ABC, 3
accents, 166–70, 234–35nn124–25, 235n129
access to characters, 79, 83, 118
accuracy, historical, 8, 14, 16, 18, 27, 49
actors: character construction and, 87, 90–91; star identification, 91–92, 95; vocal performance and, 146, 165–67, 169–70
“acts of showing,” 134
Adams, Michael C. C., 147
affective engagement, 17, 43, 48
Affordable Homeownership Program (NOAH), 118, 123–25
Affron, Charles and Mirella Jona, 31
African American culture, 80–81, 114–16, 119–22, 126–29
Albrecht, Chris, 61
Alexander, Khandi, 134–35
alignment, 68, 77, 79, 83–84, 118–19, 122–23
allegiance, 77, 83–84, 118–19, 122–23, 211n76
Allison, Tanine, 148
Alten, Stanley, 156
alteration, 20
“Am I a Camera? Other Reflections on Films and History” (Herlihy), 14
Ambrose, Stephen, 7, 141, 155, 167
AMC, 6
American Crime Story, 138
American Historical Review (AHR) forum (1988), 13–15
American public memory, 147–48
American Quarterly, 143
Americanization of History, 17
ancrage, 149
Anderson, Steve, 18
Annalistes, 102
“Any Resemblance to Persons Living or Dead” (Davis), 14
appearance, character, 87–88
Apple TV Plus, 136
appointment viewing, 138
architecture, 33, 35, 40–41. See also community; sets
art departments: and authenticity, 49, 50–51, 52–53; budget considerations, 31, 35, 51, 60; role of, 6, 58–59
art television, 52
Atlantic City, New Jersey, 76, 77–78, 80–81
audience: character alignment and, 68, 77, 79, 83–84, 90; engagement of, 42, 43, 48, 64–66, 220n58; expectations of, 38, 44–49, 70, 77–78, 150; historical knowledge of, 63, 93–97, 226n134; identity, 11; loyalty, 105, 108; memory of, 11, 18, 48, 65, 138; and online forums, 104–5; ratings, 138–39, 182–83, 219n45; response differences in, 91–92; viewing habits of, 1–2; audio commentaries, 134–35
audiovisual language, 43
Auditory Culture Reader, The, 143
authenticity: and invention and, 20, 50–53, 68, 75–76, 160, 185–86; physical, 27, 28, 32, 43–47, 49, 50; and sound, 156–60
author-historians, 53, 130, 184
backstory, 85–87
Bakhtin, Mikhail, 119
Band of Brothers, 7, 8, 9, 12, 22, 23, 59, 140–76; budget for, 141–42; characters in, 67; and historical interpretation, 182; and invention, 186; popular myth in, 147–48, 176; real historical figures and, 98; and sound, 145–52, 154–55; themes in, 146–47, 149, 151, 152, 166, 168
Band of Brothers (Ambrose), 155
Barber, Samuel, 151
Barker, Jennifer, 45
Barsacq, Léon, 31
Barthes, Roland, 27, 38, 102, 103, 149
Basinger, Jeanine, 168
“Bastogne” (Band of Brothers), 147
Batiste-Williams, Daymo, 109, 110, 112, 113
Batiste-Williams, LaDonna, 108, 109, 111, 113
Beethoven, Ludwig van, 154
Behr, Edward, 73
Bell, Erin, 18
Belton, John, 144
Bergreen, Laurence, 74
Bernette, Creighton, 101, 114–15, 118, 215n4
Bernette, Toni, 109, 110, 111, 112, 114
Beshears, Laura, 70
Bewkes, Jeff, 141
“Beyond Bourbon Street” (Treme), 134
Bianchi, Ed, 56
Big Three networks, 3
Billard, Thomas J., 138
Blithe, Albert, 169, 186, 239n28
Blu-ray, 108, 126, 132–33, 135, 136, 149
Boardwalk Empire, 7, 8, 9, 12, 22, 23, 59, 63–99; characters inspired by historical figures, 76–84; cultural incorporation in, 80–81; fictional characters, 84–93; as historically conscious drama, 183; and invention, 185; music and, 154; narrative experimentation in, 137; production design for, 61; real historical characters, 68–76; series ending of, 139; theme exploration in, 64
Boardwalk Empire: The Birth, High Times, and Corruption of Atlantic City (Johnson), 63
Bochco, Steven, 66
“Bomber’s Moon” (Playhouse 90), 9
Bork, Erik, 171
“Breaking Point, The” (Band of Brothers), 163–64, 170, 171
Bridgers, Sean, 55
British heritage cinema, 17
Brown, Richard D., 130
Bryant, Janie, 32, 46, 50, 51, 52, 58, 59
budget: constraints and, 60–61; HBO’s, 2, 3, 5–6, 21, 25–26, 105, 177; serials and, 26, 117; and special features, 133; technology and, 141, 145, 176
buildings, 33, 35, 40–41. See also community; sets
Burgoyne, Robert, 192n45
Burke, Peter, 27–28, 116, 130, 136, 198n13
Burns, Walter Noble, 73
Burtt, Ben, 142
Buscemi, Steve, 68, 91, 213n95
Butler, Jeremy G., 87, 101, 167
cable channels, 2, 189n7, 190n9
Caligari’s Cabinet and Other Grand Illusions (Barsacq), 31
Capone, Al, 64, 68–76, 79, 92, 94–96, 207n25, 208n33, 209n37, 209n48
“Carentan” (Band of Brothers), 162, 169
Carnivàle, 142
Caso, Maria: and design change, 61–62; and image manipulation, 42; and physical authenticity, 50; and production process, 30, 58–59; and space/surface creation, 39, 46–47, 201n62
Caughie, John, 4
characters: actors and, 87, 90–92, 146, 165–67, 169–70; components of, 71–73, 85; construction of, 90, 93–96, 100–101; fictional, 84–93; historically accurate, 68–76; inspired by historical figures, 76–84; narrative links by, 64–68, 70, 73–75, 84–85, 89, 98, 100–101, 117; serial development of, 65–66, 69–71, 100–102; theoretical concepts of, 66–67; viewer alignment with, 68, 77, 79, 83–84, 90
characters inspired by historical figures, 76–84; audience expectations and, 77–78; creative freedom and, 81–82, 210n85, 214n117; evolution of, 96–97
Chase, David, 6
Cheese and the Worms, The (Ginzburg), 129
Chernobyl, 177
chronological history, 39–40
churn, 5
Cinema and History (Ferro), 13
Cinemax, 5
Citizen Kane, 16
Clarida, Bob, 150
Clark, Elizabeth A., 103
Close Encounters of the Third Kind, 160
cognitive engagement, 17, 28, 43, 48
collaboration, creative, 53–54, 55–56, 57–59, 203n108
color palettes, 41–42
Colosimo, Big Jim, 73–76
Colson, Terry, 110, 111, 114, 118, 131
community: cultural, 37–38, 80–81, 114–16, 119–22, 126–29; interpretive, 4; spaces and, 25, 31–33, 36–39, 40–41, 44
Comolli, Jean-Louis, 95
Companion to the Historical Film, A (Rosenstone and Parvulescu eds.), 15
complex narrative, 100–104
compression, 20
computer-generated imagery (CGI), 61
condensation, 20
conflict, character, 89
conflicting viewpoints, on-screen presentation of, 116–17, 119–23, 126, 181, 182, 185, 221n72
connection, viewer, 11
contemporary aesthetics, 27, 49
Corbin, Alain, 143
Corrado, Regina, 55
Corrigan, Timothy, 64
costumes, 21, 28, 29, 32, 43–47, 49–51
counter-historical thinking, 16
creative freedom, 6, 58–59, 63–64, 81–82, 84, 106
crime, in New Orleans, 112–14
Criterion Collection, 133, 226n135
“Crossroads” (Band of Brothers), 147, 174
cultural communities, 37–38, 80–81, 114–16, 119–22, 126–29
culture bearers, 131
“Currahee” (Band of Brothers), 167
Curthoys, Ann, 184
Dallas, 102
Damages, 137
Danto, Arthur, 102
Davis, Máire Messenger, 70
Davis, Natalie Zemon, 8, 14–15, 21, 49, 53–54, 197n94
Dawson’s Creek, 91
“Day of Days” (Band of Brothers), 141, 155, 170
DC Comics, 179
De Niro, Robert, 69
Deadwood, 24–62: architecture in, 33, 35, 40–41; budget for, 25–26, 60, 61; character construction in, 4, 63, 64, 67, 96–97; community and, 25, 31–33, 37–38, 40–41, 44; costumes and, 43–52; and mise-en-scène, 29–30, 32, 43–44, 47, 49–52; series ending of, 60, 61, 139; set design in, 32–42; themes in, 10, 25, 34, 37–38; visual detail and, 26–27, 33, 35, 39–41
Dean, Pamela, 166
dedicated viewing, 44
DeFino, Dean, 4
De Palma, Brian, 69
depth, 44–45
Desautel, Janette, 101, 111, 112
Dhoest, Alexander, 18
dialogue, 172–73
Dick, Philip K., 184
diegetic sound, 147, 149, 152–53
digital sound, 160–63
Digital Theater Systems (DTS), 160
digital video, 133
directors, television, 53, 54, 56
Disney Plus, 178
diverse visions of history, 6
diversity, television presentation of, 168–69
Dixon, Kelly J., 36
Docker, John, 184
documentary film, 13
Dolby Surround Sound (DSS), 142, 144, 145, 146, 160–61
Donnelly, K. J., 144
Downfall, 166
Dragnet, 110
dramatic feature films, 13
Dreamers, The, 91
Dressings, Catherine, 101
“dryness” of the voice, 172
DVDs, 106, 108, 132–33, 135–36, 145, 149
DVR technology, 149
Eastwood, Clint, 133
Eder, Jens, 67
Eig, Jonathan, 95
Eldridge, David, 8
Ellis, John, 2
Elsaesser, Thomas, 163
embodied spectatorship, 45
Encyclopedia of Music for Pictures (Rapee), 150
engagement, 17, 42, 43, 48, 64–65
Engaging the Past (Landsberg), 17
epic feeling, 153–54
episodes. See serials
epitexts, 132
Erhart, Julia, 17
Everett, L. P., 118
Execution of Private Slovik, The, 9
false historicity, 28
familiarity, viewer, 38, 44–49, 150
Fantasia, 144
“Fantasound,” 144
Faragher, John Mack, 6
feel of the past, 43–52, 44, 46, 48, 143, 160
Ferro, Marc, 13
Ferry, Frank J., 77
Feuer, Jane, 4
fictional characters, 84–93
fictional history, 184–86
Film in History, The: Restaging the Past (Sorlin), 13
filmic literalism, 20
Fine, Gary Alan, 95
Fiske, John, 65
Flags of Our Fathers, 133, 148, 151
flexi-narrative structure, 110, 111–12
Fontana, Tom, 6
footnotes, paratextual material as, 108, 132–35
Frey, Mattias, 143
FX, 6
Gaines, Jane, 49
Gallie, W. B., 102
Gem Theatre, 34–36
Gendrin, Dominque, 101
Genette, Gérard, 132
Gentleman Jack, 177
geographical illusion, 41
Gibbs, John, 29
Gilligan, Sarah, 47
Ginzburg, Carlo, 129
“golden age” of television, 3–7
Gómez, Antxón, 31
Good War myth, 147–48, 168, 176
Goodman, John, 134
Goodtime Girls, 9
Google, 94
Gorbman, Claudia, 146, 149, 150, 151, 153
Gray, Ann, 18
Gray, Jonathan, 132
greatest generation myth, 147–48, 168, 176
Greig, Hannah, 49
Greiner, Rasmus, 143
Groot, Jerome de, 180
Guarnere, William “Wild Bill,” 166, 167–68
Gunsmoke, 9
Guzik, Jake, 71
Hagener, Malte, 163
Hajjar, Wendy, 101
Halligan, Fionnuala, 60
Hanks, Tom, 140, 141–42, 166, 170, 176
Hannibal, 137
haptic quality of sound, 164
haptically charged surfaces, 45–46, 48
Hardy, Charles, III, 166
Harrison, Cherice, 129
Hartnell, Anna, 120
HBO: business model of, 5–6, 21, 25–26, 105; character development and, 66; and creative freedom, 6, 54–59, 63–64; future of, 177, 178–79, 237n6, 237n11; HBO Comedy, 5; HBO effect, 6–7, 177; HBO Family, 5; HBO Go, 5, 105; HBO Latino, 5; HBO Max, 5, 105, 179; HBO Now, 5, 105; HBO On Demand, 108; marketing strategy of, 1, 32, 52, 57; and narratively complex shows, 104; and technological innovation, 3, 5, 141–42, 145
Hearing History, 143
Heffron, Eugene “Babe,” 169
Heidbrink, Henriette, 67
Hemingway, Anthony, 134
Heritage Film (Vidal), 17
Herlihy, David, 14
Herman, David, 106
Herzog, Charlotte, 49
heteroglossia, 119
Hidalgo, Nelson, 118, 119, 120, 122, 124, 125, 129
Hight, Craig, 133
Higson, Andrew, 17
Hill Street Blues, 4, 56, 102, 110
Hilmes, Michele, 144
Hiroshima: Out of the Ashes, 9
historians: as authors, 53, 130, 184; postmodern, 19; and sound, 143–44; traditional, 102–3, 180–85, 215n122, 216n13; and visual representation, 27–28, 198n13
Historical Film, The, 17
historically accurate characters, 68–76
historically conscious drama, 8, 9, 183–84
Histories on Screen, 17
historiography, 102
historiophoty, 14
History / History Channel, 2
History and the Media, 17
history, definition of, 18–19, 53, 157–58
History Goes to the Movies (Hughes-Warrington), 16
History on Film / Film on History (Rosenstone), 15
History on Film Reader, The (Hughes-Warrington, ed.), 16
history-on-screen, 7–9, 183–84, 193n53
History on Television (Gray and Bell), 18
“History TV and Popular Memory” (Anderson), 18
Hogan’s Heroes, 9
Hollywood: classical era of, 49; and combat films, 86, 148; and historical accuracy, 8, 16, 27, 49; historical representation and, 8, 11, 16; and national identity, 11, 192n45
home theater systems, 145, 161
Horvath, Jared C., 138
Hughes, Frank John, 16
Hughes-Warrington, Marnie, 16
Hulu, 178
Hurricane Katrina, 100
I Love Lucy, 101
“I-voice,” 172
If God is Willing and da Creek Don’t Rise, 12
image: as historical evidence, 14, 27–28; manipulation of, 41–42, 45
impersonation, 166
internet, 105
interpretation: aural commentary and, 133; collaborative, 59; and contemporary standards, 49, 51; history as, 19, 53; musical role in, 145–50; sound effects and, 155, 159, 164–65, 176
interpretive communities, 4
interviews, 165–66
invention: authentic/true, 20, 50–53, 68, 75–76, 160, 185–86; and creative liberty, 32, 43, 239n27; and sound, 159–60
invisible neutrality, 30
Jackson, Stacey, 125
Jazz Singer, The, 144
John from Cincinnati, 61
Johnson, Enoch “Nucky,” 64, 76–82, 84, 93, 96, 97, 211n67
Johnson, Nelson, 63, 64, 76, 77, 78, 80
Johnson, Steven, 110
Jules and Jim, 151
Junge, Traudl, 166
Jurassic Park, 144
Kamen, Michael, 141, 147, 151–52
Kelley, Victoria, 45
Kerins, Mark, 144
kernels, 106
knowing manipulation, 34
Ladurie, Emmanuel Le Roy, 129
Lambreaux, Albert “Big Chief,” 108, 111, 116, 118, 119, 121–22, 127–29, 131, 221n83
Lambreaux, Delmond, 118, 119, 121, 122
Landsberg, Alison: and affective engagement, 17, 43, 48, 143; and critical historical thinking, 184; and feel of the past, 43; and period truths, 44; and visual image, 28
Landy, Marcia, 16
“Last Patrol, The” (Band of Brothers), 170, 171
Lastra, James, 157
Lee, Spike, 12
“legitimate theatre,” 4
Leitner, Michael, 113
LeRoy, Mervyn, 69
Letters from Iwo Jima, 133
Levin, Tom, 157
Levine, Elana, 57
Lewis, Smiley, 115
Liguori, C. J., 119, 120, 121, 122
Lindbergh, Charles, 177
linear TV, 178
Linker, Beth, 87
Lipton, Carwood, 147, 158, 169, 170, 171
“Listening to American Studies” (American Quarterly), 143
Little Caesar, 69
LoBrutto, Vincent, 142
long-form historical programming, 3, 6–7, 179–80
look of the past, 28, 32–42, 43, 203nn104–5
Lotz, Amanda D., 2
Lovecraft Country, 177
Lowering the Boom, 144
Luciano, Lucky, 64, 68, 70, 94, 95, 98
Maasø, Arnt, 165
Mad Men, 6
Magnum P.I., 170
“Main Titles” (Band of Brothers), 146, 147, 151, 152
Malarkey, Donald, 167
Man in the High Castle, The, 184
Manhattan, 7
manipulation: of characters, 34, 49, 96; image, 41–42, 45; sound, 142, 156, 159–60, 165–67, 172, 173
Mardi Gras Indians, 126–29, 224n109, 226n134
Marks, Laura U., 45
Marsalis, Wynton, 120
Martin, Adrian, 29
Martin, Johnny, 169
Marvel Cinematic Universe, 178
masking effect, 162
Masters of Sex, 7
Mayfield, Irvin, 120
McAlary, Davis, 101, 108, 112, 115–16, 120–21
McCabe and Mrs. Miller, 50
McCrisken, Trevor, 21
McGrath, Charles, 106
McGrath, John, 162
meaning: actor articulation and, 165–67, 173, 216n13; conversational context and, 112, 114, 116; creation of historical, 23, 26, 28, 29, 103–4, 107–8; cultural, 127–28; and music, 146, 149–52, 154–55, 231n66; and structures, 38
Meeting of Minds, 18
Méliès, George, 31
memory: American public memory, 147–48; historical, 11, 137, 180, 183; popular, 12, 18; prosthetic, 11, 17; serial viewing and, 65, 138; source and, 137–38; touch, 48
MetaHistory (White), 180
Metcalf, Greg, 106
microhistory, 129–32
Milch, David, 24, 25, 30, 60, 61, 182; creative control and, 55–59; Deadwood: The Movie, 32; interpretation and, 34; invention and, 34, 40; and real historical characters, 63; as showrunner, 52, 55–59
Milestone, Lewis, 69
Milford, Lewis, 88
minisodes, 2
mise-en-scène, 21, 29–30, 32, 43–44, 47, 49–52, 199n24
Mississippi Burning, 20
Mittell, Jason, 2, 22, 65, 101, 104, 107, 139, 217nn22–23
modernized history, 27
Monk, Claire, 17
Montaillou (Ladurie), 129
moral codes, and alignment, 83–84
Mork, Anne, 148
motivation, characters and, 85, 89
multi-channel era, 3–4
multidimensional representation, 95
Munslow, Alun, 53, 103, 116, 157, 184
music, 146–55; interpretation through, 145–50; meaning through, 146, 149–52, 154–55, 231n66; theme music, 149–52
musical codes, 150
myths, 11, 34, 69, 92, 147–48, 168, 176, 192n45
narrative: characters and, 64–68, 70, 73–75, 84–85, 89, 98, 100–101, 117; complex, 100–104; flexi-narratives, 110, 111–12; and microhistory, 130–31; set design and, 30–31, 39–40, 49–51; sound and, 159–60, 162, 175; structure of, 107, 109–12; threads in, 108–10, 112, 220n58; viewpoints driving, 126
national identity, 10–12, 11, 192n45
Nelson, Robin, 110
“network era,” 3–4
new media, 189n5
New Orleans Affordable Homeownership Program (NOAH), 123–25
New Orleans Police Department (NOPD), 118, 128, 131
New Orleans Times-Picayune, 105, 124, 136
New Yorker, 55
Newcomb, Horace, 56
Nixon, Lewis, 152–53, 154, 167
Noble, Nancy, 134
Nochimson, Martha M., 129
nondiegetic sound, 147, 152–53
NYPD Blue, 56
objectivity, illusion of, 116–17
O’Brien, Tim, 185
O’Brien, Wesley J., 151
O’Connor, John E., 14
online forums, 105
ordering of events, 114
Orloff, John, 154
O’Sullivan, Sean, 106
Overmyer, Eric: and character creation, 101, 106; commentary by, 134, 226n134; and conclusion of Treme, 139, 182–83; and contrasting viewpoints, 126, 182; and microhistory, 131, 135; and narrative complexity, 100, 108, 125–26, 135
Oz, 6
Padovani, Lisa, 81
Paramount, 61
parasocial relationships, 65
paratexts, 132–33
partial allegiance, 84, 118, 122, 211n76
Pasley, Fred, 73
“past,” definition of, 157–58
Pauleit, Winfried, 143
PBS, 18
Peacock, 178
Peacock, Steven, 34
Peaky Blinders, 12
Pearl Harbor, 148
Pearson, Roberta E., 69–70, 86
Pepper, Andrew, 21
Perconte, Frank, 153
performance signs, 167
performer’s voice, 172
period film, 17
period look, 28
period truths, 44
peritexts, 132
Perrot, Philippe, 50
Persistence of History, The, 17
Phillips, Patrick, 90
pictorial sources, 27–28
Pidduck, Julianne, 17
Pierce, Wendell, 134
Pierson, Michelle, 41
Platoon, 151
plausibility, 20
Playtone, 176
Plepler, Richard, 66, 105, 138
Plot Against America, The, 177
podcasts, 136
“Points” (Band of Brothers), 147, 170, 171–72
popular history, 34, 69, 73, 92
post-network era, 3–4
postmodern historians, 19
Powers, Darrell “Shifty,” 169
production design: advances in, 60–61; collaboration and, 54–59; description of, 30–31; and space, 33, 39–40, 46–47, 58
prosocial effects, 138
Prosthetic Memories (Landsberg), 17
Public Enemy, The, 16
quantitative history, 102
quantity TV, 179
Racket, The, 69
Ramirez, Bruno, 20, 54, 204n115
Ramírez, Juan Antonio, 35
Rapee, Erno, 150
Rath, Richard Cullen, 143
realist approach to character development, 67
“Rebuilding New Orleans: The Season” (Treme), 137
Reconstructing American Historical Cinema (Smyth), 16
Reds, 15
Reid, Mitchell, 128
Revisioning History: Film and the Construction of a New Past (Rosenstone, ed.), 15
Ricoeur, Paul, 102
Roaring Twenties, The (Walsh), 86
Rodman, Ronald, 149
Roe, Eugene “Doc,” 169
Roeder, George H., Jr., 142
Rollins, Peter C., 18
Rosenstone, Robert: and feel of the past, 43, 143, 160; and historical film legitimacy, 14–16, 19, 93; and information load, 42; and look of the past, 28, 42–43; and narrative complexity, 103, 117, 130; and sound, 143, 160; and true invention, 20, 50, 68, 75, 160
Rosenzweig, Roy, 9–10
Roth, Philip, 177
Rothstein, Arnold, 64, 68, 94, 95
Rydstrom, Gary, 140–41, 142, 161, 162
saloons, 36–39
Sanyika, Mtangulizi, 122
satellites, 106
Saving Private Ryan, 140, 148, 151, 160
Scarface (Trail), 86
Schatz, Thomas, 101
Schoenberg, Robert J., 69, 74, 75
Schwimmer, David, 167, 234n115
science fiction, 184
Sconce, Jeffrey, 101
scripts, 55–59
Seidman, Karl F., 123
Sepinwall, Alan, 91, 94, 134, 135, 139, 171
Sergi, Gianluca, 144
serials: budgets and, 26, 117; character development in, 65–66, 69–70, 100–102; duration of, 2, 26, 44, 117, 138, 189n7; episodes in, 26, 108–17; metaphoric comparisons to, 106–7; narratives in, 100–102
sets: boundaries and, 41; as characters, 31–32; and Deadwood, 32–42; function and, 201n62; and the look of the past, 28, 32–42, 43, 203nn104–5
Sets in Motion (Affron and Affron), 31
Severo, Richard, 88
Sex in the City, 170
“Shame, Shame, Shame” (Treme), 107, 108, 109, 110, 111, 112, 113
showrunners, 32, 52, 54–57, 204n116, 205n133
Shpolberg, Masha, 159
signifiers, 26
signs of character, 85
Simon, David: and character creation, 101, 106; commentary by, 134, 226n134; and conclusion of Treme, 138–39, 182–83; and creative liberties, 239n27; and microhistory, 131, 135; and multiple viewpoints, 117, 126, 182; and music, 139, 154; and narrative, 100, 108, 125–26, 135–37, 236n151
sitcoms, 65
Six Feet Under, 142
Slaves on Screen: Film and Historical Vision (Davis), 15
Smith, Anthony N., 66, 67, 105, 109, 129
Smith, Duane A., 40
Smith, Jeff, 29
Smith, Mark M., 143
Smith, Murray, 65, 68, 79, 83, 118
Sobel, Herbert, 167
sonic foreground, 165
sonic witness, 164
Sonnenschein, David, 159
Soprano, Tony, 83
Sopranos, The, 6, 83, 110, 142
sound, 140–76; authenticity of, 156–60; contrast, 162; dimensional, 163; elements of, 22–23; haptic quality of, 164; historical representations of, 142–43, 156–59, 232n75; invention and, 159–60
sound design, 173–74; technological innovation and, 144–45, 160–63. See also music; sound effects; voice
Sound and Music in Film and Visual Media, 144
sources: reliability of, 10, 137–38; sound, 157–58, 232n75; visual, 27–28
Souther, Jonathan Mark, 120
space, sets and, 25, 31–33, 35–39, 40–41, 44, 46–47, 58
spatio-temporal attachment, 118
spatio-temporally specific sound, 157
special features, 133–34
special visual effects (VSFX), 60–61
Speirs, Ronald, 153
Spielberg, Steven, 9, 140, 142, 166, 176
spirit of historical sounds, 160
spoilers, 94
Squandered Heritage (Gadbois), 123–24
Stankey, John, 179
star identification, 90–91
Star, Sol, 25
Starsky and Hutch, 110
Steiner, Tobias, 56–57
stereotypes, 69–70
Stewart, Eve, 30–31
Stilwell, Robynn J., 173
Stone, Lawrence, 130
Stone, Oliver, 53
streaming platforms, 105, 135–36, 177–79
structural history, 102–3
structuralist approach to character development, 67
structures, 33, 35, 40–41. See also community; sets
Stubbs, Jonathan, 27
Studio One, 9
subjective access, 118
sympathetic characters, 83–84, 118–19
synthetic history, 181–82
Szijártó, István, 130
Tagg, Philip, 150
target audience, 5–6
Tashino, C. S., 26–27
Tay, Jinna, 2
technological innovation: HBO and, 3, 5, 141–42, 145; sound and, 144–45, 160–63; viewing habits and, 105, 141
Televising History (Gray and Bell, eds.), 18
television: directors, 53, 54, 56; evolution of, 1, 7–12; golden age of, 3–7; show authorship, 32, 52–57, 59; showrunners, 32, 52, 57–58, 204n116, 205n133
Television Histories (Edgerton and Rollins, eds.), 18
Terry Fox Story, The, 5
Thelen, David, 9–10
theme music, 149–52
themes: in Band of Brothers, 146–47, 149, 151, 152, 166, 168; in Boardwalk Empire, 64; in Deadwood, 10, 25, 34, 37–38; in Treme, 112, 117–18, 123–24
thick description, 127
Thin Red Line, The, 148
Thomas, Lynell L., 120
Thompson, Enoch “Nucky,” 76–84, 94, 96, 97, 211n69, 211n72
Thompson, Ethan, 2
Thompson, Kristin, 29
Thompson, Robert J., 4
“Thrilla in Manila,” 5
time-shifting, 2
Tipper, Edward, 162
Tobolowsky, Stephen, 57
Tolstoy, Leo, 136
Toplin, Robert Brent, 14
Tōson, Shimazaki, 136
traditional historians, 102–3, 180–85, 215n122, 216n13
Trail, Armitage, 86
transformation, characters and, 85
transmedia storytelling, 2
Treme, 7, 8, 9, 12, 22, 23, 100–139; character representation in, 67, 98, 100–101, 219n53, 219n56; contrasting viewpoints in, 116–17, 119–23, 126; cultural community in, 114–16, 119–22; music and, 154; narrative in, 100, 108, 125–26, 135–37; ratings for, 138–39, 182–83, 219n45; themes in, 112, 117–18, 123–24
“Trial of John Peter Zenger, The,” 9
“Triumph of the Prime-Time Novel, The” (McGrath), 106
Trudgill, Peter, 168
True Blood, 2
true invention, 20, 50–51, 52–53, 68, 75–76, 160
“Trusting the Process with David Milch,” 57
Turner, Graeme, 2
12 Years a Slave, 9
Twin Peaks, 4
U-571, 148
Underground, 9
Unheard Melodies, 151
unpredictability of characters, 63–64, 92, 93
Van Meter, Jonathan, 79
VanDerWerff, Emily Todd, 169
VanLandingham, Michael J., 113
VCRs, 105
veteran-gangster connection, 86
VHS, 132–33
Vidal, Belén, 17
Viewer. See audience
viewpoints, conflicting, on-screen presentation of, 116–17, 119–23, 126, 181, 182, 185, 221n72
Vikings, 2
Visions of the Past: The Challenge of Film to Our Idea of History (Rosenstone), 15
visual representation, 14, 24, 27–28, 30, 41–42, 45–46, 48, 193n53, 198n13
vocal performance, 146, 165–68
voice-over narrator, 165, 170–72
VSFX, 60–61
Wahlberg, Donnie, 169
Walker, Dave, 105
Ward, Mark S., 174
WarnerMedia, 5, 178, 179, 237n6
Warren, Robert Penn, 56
Webster, David Kenyon, 147, 170, 171, 235n136
Weis, Elizabeth, 144
Welles, H. G., 16
Welsh, Harry, 162
westerns, traditional, 33
Westwell, Guy, 143
Westworld, 1–2
What Is History? (Carr), 53
When the Levees Broke, 12
White, Chalky, 80–81
White, Hayden, 14, 102, 103, 107, 180
White, Patricia, 64
Whittington, William J., 144, 163, 173
“Why We Fight” (Band of Brothers), 146, 152–53, 154
Whyte, William, 38
Wij, Heren van Zichem, 18
Williams, Alan, 157
Williams, John, 141
Williams, Joyce, 121
Wilson, Michael L., 27–28
Winds of War, The, 9
Winter, Terence: and being true to the spirit, 75–76, 84, 95–97; characters inspired by historical figures, 77, 81–82; and creative freedom, 63–64, 85, 93–94; and interpretation, 74, 84; and invention, 22, 80–81, 85, 92; and representation of real historical figures, 68, 70–71
Winters, Richard “Dick,” 147, 153, 158, 161, 162, 167, 169, 170, 171–72, 174–75
Wolcott, James, 66
Wonder Years, The, 170
World War I (Great War), 85, 86–88, 90
writer-producers, 54–55
writing credits, 55–59
Yale, Frankie, 74
Yost, Graham, 171
You Are There, 18
Zettl, Herbert, 140