“...Fascinating... A riveting American classic of independent brilliance versus corporate arrogance. I found it more fun than fiction.” — James Bradley, author of Flags of Our Fathers “... The fascinating inside story of how this eccentric loner invented television and fought corporate America.” — Walter Isaacson, chariman, CNN “...Compelling...Strong, dramatic prose...” — Kirkus Reviews “...A lively and engaging account.” — Library Journal “[A] gripping and eminently readable saga of the birth of television and the death of the Edisonian myth.” — Darwin magazine
A lone inventor and the story of how one of the most revolutionary inventions of the twentieth century almost didn't happen. Introduced in 1960, the first plain-paper office copier is unusual among major high-technology inventions in that its central process was conceived by a single person. Chester Carlson grew up in unspeakable poverty, worked his way through junior college and the California Institute of Technology, and made his discovery in solitude in the depths of the Great Depression. He offered his big idea to two dozen major corporations -- among them IBM, RCA, and General Electric -- all of which turned him down. So persistent was this failure of capitalistic vision that by the time the Xerox 914 was manufactured, by an obscure photographic-supply company in Rochester, New York, Carlson's original patent had expired. Xerography was so unusual and nonintuitive that it conceivably could have been overlooked entirely. Scientists who visited the drafty warehouses where the first machines were built sometimes doubted that Carlson's invention was even theoretically feasible. Building the first plain-paper office copier -- with parts scrounged from junkyards, cleaning brushes made of hand-sewn rabbit fur, and a built-in fire extinguisher -- required the persistence, courage, and imagination of an extraordinary group of physicists, engineers, and corporate executives whose story has never before been fully told. Copies in Seconds is a tale of corporate innovation and risk-taking at its very best.
A groundbreaking new look at the author of an iconic American novel--"The Wizard of Oz"--this biography offers profound new insights into the true origins and meaning behind L. Frank Baum's 1900 masterwork.
Philo T. Farnsworth (1906-1971) has been called the "forgotten father of television." He grew up in Utah and southern Idaho, and was described as a genius by those who knew and worked with him. With only a high school education, Farnsworth drew his first television schematic for his high school teacher in Rigby, Idaho. Subsequent claims and litigation notwithstanding, he was the first to transmit a television image. Farnsworth filed ten patents between 1927 and 1929 for camera tubes (transmitting), circuitry, and the cathode ray tube (viewing). After his early years as an inventor in San Francisco, he worked as an engineer, doing battle with RCA in the 1930s over patent rights, formed the Farnsworth Television Company in the 1940s, and worked for IT&T after their purchase of the Farnsworth enterprises. Every television set sold utilized at least six of his basic patents. Because of endless legal wrangling with RCA over patent rights, he received very little financial reward for his television patents. Donald Godfrey examines the genius and the failures in the life of Philo Farnsworth as he struggled to be both inventor and entrepreneur.
The life-long inventor, Lee de Forest invented the three-element vacuum tube used between 1906 and 1916 as a detector, amplifier, and oscillator of radio waves. Beginning in 1918 he began to develop a light valve, a device for writing and reading sound using light patterns. While he received many patents for his process, he was initially ignored by the film industry. In order to promote and demonstrate his process he made several hundred sound short films, he rented space for their showing; he sold the tickets and did the publicity to gain audiences for his invention. Lee de Forest officially brought sound to film in 1919. Lee De Forest: King of Radio, Television, and Film is about both invention and early film making; de Forest as the scientist and producer, director, and writer of the content. This book tells the story of de Forest’s contribution in changing the history of film through the incorporation of sound. The text includes primary source historical material, U.S. patents and richly-illustrated photos of Lee de Forest’s experiments. Readers will greatly benefit from an understanding of the transition from silent to audio motion pictures, the impact this had on the scientific community and the popular culture, as well as the economics of the entertainment industry.
In a story that is both of its time and timeless, Evan I. Schwartz tells a tale of genius versus greed, innocence versus deceit, and independent brilliance versus corporate arrogance. Many men have laid claim to the title "father of television," but Philo T. Farnsworth is the true genius behind what may be the most influential invention of our time. Driven by his obsession to demonstrate his idea, by the age of twenty Farnsworth was operating his own laboratory above a garage in San Francisco and filing for patents. The resulting publicity caught the attention of RCA tycoon David Sarnoff, who became determined to control television in the same way he monopolized radio. Based on original research, including interviews with Farnsworth family members, The Last Lone Inventor is the story of the epic struggle between two equally passionate adversaries whose clash symbolized a turning point in the culture of creativity. Book jacket.
How America's individual inventors persisted alongside corporate R&D labs as an important source of inventions. During the nineteenth century, heroic individual inventors such as Thomas Edison and Alexander Graham Bell created entirely new industries while achieving widespread fame. However, by 1927, a New York Times editorial suggested that teams of corporate scientists at General Electric, AT&T, and DuPont had replaced the solitary "garret inventor" as the wellspring of invention. But these inventors never disappeared. In this book, Eric Hintz argues that lesser-known inventors such as Chester Carlson (Xerox photocopier), Samuel Ruben (Duracell batteries), and Earl Tupper (Tupperware) continued to develop important technologies throughout the twentieth century. Moreover, Hintz explains how independent inventors gradually fell from public view as corporate brands increasingly became associated with high-tech innovation. Focusing on the years from 1890 to 1950, Hintz documents how American independent inventors competed (and sometimes partnered) with their corporate rivals, adopted a variety of flexible commercialization strategies, established a series of short-lived professional groups, lobbied for fairer patent laws, and mobilized for two world wars. After 1950, the experiences of independent inventors generally mirrored the patterns of their predecessors, and they continued to be overshadowed during corporate R&D's postwar golden age. The independents enjoyed a resurgence, however, at the turn of the twenty-first century, as Apple's Steve Jobs and Shark Tank's Lori Greiner heralded a new generation of heroic inventor-entrepreneurs. By recovering the stories of a group once considered extinct, Hintz shows that independent inventors have long been—and remain—an important source of new technologies.
Films that dramatize historical events and the lives of historical figures-whether they are intended to educate or to entertain—play a significant role in shaping the public's understanding of the past. In The Hollywood History of Science and Technology, A. Bowdoin Van Riper focuses on the dramatized portrayals of a particular group of historical figures—scientists, engineers, and inventors—that have appeared on American film and television screens. This volume analyzes individual portrayals, the public images of particular scientists and inventors, and the ideas about science and technology that, collectively, they represent. In this first in-depth study of how historic scientists and inventors have been portrayed on screen, Van Riper catalogs nearly 300 separate performances and includes essays on the screen images of more than 80 historic scientists, inventors, engineers, and medical researchers. The individuals covered include Isaac Newton, Benjamin Franklin, Thomas Edison, Albert Einstein, Marie Curie, Dian Fossey, and Bill Gates. Arranged chronologically by the subject's date of birth, entries for each individual explain their major contributions to science and technology, analyze the ways in which they've been portrayed in film and on television, and conclude with a complete list of screen portrayals and a discussion of suggestions for further reading. The Hollywood History of Science and Technology will be of interest to anyone concerned with the depiction of historical events and historical figures in film and television, and to anyone interested in the public understanding of science and technology.
An analysis of the fundamental narrative structure, why it works, the meanings of stories, and why we tell them in the first place. The idea of Into the Woods is not to supplant works by Aristotle, Lajos Egri, Robert McKee, David Mamet, or any other writers of guides for screenwriters and playwrights, but to pick up on their cues and take the reader on a historical, philosophical, scientific, and psychological journey to the heart of all storytelling. In this exciting and wholly original book, John Yorke not only shows that there is truly a unifying shape to narrative—one that echoes the great fairytale journey into the woods, and one, like any great art, that comes from deep within—he explains why, too. With examples ranging from The Godfather to True Detective, Mad Men to Macbeth, and fairy tales to Forbrydelsen (The Killing), Yorke utilizes Shakespearean five-act structure as a key to analyzing all storytelling in all narrative forms, from film and television to theatre and novel-writing—a big step from the usual three-act approach. Into the Woods: A Five-Act Journey into Story is destined to sit alongside David Mamet’s Three Uses of the Knife, Robert McKee’s Story, Syd Field’s Screenplay, and Lajos Egri’s The Art of Dramatic Writing as one of the most original, useful, and inspiring books ever on dramatic writing. Praise for Into the Woods “Love storytelling? You need this inspiring book. John Yorke dissects the structure of stories with a joyous enthusiasm allied to precise, encyclopedic knowledge. Guaranteed to send you back to your writing desk with newfound excitement and drive.” —Chris Chibnall, creator/writer, Broadchurch and Gracepoint “Outrageously good and by far and away the best book of its kind I’ve ever read. I recognized so much truth in it. But more than that, I learned a great deal. Time and again, Yorke articulates things I’ve always felt but have never been able to describe. . . . This is a love story to story—erudite, witty and full of practical magic. I struggle to think of the writer who wouldn’t benefit from reading it—even if they don’t notice because they’re too busy enjoying every page.” —Neil Cross, creator/writer, Luther and Crossbones “Part ‘how-to’ manual, part ‘why-to’ celebration, Into the Woods is a wide-reaching and infectiously passionate exploration of storytelling in all its guises . . . exciting and thought-provoking.” —Emma Frost, screenwriter, The White Queen and Shameless
Methods of Historical Analysis in Electronic Media provides a foundation for historical research in electronic media by addressing the literature and the methods--traditional and the eclectic methods of scholarship as applied to electronic media. It is about history--broadcast electronic media history and history that has been broadcast, and also about the historiography, research written, and the research yet to be written. Divided into five parts, this book: *addresses the challenges in the application of the historical methods to broadcast history; *reviews the various methods appropriate for electronic-media research based on the nature of the object under study; *suggests new approaches to popular historical topics; *takes a broad topical look at history in broadcasting; and *provides a broad overview of what has been accomplished, a historian's challenges, and future research. Intended for students and researchers in broadcast history, Methods of Historical Analysis in Electronic Media provides an understanding of the qualitative methodological tools necessary for the study of electronic media history, and illustrates how to find primary sources for electronic media research.
