Notes

1. Quoted in Michael J. Hayde, My Name's Friday: The Unauthorized but True Story of Dragnet and the Films of Jack Webb (Nashville, TN: Cumberland House, 2001), 245.

2. Quoted in Hayde, My Name's Friday, 46.

3. W. Gerhardie, as quoted in Julia Hallam, with Margaret Marshment, Realism and the Popular Cinema: Inside Popular Film (Manchester, England: Manchester University Press, 2000), 5.

4. Fifties Television: The Industry and the Critics (Chicago: University of Illinois Press, 199), 1-2. See also Christopher Anderson, Hollywood TV: The Studio System in the Fifties (Austin: University of Texas Press, 1994), 1-45.

5. The roman noir, or "black novel," encompasses not only what in the United States is usually referred to as "hard-boiled detective fiction" but also similar writing in related genres such as the thriller that emphasizes urban settings, criminality, and a general rejection of establishment values such as "the American dream." For further discussion see William Marling, The American Roman Noir: Hammett, Cain, and Chandler (Athens: University of Georgia Press, 1995), 11-72.

6. For further details see Daniel Moyer and Eugene Alvarez, Just the Facts, Ma'am:

The Authorized Biography of Jack Webb (Santa Ana, CA: Seven Locks Press, 2001), 45-53.

7. See Hayde, My Names Friday, 18-21 and Moyer and Alvarez, Just the Facts, Ma'am, 56-62.

8. Quoted in Hayde, My Names Friday, 20.

9. Leonard J. Leff and Jerold L. Simmons, The Dame in the Kimono: Hollywood, Censorship, and the Production Code from the 1920s to the 1960s (New York: Doubleday, 1990), 141

10. Bosley Crowther, review of Open City, New York Times, February 26, 1946.

11. Bosley Crowther, review of The Bicycle Thief, New York Times, December 3, 1949.

12. Bosley Crowther, review of The Men, New York Times, July 21, 1950.

13. Quoted in Hayde, My Names Friday, 43.

14. Hallam and Marshment, Realism and Popular Cinema, 194.

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