay" Alexander and Ken "Cap'n Ken" Wagner of Davenport, Iowa.

In this essay the author presents a history of the reality television program genre that documents makeovers of individuals and families, as well as homes, wardrobes and styles of living. She focuses on such programs as broadcast in Great Britain, the United States and Australia. The development of this programming is examined against larger issues including economic and cultural changes in the broadcasting industry. The impact of "lifestyle" programming, television shows devoted to personal development, on the makeover genre is discussed.