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Preface ix
First Watchers: An Introduction xv
How They Watched
Anticipations and First Sightings 3
Test Pattern Days: "We've Got a TV!" 15
Antennas, Rotors, and Hope 35
TV Behaviors and Protocols 41
What They Watched
An Electronic Vaudeville: Variety and Drama Programs 51
News Programs and Events Coverage 77
Informational, Cultural, Quiz, and Sports Programs 87
"Our Town" TV 97
The Distant View 107
The TV Life 111
What Others Saw
Television Is ... / Was ... / Will Be... 125
TV and Its Viewers in Other Media 137
Bibliography 149
Index 155
| Price | Condition | Delivery | Seller | Action |
| $99.99 | Digital |
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Andrey Istomin
reviewed Word from Our Viewers: Reflections from Early Television Audiences [Praeger Television Collection Series] on June 23, 2019![3 Stars Rating for Word from Our Viewers: Reflections from Early Television Audiences [Praeger Television Collection Series], Tracing public and critical responses to TV from its pioneering days, this book gathers and gives context to the reactions of those who saw television's early broadcasts—from the privileged few who witnessed experimental and limited-schedule programming i, Word from Our Viewers: Reflections from Early Television Audiences [Praeger Television Collection Series]](https://WonderClub.com/images/stars-3-0.gif)
Word from Our Viewers: Reflections from Early Television Audiences [Praeger Television Collection Series]
A good line:
Q. Is it possible to engross the audience when the end of the quest is already known?
Yes. Mark Twain wrote of U.S. Grant's personal memoirs that they were so well written as to make one wonder who was going to win the Civil War.
The book itself was a tough read. He seems to try to make his points in such an obtuse manner that it's difficult to understand his point.
He asks the question, what does a producer do. But never fully answers it.
I like his brief description of a scene from the movie, "Contact", one that I've always regarded as being unique.
"Another magnificient effect is the running-upstairs shot in "Contact" (director Rober Zemekis, cinematographer Don Burgess), in which the camera pulls the hero, a little girl, down a corridor, up the steps, and toward a medicine cabinet holding the drugs that will save her father from his heart attack. She reaches forward, and the shot of her face becomes a shot of a medicine cabinet. the camera, however, does not move. That is, it is as if the entire shot were, somehow, a reflection in the medicine cabinet mirror. A stunning effect."
It's worth watching the movie for that scene alone.
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