Relevant bibliographies by topics / Andy Griffith show (Television

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Academic literature on the topic 'Andy Griffith show (Television'

Author: Grafiati
Published: 4 June 2021
Last updated: 29 January 2023

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Journal articles on the topic "Andy Griffith show (Television"

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Benjamin, Stefanie, Paige P. Schneider, and Derek H. Alderman. "Film Tourism Event Longevity: Lost in Mayberry." Tourism Review International 16, no. 2 (November 1, 2012): 139–50. http://dx.doi.org/10.3727/154427212x13485031583939.

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The purpose of this study is to examine a US festival widely known for attracting television fan tourists, build a traveler profile or typology of festival goers, and reflect on how the behavioral segmentation of these tourists may affect the longevity of the film tourism event and the broader planning of the destination community. Specifically, this study examines the Mayberry Days Festival, an annual event held in Mount Airy, North Carolina. Mount Airy is the birthplace and boyhood home of actor, Andy Griffith, whose television series (The Andy Griffith Show) was set in the fictional hamlet of Mayberry. Online survey invitation cards were distributed during the 2010 Mayberry Days Festival to gather data on the sociodemographic characteristics, motivations, perceptions, and economic impact of the attendee to comprehend how sustainable the Mayberry Days Festival will be for Mount Airy. Results suggest that visitors are drawn to Mount Airy for a variety of reasons and that The Andy Griffith Show is not necessarily the main motivator. It is important for the town's tourism promoters not to get “lost in Mayberry” as they plan for alternative marketing and attraction development in the future.
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Bronstein, Phoebe. "Comic Relief:The Andy Griffith Show, White Southern Sheriffs, and Regional Rehabilitation." Camera Obscura: Feminism, Culture, and Media Studies 30, no. 2 89 (2015): 125–55. http://dx.doi.org/10.1215/02705346-3078347.

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Flanagan, James. "Deconstructing Mayberry: Utopia and racial diversity in the Andy Griffith Show." Continuum 23, no. 3 (June 2009): 307–19. http://dx.doi.org/10.1080/10304310902760409.

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4

Vaughan, Don Rodney. "Why The Andy Griffith Show Is Important to Popular Cultural Studies." Journal of Popular Culture 38, no. 2 (November 2004): 397–423. http://dx.doi.org/10.1111/j.0022-3840.2004.00119.x.

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Maulana, Amalia E., and Lexi Z. Hikmah. "Kick Andy, The Oprah Winfrey TV Show of Indonesia." Emerald Emerging Markets Case Studies 4, no. 1 (February 18, 2014): 1–13. http://dx.doi.org/10.1108/eemcs-08-2013-0162.

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Subject area Social Marketing, Entertainment Education Program. Study level/applicability Postgraduate program. Master in Strategic Marketing and Master in Business Administration. Case overview In the midst of the many TV shows that do not provide enlightenment, Kick Andy TV Show appeared to provide answers to the public unrest. In the spirit of “Watch with Heart” Kick Andy serves Entertainment-Education and Social rarely glimpsed by the television station. Success of Kick Andy TV Show made this brand doing brand extension such as Kick Andy Foundation, Kick Andy Magazine, Kick Andy Enterprise and others. Challenge for this program is to maintain the right balance between social, entertainment and education. Expected learning outcomes This Case Study illustrates that Kick Andy TV Show filled the value gap that viewers experienced from existing TV show. This show is similar to the offer of Oprah Winfrey Show in the USA. Student is expected to understand social marketing primarily related to entertainment-education TV show. Supplementary materials Teaching notes are available for educators only. Please contact your library to gain login details or email support@emeraldinsight.com to request teaching notes.
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Halim, Rizki. "People with Disabilities as Motivational Objects in the Kick Andy Talkshow Program: The Social Construction Approach of Reality Theory." KOMUNIKA: Jurnal Dakwah dan Komunikasi 15, no. 2 (October 1, 2021): 163–72. http://dx.doi.org/10.24090/komunika.v15i2.4574.

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Most of the disability issues have not yet received proper representation in the media, even though quite a few people with disabilities in Indonesia. The depiction of persons with disabilities in the media often distorts them. Often people with disabilities with physical limitations are depicted incorrectly or even irrationally. The Social Construction of Reality (SCR) theory, introduced by Peter L. Berger and Thomas Luckmann, uses to analyze whether the Kick Andy television program supports the stigma of the disabled or can be a medium that changes the stigma that exists as constructs for the disabled-related community. Television viewers have a rationalistic cycle through three moments: externalization, objectivation, and internalization. This theory focuses on general meanings and constructions built by community groups to shape social order (rules, standards, values, and activities recognized in community groups). The study results show that guest stars with disabilities on the Kick Andy television program cannot separate from the social construction that has been formed in the community regarding their condition. The Kick Andy program also clarifies the social construction experienced by its guest stars, which uses as an object of motivation for the audience. The researcher found that the Kick Andy show, intentionally or unintentionally, still gave a lousy label to people with disabilities, even though the host then used the narration built as a background for inspiration.
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Panos, Leah. "Trevor Griffiths' ‘Absolute Beginners’: Socialist Humanism and the Television Studio." Journal of British Cinema and Television 10, no. 1 (January 2013): 151–70. http://dx.doi.org/10.3366/jbctv.2013.0127.

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This article examines how conventional studio production strategies were active in the construction of political meaning in the 1974 television play ‘Absolute Beginners’, written by Trevor Griffiths. Produced for the BBC anthology series Fall of Eagles, the play dramatises Lenin's involvement with the Russian Social Democratic Workers Party (RSDWP) and explores the contradictions between personal ethics and political necessity. Through close textual analysis and contextual discussion of other plays in the series, this piece demonstrates how shot patterns and spatial and performative devices in ‘Absolute Beginners’ supported the drama's socialist-humanist and feminist themes. Drawing on existing writing about the studio mode, it argues that the qualities of intimacy and presentational distance that it engendered were highly appropriate for the personal and the political dialectic in ‘Absolute Beginners’. While using authorship as a convenient category for referring to the coherence of Griffiths' thematic concerns and dramatic structure during this period, the article complicates notions of the television dramatist as author by arguing for the importance of visual style and showing how ‘ordinary’ studio form was operational in the play's political meanings.
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8

Suhariyanto, Joko, Andini Nurwulandari, and Made Adnyana. "Analysis of Factors Affecting Consumer Behavior to Watch Kick Andy Program at Grand Studio Metro TV Kedoya, West Jakarta." ENDLESS : International Journal of Future Studies 4, no. 2 (May 21, 2021): 43–56. http://dx.doi.org/10.54783/endless.v4i2.60.

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In this research, four factors influence the behaviour of consumers, namely: Cultural, Social, Personal and Psychological; researchers include another variable that is the education variable which is one of the functions of communication (television). This study aimed to analyze how much influence partial and simultaneously of consumer behaviour toward watching decision. The research was conducted, and watched the Kick Andy program that came to Grand Studio Metro TV. This study collected primary data by sending questionnaires directly to the audience—a cumulative sample size of 135 respondents was used in this study. The analytical method used was the SEM (Structural Equation Model) and processed by AMOS software program 22. The results of the analysis show that the behaviour of consumers has an influence on the decision for watching with r-squares of 0.857 or 85.7%, which means that the variable decision for watching can be explained by the variables of Culture, Social, Personal, Psychological, and Education 85.7%, while the remaining 14.3% influenced by another variable outside this research.
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McBath, Gabrielle L. "Ethical Issues in One Episode of the Andy Griffith Show." SSRN Electronic Journal, 2009. http://dx.doi.org/10.2139/ssrn.2932155.

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10

Tucker, Mark. "Why We Need the Journal of Applied Communications: A Lesson From The Andy Griffith Show." Journal of Applied Communications 90, no. 1 (March 1, 2006). http://dx.doi.org/10.4148/1051-0834.1287.

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Books on the topic "Andy Griffith show (Television"

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Pfeiffer, Lee. The official Andy Griffith show scrapbook. Secaucus, NJ: Carol Pub., 1997.

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Pfeiffer, Lee. The official Andy Griffith show scrapbook. Secaucus, NJ: Carol Pub. Group, 1994.

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3

Beck, Ken. Mayberry memories: The Andy Griffith show photo album. Nashville, Tenn: Rutledge Hill Press, 2000.

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4

Howard, Ron. The Andy Griffith show: 3 full-length episodes. [S.l.]: Genius Entertainment, 2004.

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5

Robinson, Dale. The definitive Andy Griffith show reference: Episode-by-episode, with cast and production biographies and a guide to collectibles. Jefferson, N.C: McFarland, 1996.

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1960-, Clark Jim, ed. The Andy Griffith show book: From miracle salve to kerosene cucumbers : the complete guide to one of television's best-loved shows. 2nd ed. New York: St. Martin's Griffin, 2000.

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1960-, Clark Jim, ed. The Andy Griffith show book: From miracle salve to kerosene cucumbers : the complete guide to one of television's best-loved shows. New York: St. Martin's Press, 1995.

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8

1960-, Clark Jim, ed. The Andy Griffith show book: From miracle salve to kerosene cucumbers : the complete guide to one of television's best-loved shows. New York, N.Y: St. Martin's Press, 1985.

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9

1951-, Beck Ken, and Clark Jim 1960-, eds. I'm proud to call you my friend: A collection of special moments of friendship from the Andy Griffith show. Nashville, Tenn: Rutledge Hill Press, 2002.

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The best of Mayberry: The best of the best, home economists tested recipes. Mount Airy, N.C: B.C. Lyerly, 1996.

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Book chapters on the topic "Andy Griffith show (Television"

1

Gaines, Alisha. "Empathy TV." In Black for a Day. University of North Carolina Press, 2017. http://dx.doi.org/10.5149/northcarolina/9781469632834.003.0005.

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The fourth chapter takes on the televisual rescripting of Sprigle, Griffin, and Halsell with a reading of the FX cable series, Black.White., a 2006 reality television show where two middle class families—one black and one white—“switched” races to experience racial difference. This chapter attends to how Black.White. moves the genealogy of empathetic racial impersonation from the theatrical stage, newspaper, trade books, and film to the visual logics of television. This shift reveals an investment in empathetic racial impersonation at a moment dominated by the changing discourses about race and race relations in the 21st century. Importantly, this chapter expands discussions of racial experimentation beyond the U.S. South. Set in Los Angeles, this “reality” show spuriously reinscribes the black/white binary even though Los Angeles has long been recognized as a multiracial city. By focusing on the fraught relationship between the two families, this chapter contends that Black.White. dramatically exposes the limits of empathetic racial experimentation as a tool of racial reconciliation. Ultimately, it evidences an empathetic failure in the cross-racial promise supposedly demonstrated by this seemingly new, but ultimately decades old, impersonation experiment. It also considers the histories and politics of whiteface.
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Burlingame, Jon. "“Just sit right back and you’ll hear a tale”Comedy." In Music for Prime Time, 197—C6.P262. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/oso/9780190618308.003.0007.

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Abstract Situation comedies featured bright, upbeat themes from the start. I Love Lucy became the most famous sitcom theme of the 1950s, but very quickly songs (tunes with lyrics) became popular for comedies, particularly those that told the backstory of the characters: The Beverly Hillbillies, Gilligan’s Island, and the Vic Mizzy–penned Addams Family and Green Acres became famous for generations of TV watchers. Earle Hagen became one of TV’s most successful composers with instrumental themes for Andy Griffith and Dick Van Dyke. Songs for Patty Duke (sung), Bewitched, and I Dream of Jeannie (played instrumentally) became famous in the 1960s, while pop stars joined the fray in the 1970s for Courtship of Eddie’s Father, Chico and the Man, and Welcome Back Kotter. Charles Fox became the sitcom king of the 1970s with Happy Days and Laverne & Shirley. MTM offered catchy tunes for Mary Tyler Moore and Bob Newhart, while Norman Lear gave us Broadway-tunesmith-penned All in the Family and a series of memorable themes including Maude, Good Times, and The Jeffersons. Quincy Jones used an all-star jazz band for The Bill Cosby Show. The 1980s and 1990s gave us Cheers, Seinfeld, and Friends, while hip-hop made its entrance with The Fresh Prince of BelAir.
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Griep, Mark A., and Marjorie L. Mikasen. "Chemistry in the Movies." In ReAction! Oxford University Press, 2009. http://dx.doi.org/10.1093/oso/9780195326925.003.0015.

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The authors’ common reaction to chemistry in the movies is encapsulated in the archetype movies. These are, first and foremost, great movies that present certain facets of chemistry especially well. They were selected from a much larger group of movies by ranking according to four criteria: (1) contemporary (meaning released after 1970), (2) available on VHS or DVD, (3) included women or other underrepresented groups in significant roles, or (4) was especially favored by one or both of the authors. It became clear from the ranking exercise that older films overcame the criterion of not being recent when they were favored by both authors. We felt they represented the archetype for that chapter and merited special attention. The oldest archetype movie is the 1931 Dr. Jekyll and Mr. Hyde, making it the book’s de facto archetype and reiterating its importance as the book’s overarching theme. Considered as a whole, the five chapters on the “dark side” show chemists, sociopaths, chemical companies, and pleasure seekers making one-sided decisions that ultimately harm themselves and society. After Jekyll becomes addicted to his Hyde formula, he commits acts of personal terrorism and then murder. Griffin works alone to isolate his invisibility formula because he seeks fame, wealth, and power. Once he knows those things are within his grasp, it drives him mad to the point that he commits mass murder. Dr. Mabuse isn’t a chemist, but he is already insane when he commands his army of thugs to engage in acts of chemical sabotage. He wants to begin a “reign of terror.” Reporter Jason Brady learns that a president knows his chemical company produces a toxin that kills his workers and the children living near the plant. He won’t stop production because it would deprive the community of employment. Finally, television director Paul Groves takes his first LSD trip to get in touch with his feelings. While under the influence, he flees the apartment of a guide who was there to ensure he had a good experience. “Bright side” chemists usually work in teams and rely on other people for critical input—they are engaged with society.
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"Max Ramsay is the cardboard cutout Ozzie clod who warns his son, Shane, against dating Daphne because she works as a stag-night stripper. His main fear seems to be the effect the newly arrived Daphne might have on the price of his property. (Smurthwaite 1986) As Grahame Griffin notes, “the closing credit sequence . . . is a series of static shots of suburban houses singled out for display in a manner reminiscent of real estate advertisements” (Griffin 1991: 175). Small business abounds in Neighbours: a bar, a boutique, an engineering company, with no corporate sector and no public servants or bureaucrats apart from a headmistress. 10 Writing skills must be acknowledged. It is very hard to make the mundane interesting, and indeed to score multiple short plot lines across a small number of characters (twelve to fifteen), as is appropriate to representing the local, the everyday, the suburban. As Moira Petty remarks, Neighbours is successful because “it’s very simple. The characters are two dimensional and the plots come thick and fast. The storylines don’t last long, so if you don’t like one, another will come along in a few days” (quoted by Harris 1988). These ten textual reasons doubtless contribute, differentially across different export markets, to Neighbours’s success in many countries of the world. Its wholesome neighborliness, its cosy everyday ethos would appear to be eminently exportable. However, lest it be imagined that Neighbours has universal popularity or even comprehensibility, there remain some 150 countries to which it has not been exported, and many in which its notions of kinship systems, gender relations, and cultural spaces would appear most odd. The non-universality of western kinship relations, for example, is clearly evidenced in Elihu Katz and Tamar Liebes’s comparison of Israeli and Arab readings of Dallas (Katz and Leibes 1986). And, indeed, there are two familiar territories to be considered later – the USA and France – in which it has been screened and failed. Significantly, the countries screening Neighbours are mostly anglophone and well familiar with British, if not also with Australian soaps. But why does Neighbours appeal so forcibly in the UK? In the UK market, I suggest, five institutional and cultural preconditions enabled Neighbours’s phenomenal success. Some of these considerations are, of course, the sine qua non of Neighbours even being seen on UK television. The first precondition was its price, reportedly A$54,000 per show for two screenings; with EastEnders costing A$80,000 per episode, Neighbours was well worth a gamble (Kingsley 1989: 241). Scheduling, too, was vital to Neighbours’s success. This has two dimensions. Neighbours was the first program on UK television ever to be stripped over five weekdays (Patterson 1992). BBC Daytime Television, taking off under Roger Loughton in 1986, while Michael Grade was Programme Controller, was so bold in this as to incur the chagrin of commercial." In To Be Continued..., 112. Routledge, 2002. http://dx.doi.org/10.4324/9780203131855-14.

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