with Gregory S. Wilson, and Cinema Then and Now: James Naremore—Conversations with Craig S. Simpson.
Simpson applied the “Page 99 Test” to his new book, Television Is Where You Find It: A History of Feature Filmmakers in TV, and reported the following:
Readers flipping directly to page 99 would have their attention grabbed by the only f-bomb in the entire 201pp. book. It’s near the top of the page, in a quote by pioneering Black filmmaker Melvin Van Peebles: “We have this romantic idea that all blacks should be radicals. Get the fuck out of here!” It soon becomes clear that this quote concerns the very non-radical Bill Cosby, as he transitioned from standup comedy to being the first Black lead (or co-lead, with white actor Robert Culp) of a TV series, NBC’s I Spy (1965-1968). I note that I Spy’s “international locales took the series out of the racial turmoil of 1960s America,” and then I quote scholar Donald Bogle’s observation, “Consequently…it was felt that audiences would never question such matters as hotel accommodations in foreign lands.”Learn more about Television Is Where You Find It at the Rutgers University Press website.
After I Spy, the page continues, Cosby created and starred in The Bill Cosby Show, which premiered on NBC in September 1969. (This series preceded the more famous The Cosby Show, a cultural phenomenon that aired on the same network from 1984-1992.) Compared to the other networks, NBC was ahead of the curve “for the equitable portrayal of minorities on TV.” The National Association of Radio and Television Broadcasters “followed NBC’s example with its members pledging that ‘racial or nationality types shall not be shown on television in such matter as to ridicule the race or nationality.”
There’s a section break, followed by a discussion of the mixed-bag of opportunities afforded to Black creatives through the 1950s and 1960s—from the pernicious Beulah and Amos ‘n’ Andy to the more positive if politically skittish Julia (starring Diahann Carroll) and The Bill Cosby Show. The last paragraph on page 99 ends in media res with a description of how the premiere of Cosby’s new show “illustrates how Cosby’s modus operandi was to approach a relevant social issue only to gingerly sidestep it,” which continues on page 100.
Page 99 comes little more than a third of the way into the seventh chapter of a ten-chapter critical study, twelve counting the “Intro” and “Outro.” For readers who turned to it without context, the page would be misleading in terms of content but an accurate example of my overall approach. I should take pains to emphasize that Bill Cosby is not a major figure in the book, nor is he even the primary subject of the chapter. Chapter 7 concerns Melvin Van Peebles, and uses his episode for The Bill Cosby Show, “Really Cool,” as a case study for how he transitioned (briefly) to television in between a pair of significant motion pictures, Watermelon Man and Sweet Sweetback’s Baadasssss Song. My chapter posits that “Really Cool” serves as a bridge between the two films in terms of technique (blending the aesthetics of American sitcoms with the French New Wave [Van Peebles lived in France for several years prior to returning to the States]) and theme (the historical and political meanings of Melvin Donaldson’s “image of the ‘running black man’”). I discuss how Van Peebles undercuts Cosby’s persona throughout the episode. I also observe that Melvin Van Peebles and Orson Welles (the subject of Chapter 4) had more in common than one might think.
As I explain in the Intro, Television is Where You Find It “offers a tour through an earlier period of television, with ten feature filmmakers who made the transition to TV as our collective guide.” Spanning the years 1955-1990, my book begins with Alfred Hitchcock and ends with David Lynch, with (in addition to Van Peebles and Welles) Leo McCarey, Ida Lupino, Budd Boetticher, Michael Powell, George Cukor, and Martin Scorsese heading the chapters in between. Also from my Intro: “Each chapter blends critical analysis of the particular episode in question with broader context pertaining to the overall series, comparisons to other programs, the body of work of each filmmaker, and the wider culture of the era, using archival resources when available. Each case study gets woven into the whole.” Page 99 offers a taste of that.
Television is Where You Find It was a rigorous yet fun book to research and write, and I hope readers will find its connections and discoveries surprising, absorbing, and illuminating.
--Marshal Zeringue
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