Study Guides for the Happy Days Exam!
Before satellite dishes, cable television, and multi-TV households, families would gather around the set to watch wholesome shows like Gunsmoke, Andy Griffith, and Happy Days. This calendar features twelve such classics of family TV.
ACCO Brands - 2016
The biggest and best television reference ever published, this is the guide you'll turn to again and again for information on every nighttime network series ever telecast and all the top syndicated and cable series! From The Ed Sullivan Show, The Honeymooners, and Happy Days to Party of Five, The X-Files, and Dharma & Greg, this comprehensive directory lists every program alphabetically and includes the complete broadcast history, cast list, and plot summary, along with exciting behind-the-scene stories about the shows and stars.
The Random House Publishing Group - 1999
Archie Bunker. Jed. Laverne and Shirley. Cliff Huxtable. Throughout the entire history of American prime-time television only four sitcoms have been true blockbusters, with Nielsen ratings far above the second- and third-rated programs. Weekly, millions of Americans of every age were making a special effort to turn on the set to see what Archie, Jed, Laverne, and Cliff were doing that week. The wild popularity of these shows—All in the Family, The Beverly Hillbillies, Laverne & Shirley (and its partner Happy Days), and The Cosby Show—left commentators bewildered by the tastes and preferences of the American public. How do we account for the huge appeal of these sitcoms, and how does it figure into the history of network prime-time television? Janet Staiger answers these questions by detailing the myriad factors that go into the construction of mass audiences. Treating the four shows as case studies, she deftly balances factual explanations (for instance, the impact of VCRs and cable on network domination of TV) with more interpretative ones (for example, the transformation of The Beverly Hillbillies from a popular show detested by the critics, to a blockbuster after its elevation as the critics' darling), and juxtaposes industry-based reasons (for example, the ways in which TV shows derive success from placement in the weekly programming schedule) with stylistic explanations (how, for instance, certain shows create pleasure from a repetition and variation of a formula).
New York University Press - 2000