The Eighties in America - Salem Press (2009)

black-and-white cinematography they replaced or of
contemporary films originally shot in color. The cost
of colorizing remained high, even with advances in
computer technology, and the integration of color
into the films was less than satisfactory. As a direct re-
sult of the controversy, though, the U.S. government
began to maintain an annually growing list of films
that were considered to be part of Americans’ cul-
tural heritage, increasing both funding for and in-
terest in film preservation and film history.
As television channels began to proliferate and
the need for reasonably priced programming in-
creased, colorized television shows seemed more ap-
pealing. The cost of colorizing favorite black-and-
white television shows was far less than making new
shows in color, and there were no residuals to pay to
actors, directors, and others who had either passed
on or were contractually excluded. In spite of the
strong argument in favor of colorizing old shows,
McHale’s Navywas one of only a very few television
shows to be colorized during the 1980’s. Though
many disagreed about its value, colorization offered
a process to reintroduce old black-and-white films
and television shows to present and future genera-
tions.

Further Reading
Grainge, Paul. “Reclaiming Heritage: Colourization,
Culture Wars, and the Politics of Nostalgia.”Cul-
tural Studies, October, 1999, 621-638. Discusses
the controversy over film colorization’s impact on
American culture and its regard for early movies.
Mathews, Jack. “Film Directors See Red Over Ted
Turner’s Movie Tinting.”The Los Angeles Times,
September 12, 1986, sec. 6, p. 1. A detailed ac-
count of the reactions of filmmakers to Ted
Turner’s decision to colorize black-and-white films
he had purchased from large Hollywood studios.
Comments from both proponents and opponents,
including Woody Allen, Billy Wilder, and color-
izing company executives give a balanced discus-
sion of both views.
Sherman, Barry L., and James R. Dominick. “Per-
ception of Colorization.”Journalism Quarterly 65
(Winter, 1988): 976-980. Researched data on
mostly favorable audience response to colorized
films with audiences finding them more contem-
porary than black-and-white films.
Young, James O. “Still More in Defense of Color-
ization.”Journal of Aesthetics and Art Criticism 50

(Summer, 1992): 245-248. Discusses arguments

for and against film colorization, supporting the

view that it is not morally equivalent to tampering

with such instantiated artworks as paintings or

sculpture.

Jane L. Ball

See also Computers; Film in the United States;

Special effects; Television; Turner, Ted.

Comedians

Definition Performers of humorous material on

stage and in film, television, and recordings

By the 1980’s, comedians were performing live not only in

small comedy clubs, nightclubs, and theaters but also in

huge sports arenas. Meanwhile, the advent of cable televi-

sion allowed them to reach even wider audiences.

By the 1980’s, comedians’ role had become impor-

tant in the entertainment world; audiences flocked to

see them. Comic repertoires had expanded signi-

ficantly during the 1960’s and 1970’s. Some comedi-

ans’ routines continued to comprise relatively uncon-

troversial tall tales, jokes, and one-liners about

mothers-in-law or “walking into a bar,” but others en-

compassed largely untapped topics like race rela-

tions, political figures, and sex. It was not lost on im-

presarios that comedians could attract large paying

crowds in huge venues. Popular comedians contin-

ued to perform on television and in movies, while the

rise of cable television channels such as Home Box

Office (HBO) allowed them to reach vast audiences

with their routines virtually uncensored.

Comedic Subgenres At first, young comics finding

their voices during the second half of the twentieth

century tended to follow the style of earlier comedi-

ans like Jack Benny. By the 1980’s, however, they be-

gan varying their material. Nevertheless, they tended

to fall into recognizable subgenres. Observational

comedians, for example, talk about their own every-

day lives (whether actual or vastly exaggerated).

They make fun of normal society, often focusing on

and ascribing great importance to life’s seemingly

trivial minutia. Observational comedians comment

on their perceptions of family, friends, and even

strangers. Almost any familiar activity or practice is

suitable for their comedy. For example, when car-

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Comedians The Eighties in America