Bibliographie
Anonymous, “Caught with Diction Down”, The Billboard, July 14, 1951, p. 5.
Anonymous, “Frank Gallop is Possessor of Wit, Humour”, Ithaca Journal, 22 July, 1961, p. 15.
Anonymous, “Live Mystery Series is Welcome Fare”, The New York Times, July 7, 1961, p. 52.
Anonymous, “Mysteries: They Love ‘Em on TV!”, Sponsor, Vol. 4, No. 22, 1950, p. 32-33, 58-59.
Anonymous, “Programme Highlights in Television viewing: New York City and Suburbs, July 11 – August 10”, Radio Television Mirror, 1951, p. 75.
Anonymous, “Programme Highlights in Television viewing: New York city and Suburbs and New Haven, Channel 6, October 11 – November 10”, Radio Television Mirror, Vol. 36, No. 3, 1951, p. 73.
Anonymous, “Radio and Television”, The New York Times, April 21, 1950, p. 44.
Anonymous, “Reviews”, TV Guide, Vol. 2, No. 7, 1954, p. 13.
Anonymous, “Tele Followup Comment”, Variety, Vol. 187, 1952, p. 28.
Anonymous, “Television Followup Comment”, Variety, Vol. 186, April, 1952, p. 42.
Anonymous, “The Disembodied Face on Lights Out Has Another – and Very Pleasant Existence!: He’s Really Very Nice”, Radio Television Mirror, Vol. 36 , No. 6, 1951, p. 42-43, 84-85.
Anonymous, “The Perry Como Show: The Saturday Night Miracle”, Radio Television Mirror, Vol. 51, No. 3, 1959, p. 51.
Anonymous, ‘TV Programme Highlights: New York City and Suburbs and New Haven, Channel 6, January 11 – February 10, Radio Television Mirror, Vol. 37, No. 3, 1952, p. 75.
Anonymous, “TV Programme Highlights: New York City and Suburbs and New Haven, February 11 – March 10”, Radio Television Mirror, Vol. 37, No. 4, 1952, p. 77.
Anonymous, “TV Programme Highlights: New York City and Suburbs and New Haven, Channel 6, April 11 – May 10”, Radio Television Mirror, 1952, p. 73.
Anonymous, “TV Programme Highlights: New York City and Suburbs and New Haven, Channel 6, August 11 – September 10”, Radio Television Mirror, Vol. 38, No. 4, 1952, p. 77.
Anonymous, “TV Programme Highlights: New York City and Suburbs and New Haven, Channel 6, September 11 – October 11”, Radio Television Mirror, Vol. 38, No. 5, 1952, p. 77.
Anonymous, “TV Programme Highlights: New York City and Suburbs and New Haven, Channel 6, October 11 – November 10”, Radio Television Mirror, Vol. 38, No. 6, 1952, p. 75.
Anonymous, “TV Week Spotlight”, Independent Star-News, 18 December, 1966, p. 81.
Anonymous, “‘When a Girl Marries’ Drama Celebrates Second Anniversary”, Harrisburg Telegraph, 1 June, 1941, p. 24.
Brooks, Tim and Marsh, Earle, The Complete Directory to Prime Time Network TV Shows, 1946-Present, New York, Ballantine Books, 1979.
Comstock, George, Television in America, California, London and New Delhi, Sage Publications, 1991.
Dunn, Kristine, “Mystery Series Debuts”, The Miami News, 14 June, 1961, p. 20.
Engel, Joel, Rod Serling: The Dreams and Nightmares of Life in the Twilight Zone, Chicago, Contemporary, 1989.
Erish, Andrew A., “Reclaiming Alfred Hitchcock Presents”, Quarterly Review of Film and Video, Vol. 26, No. 5, 2009, p. 385-392.
Erler, Robert J., “A Guide to Television Talk”, Television Talk: A History of the TV Talk Show, ed. Bernard M. Timberg, Austin, University of Texas Press, 2002, p. 204-304.
Ewald, William, “Frank Gallop Says Announcers Work Harder on Video”, Shamokin News-Dispatch, February 22, 1958, p. 7.
Fetzer, John E., REINSCH, Leonard, BROWN, Thad, BRONSON, Edward H., “Code of Practices for Television Broadcasters [1951]”, Television Board of National Association of Radio & Television Broadcasters, 1954, p. 362-365.
Franken, Jerry, “Radio and Television Programme Reviews”, Billboard, Vol. 61, No. 48, 1949, p. 12.
Gabler, Neal, Walter Winchell: Gossip, Power and the Culture of Celebrity, New York, Alfred A. Knopf, 1994.
Hart, Dennis, Monitor (Take 2): The Revised, Expanded Inside Story of Network Radio’s Greatest Program, Nebraska, iUniverse, 2003.
Hawes, William, Live Television Drama, 1946-1951, North Carolina, McFarland, 2001.
HILMES, Michele, Radio Voices: American Broadcasting, 1922–1952, Minneapolis, University of Minnesota Press, 1998.
Jancovich, Mark, “‘Where it Belongs’: Television Horror, Domesticity, and Alfred Hitchcock Presents”, Horror Television in the Age of Consumption, ed. Kimberly Jackson, Linda Belau, London, Routledge, 2017, p. 29-44.
Jones, Timothy, “‘Hello, again, you little monsters’ – Hosted Horror of the 1950s and 1960s”, The Gothic and the Carnivalesque in American Culture, ed. Timothy Jones, Cardiff, University of Wales Press, 2015, p. 123-149.
Jowett, Lorna, ABBOTT, Stacey, Horror TV: Investigating the Dark Side of the Small Screen, London, I.B. Tauris, 2013.
Kahn [sic], “Television Reviews”, Variety, Vol. 179, September, 1950, p. 31.
Keasler, John, “Columns”, The Miami News, October 13, 1979, p. 13.
Lardine, Bob, “His Silence Pays Off”, New York Daily News, November 4, 1962, p. 7.
Leitch, Thomas M., “The Outer Circle: Hitchcock on Television”, Alfred Hitchcock Centenary Essays, ed. Richard Allen, Sam Ishii-Gonzales, London, British Film Institute, 1999, p. 58-71.
Nachman, Gerald, Raised on Radio, New York, Pantheon Books, 1998.
Oviatt, Ray, “Frank Gallop: The Man Who Goes For ‘Breaks’”, Toledo Sunday Blade, 23 November, 1958, p. 1, 7.
Panitt, Merrill, “LaRue as Ghoulmaster Funnier than Berle Shows”, The Philadelphia Inquirer, November 14, 1949, p. 28.
Parisi, Nicholas, Rod Serling: His Life, Work, and Imagination, Jackson, University of Mississippi Press, 2018.
Potts, Neill, The Television Work of Alfred Hitchcock, PhD Thesis, University of Warwick, Available at: http://webcat.warwick.ac.uk/record=b1782763~S9 (Accessed 15 January 2022), 2005.
Ritrosky-Winslow, Madelyn, “Anthology Drama”, Encyclopedia of Television, ed. Horace Newcomb, London and New York, Routledge, 1997, p. 121-122.
Stal [sic], “Television Reviews”, Variety, Vol. 182, June, 1951, p. 30.
Stal [sic], “Television Reviews”, Variety, Vol. 184, No. 12, 1951, p. 28.
Sullivan, Frank, “Drop that Other Shoe, Frank Gallop”, The New Yorker, February 19, 1938, p. 17-18.
Terrace, Vincent, Encyclopedia of Television Shows, 1925 – 2010, North Carolina and London, McFarland, 2018.
Tolson, Andrew, “The History of Television Celebrity: A Discursive Approach”, Celebrity Studies, Vol. 6, No. 3, 2015, p. 341-354.
Turo [sic], “Radio Reviews”, Variety, Vol. 156, No. 4, 1944, p. 24.
Watson, Elena M., Television horror movie hosts: 68 vampires, mad scientists and other denizens of the late-night airwaves examined and interviewed, North Carolina, McFarland, 1991.
Wheatley, Helen, Gothic Television, Manchester and New York, Manchester University Press, 2006.
Wilson, Earl, “Merediths to do Play by Steinbeck”, The Miami News, 10 March, 1947, p. 27.
Wilson, Thomas, “Frank Gallop: The Ghoulish Host of Lights Out”, Historical Journal of Film, Radio and Television, 2020, p. 847-874.
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Notes
This was prior to the advent of other programme and series forms, such as the serial and made-for-TV film, that subsequently represented horror TV in the main from the mid-1960s onwards. See: Helen Wheatley, Gothic Television, Manchester and New York, Manchester University Press, 2006.
Following this, the hosted horror anthology show advanced as a programme form on US TV, as the subgenre moved towards a second cycle of pre-recorded examples in the network schedule amid the rise of the Hollywood TV studio system, represented chiefly by Alfred Hitchcock Presents (CBS, 1955-60; 1962-64, NBC, 1960-62; 1964-65), One Step Beyond (ABC, 1959-1961), The Twilight Zone (CBS, 1959-1964), and Thriller (NBC, 1960-1962).
William Hawes, Live Television Drama, 1946-1951, North Carolina and London, McFarland, 2001, p. 31.
Madelyn Ritrosky-Winslow, “Anthology Drama”, Encyclopedia of Television, ed. Horace Newcomb, London and New York, Routledge, 1997, p. 121-122.
The highbrow dramatic anthology strand was represented by examples such as Studio One (CBS, 1948-1958), Stars Over Hollywood (NBC, 1950-1951) and Broadway Television Theatre (WOR-TV, 1952-1954).
Anonymous, “Mysteries: They Love ‘Em on TV!”, Sponsor, Vol. 4, No. 22, 1950, p. 59. As further evidence of Lights Out’s mainstream reach, the show was networked through NBC which, at the time, was one of “three national networks that were so dominant that their share of the audience in prime time exceeded 90% [of the entire television audience in the late-1940s and early-1950s]” (George Comstock, Television in America, California, London and New Delhi, Sage Publications, 1991, p. 16.). For historical records of Nielsen ratings, see: Tim Brooks and Earle Marsh, The Complete Directory to Prime Time Network TV Shows, 1946–Present, New York, Ballantine Books, 1979, p. 802–810.
Brooks and Marsh, p. 353.
The remainder of early horror anthologies, represented by approximately eleven shows that did not utilise an on-screen host, was divided between the use of a voice-over narrator only or excluded an on-screen host/voice-over narrator entirely.
Lorna Jowett and Stacey Abbott, TV Horror: Investigating the Dark Side of the Small Screen, London and New York, I.B. Tauris, 2013, p. 40.
Jowett and Abbott, p. 85.
Excluded from this article is any focus on the type of horror host that introduced classic horror films broadcast in late-night scheduling on local US TV channels, another variation of the generic tradition that separately emerged in the mid-1950s. The local TV horror-movie host was epitomised by showy and costumed presenters, most recognisably Vampira (Maila Nurmi) and the rotation of Shock Theater (Syndication, 1957-1958) hosts. For scholarship on the local TV horror-movie host, see: Elena M.
Watson, Television horror movie hosts: 68 vampires, mad scientists and other denizens
of the late-night airwaves examined and interviewed, North Carolina, McFarland, 1991.
Mark Jancovich, ‘“Where it Belongs”: Television Horror, Domesticity, and Alfred Hitchcock Presents’, in Horror Television in the Age of Consumption, ed. Kimberly Jackson, Linda Belau, London, Routledge, 2017, p. 29.
Joel Engel, Rod Serling: The Dreams and Nightmares of Life in the Twilight Zone, Chicago, Contemporary, 1989; Andrew A. Erish, “Reclaiming Alfred Hitchcock Presents”, Quarterly Review of Film and Video, Vol. 26, No. 5, 2009, p. 385-392; Jancovich, 2017; Timothy Jones, “‘Hello, again, you little monsters’ – Hosted Horror of the 1950s and 1960s”, The Gothic and the Carnivalesque in American Culture, ed. Timothy Jones, Cardiff, University of Wales Press, 2015, p. 123-149; Jowett and Abbott, 2013; Thomas M. Leitch, “The Outer Circle: Hitchcock on Television”, Alfred Hitchcock Centenary Essays, ed. Richard Allen, Sam Ishii-Gonzales, London, British Film Institute, 1999, p. 58-71; Nicholas Parisi, Rod Serling: His Life, Work, and Imagination, Jackson, University of Mississippi Press, 2018; Neill Potts, The Television Work of Alfred Hitchcock, PhD Thesis, University of Warwick, Available at: http://webcat.warwick.ac.uk/record=b1782763~S9 (Accessed 15 January 2022), 2005.
Thomas Wilson, ‘Frank Gallop: The Ghoulish Host of Lights Out’, Historical Journal of Film, Radio and Television, Vol. 40, No. 4, 2020, p. 847-874.
Kristine Dunn, “Mystery Series Debuts”, The Miami News, 14 June, 1961, p. 20.
The Mercury Theater on Air is historically significant for its controversial broadcast of “The War of the Worlds” (S01E17). Due to the practice of rotating announcers, Gallop was not involved in this now famed and unprecedented broadcast event in which listeners perceived the fiction as factual and occurring in real time.
Anonymous, “‘When a Girl Marries’ Drama Celebrates Second Anniversary”, Harrisburg Telegraph, 1 June, 1941, p. 24.
Dennis Hart, Monitor (Take 2): The Revised, Expanded Inside Story of Network Radio’s Greatest Program, Nebraska, iUniverse, 2003, p. 98.
Earl Wilson, “Merediths to do Play by Steinbeck”, The Miami News, 10 March, 1947, p. 27.
Turo [sic], “Radio Reviews”, Variety, Vol. 156, No. 4, 1944, p. 24.
Gerald Nachman, Raised on Radio, New York, Pantheon Books, 1998, p. 263.
Michele Hilmes, Radio Voices: American Broadcasting, 1922–1952, Minneapolis, University of Minnesota Press, 1998, p. 58.
Dunn, p. 20.
Nachman, p. 263.
Ibid. The introduction to The Milton Berle Show broadcast “A Salute to California” (10/02/1948) includes Gallop getting a laugh at Berle’s expense through deadpan remarks and wisecracks. Simultaneously, Gallop’s straight-man announcer archetype enabled Berle to mock Gallop’s sophisticated characteristics for comic effect.
Andrew Tolson, “The History of Television Celebrity: A Discursive Approach”, Celebrity Studies, Vol. 6, No. 3, 2015, p. 342.
Vincent Terrace, Encyclopedia of Television Shows, 1925 – 2010, North Carolina and London, McFarland, 2018, p. 138.
Anonymous, “Caught with Diction Down”, The Billboard, July 14, 1951, p. 5.
Ibid.
Stal [sic], “Television Reviews”, Variety, 182, June, 1951, p. 30.
Ray Oviatt, “Frank Gallop: The Man Who Goes For ‘Breaks’”, Toledo Sunday Blade, 23 November, 1958, p. 1.
Anonymous, “TV Programme Highlights: New York City and Suburbs and New Haven, Channel 6, October 11 – November 10”, Radio Television Mirror, Vol. 38, No. 6, 1952, p. 75. Anonymous, “TV Programme Highlights: New York City and Suburbs and New Haven, February 11 – March 10”, Radio Television Mirror, Vol. 37, No. 4, 1952, p. 77. Anonymous, “TV Programme Highlights: New York City and Suburbs and New Haven, Channel 6, August 11 – September 10”, Radio Television Mirror, Vol. 38, No. 4, 1952, p. 77.
John Crosby, “Lights Out [Wrecks] Kiddies’ Nerves”, The Arizona Republic, February 16, 1951, p. 30.
Anonymous, “Radio and Television”, The New York Times, April 21, 1950, p. 44.
Merrill Panitt, “LaRue as Ghoulmaster Funnier than Berle Shows”, The Philadelphia Inquirer, November 14, 1949, p. 28. As another TV critic similarly detailed: “There is […] a serious inconsistency in the treatment accorded Jack LaRue, [especially when] he’s smiling, to cue in the commercial announcer” (Jerry Franken, “Radio and Television Programme Reviews”, Billboard, Vol. 61, No. 48, 1949, p. 12.).
Sponsor, p. 59.
Bob Lardine, “His Silence Pays Off”, New York Daily News, November 4, 1962, p. 7.
Oviatt, p. 1.
Frank Gallop quoted in, Anonymous, “The Disembodied Face on Lights Out Has Another – and Very Pleasant Existence!: He’s Really Very Nice”, Radio Television Mirror, Vol. 36, No. 6, 1951, p. 85.
Anonymous, “The Disembodied Face on Lights Out Has Another – and Very Pleasant Existence!: He’s Really Very Nice”, Radio Television Mirror, Vol. 36, No. 6, 1951, p. 85.
John E. Fetzer, Leonard Reinsch, Thad Brown, Edward H. Bronson, “Code of Practices for Television Broadcasters [1951]”, Television Board of National Association of Radio & Television Broadcasters, 1954, p. 363.
Gallop quoted in, Radio Television Mirror, p. 43.
Anonymous, “Programme Highlights in Television viewing: New York city and Suburbs and New Haven, Channel 6, October 11 – November 10”, Radio Television Mirror, Vol. 36, No. 3, 1951, p. 73.
Anonymous, “TV Programme Highlights: New York City and Suburbs and New Haven, Channel 6, April 11 – May 10”, Radio Television Mirror, 1952, p. 73.
Anonymous, ‘TV Programme Highlights: New York City and Suburbs and New Haven, Channel 6, January 11 – February 10, Radio Television Mirror, Vol. 37, No. 3, 1952, p. 75.
Anonymous, “Programme Highlights in Television viewing: New York City and Suburbs, July 11 – August 10”, Radio Television Mirror, 1951, p. 75.
Anonymous, “TV Programme Highlights: New York City and Suburbs and New Haven, Channel 6, September 11 – October 11”, Radio Television Mirror, Vol. 38, No. 5, 1952, p. 77.
Radio Television Mirror, p. 73.
Anonymous, “Television Followup Comment”, Variety, Vol. 186, April, 1952, p. 42.
Kahn [sic], “Television Reviews”, Variety, Vol. 179, September, 1950, p. 31.
Anonymous, “Narrator Frank Gallop”, The Cincinnati Enquirer, September 10, 1950, p. 45.
Based on Henry Kuttner’s science fiction tale Don’t Look Now (1948), “The Martian Eyes” was adapted for TV by George Lefferts. It was originally broadcast October 30, 1950, earlier in Season Two.
Anonymous, Lights Out Advertisement [Poster], Life, June 18, 1951, p. 48.
Ibid.
Anonymous, Lights Out Advertisement [Poster], n.p.
The Cincinnati Enquirer, p. 45.
Radio Television Mirror, p. 42-43.
Gallop quoted in, Radio Television Mirror, p. 85.
Radio Television Mirror, p. 84.
Gallop quoted in, Radio Television Mirror, p. 43. A similar interview response from Gallop is incorporated in another newspaper article at the time: “Gallop says the close-up of his face in the guttering candlelight of ‘Lights Out’ has fixed itself in the minds of televiewers until they can’t see him in person without picturing him as a ghastly reminder of a nightmare” (The Cincinnati Enquirer, p. 45.).
Gallop quoted in, Radio Television Mirror, p. 84.
Ibid., p. 43.
Ibid.
Gallop quoted in, The Cincinnati Enquirer, p. 45.
Gallop quoted in, Radio Television Mirror, p. 43.
Ibid.
Gallop quoted in, Radio Television Mirror, p. 84.
Khan, p. 31.
Radio Television Mirror, p. 75.
Ibid., p. 42. Similarly delving into his private life, Gallop acknowledged in a separate interview that “it’s an important part of my character to dress meticulously. Off the air, I’m also very clothes conscious. I have about two dozen suits, and they’re all custom tailored” (Gallop quoted in, Lardine, p. 7.).
Gallop quoted in, Radio Television Mirror, p. 42
Ibid., p. 43.
Ibid., p. 42.
Stal [sic], “Television Reviews”, Variety, Vol. 184, No. 12, 1951, p. 28.
Robert J. Erler, “A Guide to Television Talk”, Television Talk: A History of the TV Talk Show, ed. Bernard M. Timberg, Austin, University of Texas Press, 2002, p. 235.
Anonymous, “Tele Followup Comment”, Variety, Vol. 187, 1952, p. 28.
Variety, p. 28.
Dunn, p. 20.
Anonymous, “The Perry Como Show: The Saturday Night Miracle”, Radio Television Mirror, Vol. 51, No. 3, 1959, p. 51.
Brooks and Marsh, p. 485.
Anonymous, “TV Week Spotlight”, Independent Star-News, 18 December, 1966, p. 81.
Continuing to show the malleability of his creative talents, Gallop also extended his media projects beyond radio and TV, establishing a sporadic singing career. Gallop had some success with the popular record Got A Match (1958), followed eight years later by the release of The Ballad of Irving (1966) on the Kapp Records label, a popular single which enabled enough success for Gallop to release the album Would You Believe Frank Gallop Sings? through Musicor Records. In the same year, he also performed as a singer on a small tour across the US.
Oviatt, p. 7.
Anonymous, “Frank Gallop is Possessor of Wit, Humour”, Ithaca Journal, 22 July, 1961, p. 15.
Great Ghost Tales offered the last example of a live horror anthology series, contrary to the industry’s well established move towards pre-recorded programming made within the Hollywood TV studio system.
Anonymous, “Live Mystery Series is Welcome Fare”, The New York Times, July 7, 1961, p. 52.
Oviatt, p. 1.
Ibid., p. 7.
Ibid.
Gallop quoted in, William Ewald, “Frank Gallop Says Announcers Work Harder on Video”, Shamokin News-Dispatch, February 22, 1958, p. 7.
John Keasler, “Columns”, The Miami News, October 13, 1979, p. 13.
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