Against Closed Eyes In Marketing

If you are a fan of the movies, you may be wondering about the process that’s involved in selecting the best actors that are awarded Oscars by the Academy of Motion Picture Arts and Sciences. Indeed, the manner in which the best actors and actresses are chosen for Oscars is a rather complicated process on some level. With that said, the nomination and election process for movies, actors, actresses and the like within the Academy of Motion Picture Arts and Sciences has been in place for years. The process seems to work well although some recent complaints have been voiced in regard to the advertising campaigns that now surround the awards process following the announcement of nominees.

1The first step in selection the best actors in movies as part of ultimate awarding of the Academy Awards or Oscars is the nomination process. The Academy of Motion Picture Arts and Sciences is made up of men and women who are professionals in fields related to the making and production of movies. A slate of nominators is appointed by the Academy to come up with the names of the actors and actresses who will be put before the enrolled members of the Academy as nominees for Academy Awards. The actors and actresses are nominated for their work in movies that were produced and that were presented in theaters during the preceding year. Needless to say, a nomination for an Academy Award is one of the highest honors that a person who works in the movies can receive at any time in their lives.

2Following the nomination process, voting by select members of the Academy of Motion Picture Arts and Sciences occurs. The voting process employed by the Academy when it comes to rewards for movies is rather interesting and unique. For example, all of the actors who are enrolled members of the Academy vote on the slates of best actors and best supporting actors who have been nominated for Oscars for their roles in movies. Likewise, directors vote on the directors prize, screenwriters on the screenwriters prize and so forth. All members of the Academy are able to vote on those movies nominated for best picture.

3Prior to the actual voting process, a very active promotional campaign takes part on behalf of the nominated actors from various movies. In recent years, significant advertising campaigns have been mounted in support of the different actors, actresses and other professionals involved in movies. Ads are taken out in the trade publications. Banquets are held promoting different movies. Thousands and thousands of dollars are spent promoting the nominated movies, the actors, the actresses and the nominees in a variety of other categories. Indeed, the campaigning for Oscars has become one of the most competitive ventures in all of Hollywood — even more competitive than the scrapping and clawing for roles in movies.

4Once the voting deadline passes in regard to selecting the best actors in movies for the year, the ballots are tabulated by an independent accounting firm. As each vote is cast for the movies and professionals under consideration, the ballots are sent to an accounting firm that holds them in a secure location. The accounting firm tabulates the votes relating to the various movies in secret. For years, the accounting firm that handled these magical movie awards was the venerable agency of Price-Waterhouse. Not even the men and women who serve as officers of the Academy know who the winners are in advance of the award ceremony itself.

5On the night of the televised awards, the winners from the various movies in the best actor, best actress and other categories are announced. Essentially no one knows who the various winners are prior to the announcement of the various awards during the award show presentations for the various movies, performances and the like.

In conclusion, and as an interesting aside, the Academy Award statuette was not always known as “Oscar.” In fact, it was screen legend Bette Davis who dubbed the Academy Award statuette “Oscar.” During an Academy Awards ceremony some years back Bette Davis remarked that the statuette looked exactly like her husband … who was named “Oscar.” Oscar stuck.

Publisher & Author Raymond DeChampfleur - You can access detailed articles, news, & more relevant resources along with great information and downloads on the movies and music world at Movies or http://muzic-and-moviez.com/wordpress/categories/articles/

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Doris Lloyd takes on the character of Miss Maud Mockeridge, English lady romance novelist in the twisty Dangerous Corner (1934 US). Forget the plot and surprise ending; just study Maud.

(Virginia Bruce as Ann, Melvyn Douglas as Charles)

Publishing partners Ann and Charles are also romantically flitting around each other, though this has been pushed aside in the busyness of manuscripts and authors.

Opening scene: Ann is about to host a breakfast interview on her apartment balcony for Romance author Maud Mockeridge. The English lady novelist has already published “A Flame”, “Scarlet Flowers”, “Burnt Wings” and “Paradise For Two”. Over kippers and toast they discuss her new book “Ecstasy” and a possible contract before Maud travels back to England.

Charles arrives unexpectedly before Miss Mockeridge and lighthearted romance takes place. The maid answers the door to the famous dame of love.

Ann, anxious about being discovered with a man in her apartment before breakfast declares to Charles: “Stand in the middle of floor and look innocent.”

Charles: “Yeah, that’s our great trouble. We are innocent. All we ever do is stand in the middle of the room.”

Maud Mockeridge’s bosom rises in poetic moral amusement: “I came in a minute too early. He lingered a moment too late in fond farewell.”

She adds in haste: “I have my own moral code. It’s quite simple. Two baths a day and mind your manners.”

Later that morning Ann joyfully announces to her publishing partners that she has secured a three year contact with Miss Mockeridge. Next month “Ecstasy” will be ready. Six months later “Emma The Passionate” and in one year “Sleeping Dog”.

Some time passes and the partners gather for a dinner party where Maude’s new novel “Sleeping Dogs” brings a foam of questions about truth. The title is based on an old proverb meaning don’t disturb the truth.

Charles: “Which the chief character, the husband, insisted on disturbing with strange and disastrous consequences.”

The truth is questioned by all. Ann: “Well there’s truth; and then there’s truth.”

A bagful of views on truth and complete truth is unloosed. Arguments arise and Maud is mentally taking notes of the situation. Perhaps she is adding to her mind’s collection of notes for future novels? She leaves with a Miss Marple style “Goodbye” thus showing her dislike of unharmonious gatherings.

Maud Mockeridge is a wonderful example of the 1930’s style romance author… refined, sophisticated, unhurried, and sought after by a sighing following of women. Publishers wooed her. Not crimped by the winds of today’s frantic marketing, she was free to do what authors do best. She just wrote!

Full graphics version here

Esmerelda Jones… Writer Of Desires

Author of: The Higher Self expressed in Ancient Wisdom, Beauty, Goddess Sensuality, Golden Wealth, Poems For The Passionate, Ecstatic Romance. Writings of the struggling Lower Self in tales of Victoriana, Victorian Swoon Flash Fiction, Old Curiosities, Bushrangers and Quaint Collections.

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One of the highest rated prime time television shows of the late 70s and early 80s was The Dukes Of Hazzard. The family friendly action series took a comic book approach to telling its tale of a family of farmers with a fast race car named the Dukes. The Dukes – comprised of Uncle Jesse, Cousin Bo, Cousin Luke, and Cousin Daisy – are reformed bootleggers who constantly butt heads with local sheriff Rosco P. Coltrane and county commissioner J.D. Hogg. With the aid of local mechanic Cooter and the bright orange General Lee race car, the Dukes are always one step ahead of the bad guys…

The Dukes of Hazzard (Season 2) DVD provides a number of famous episodes, including guest appearances by Cale Yarborough and The Oak Ridge Boys. Deputy Sheriff Cletus (Rick Hurst) also makes his first appearance in the show’s second season. Boss Hogg nephew Hughie Hogg (Jeff Altman) also makes his first appearance. With Waylon Jennings’s weekly narrations as “The Balladeer” (performing artist of the show’s legendary, chart-topping theme song), The Dukes of Hazzard provides hours of family-friendly programming as Boss and Roscoe match wits with the Duke clan…

Below is a list of episodes included on The Dukes Of Hazzard (Season 2) DVD:

Episode 14 (Days Of Shine And Roses) Air Date: 09-21-1979
Episode 15 (Gold Fever) Air Date: 09-28-1979
Episode 16 (The Rustlers) Air Date: 10-05-1979
Episode 17 (The Meeting) Air Date: 10-12-1979
Episode 18 (Road Pirates) Air Date: 10-19-1979
Episode 19 (The Ghost Of The General Lee) Air Date: 10-26-1979
Episode 20 (Dukes Meet Cale Yarborough) Air Date: 11-02-1979
Episode 21 (Hazzard Connection) Air Date: 11-09-1979
Episode 22 (Witness For The Persecution) Air Date: 11-16-1979
Episode 23 (Granny Annie) Air Date: 11-23-1979
Episode 24 (People’s Choice) Air Date: 11-30-1979
Episode 25 (Arrest Jesse Duke) Air Date: 12-14-1979
Episode 26 (Duke Of Duke) Air Date: 01-04-1980
Episode 27 (The Runaway) Air Date: 01-11-1980
Episode 28 (Follow That Still) Air Date: 01-18-1980
Episode 29 (Treasure Of Hazzard) Air Date: 01-25-1980
Episode 30 (Officer Daisy Duke) Air Date: 02-01-1980
Episode 31 (Find Loretta Lynn) Air Date: 02-08-1980
Episode 32 (Jude Emery) Air Date: 02-15-1980
Episode 33 (Return Of The Ridge Raiders) Air Date: 02-22-1980
Episode 34 (Mason Dixon’s Girls) Air Date: 02-29-1979
Episode 35 (R.I.P. Henry Flatt) Air Date: 03-14-1979
Episode 36 (Southern Comfurts) Air Date: 03-21-1979

Britt Gillette is author of The DVD Report, a blog where you can find more reviews like this one of The Dukes Of Hazzard (Season 2) DVD.

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Audiences are waking up to the talents of New York City filmmaker Alan Berliner, who premiered his latest documentary “Wide Awake” at the 2006 Sundance Film Festival. The Emmy-Award winner examines his own life-long struggle with insomnia, a problem that can be caused by any one of about 80 different sleep disorders that plague millions of people.

In this first-person account, which Berliner directed, wrote, and narrated, he views his sleeplessness as a blessing and a curse. While he works 24-hour shifts feverishly cataloging movie reels and memorabilia, and editing (and re-editing) his latest projects, he realizes that most of the country calmly and quietly enjoys a good night’s sleep.

“Since I am a card-carrying sufferer of insomnia, and an extreme night owl to boot, I had good days and bad days making the film – all of which made it both painful and comical when I was too tired to actually work on the film,” he says.

In addition to fatigue, classic symptoms of severe sleep deprivation include increased sensitivity to pain and noise, irritability, confusion, upset stomach, and hallucinations – all of which may seem comical to others, though quite painful to the insomniac.

Using old film clips and retro songs, “Wide Awake” tells the darkly amusing tale of how Berliner can’t seem to edit his internal movie screen, which runs 24-hour newsreels, features, and documentaries. He wants to fade to black, but can’t seem to turn off the projector in his mind.

Berliner’s fascination with the connection between information overload, movies, and sleep began more than 25 years ago with his experimental film “City Edition” (1980). In this black-and-white short -– a mere cat nap of a film, so to speak -– he uses a newspaper printing press to begin the film, which consists entirely of a dizzying montage of found footage including old news items from around the world. Each film clip connects visually, aurally, or thematically until a loose pattern emerges. At the end of the film, a man wakes and turns off his alarm clock, indicating the rush of images was only a dream, and the images only momentarily meaningful.

“The purpose of showing the images as dream is to make sense of non-sense. The use of the dream sequence in ‘City Edition’ is a way of linking the overwhelming array of information…that is inextricably woven into the experience of modern urban existence,” Berliner says.

He takes delight in exploring the “factory of where random juxtapositions and implausible connections are and can be manufactured…every night.” That is, when he gets the luxury of actually falling asleep.

Like many other artists, Berliner claims to do his best work after midnight. Also like other artists, he prefers to explore issues close to home. His previous films are more like personal essays than actual documentaries in that they ask more questions than they answer. “The Sweetest Sound” studies the universal relationship between a person’s name and his or her identity. “Nobody’s Business” is a warts-and-all look at his late father. “Intimate Stranger” recounts the life of his world-traveling grandfather; and “The Family Album” combines found footage from old home movies to make a statement about the role of family in our lives.

“These films are designed to transcend the specificity of the details of my own particular family,” he says. “In the spirit of the way that memoirs are supposed to work, my story becomes a window out to viewers that opens up a series of questions…and offers new ways of looking at themselves. I try to tap into the common levels of experience that people have.”

Whether the common experience is maintaining family relations, realizing your identity, or just trying to get a little shut-eye, Berliner takes his position as personal essayist seriously.

“I like to think that I have a contract with the audience,” he says. “They trust me enough to know that I never intend to be self-indulgent or sentimentalize. My films are open and honest and made in the spirit of opening a subject, using humor or irony when appropriate, with naturally occurring pathos.”

Copyright 2006 Leslie Halpern

Leslie Halpern is the author of “Dreams on Film. The Cinematic Struggle Between Art and Science” (McFarland & Company), a book that analyzes representations of sleeping and dreaming in the movies. She also wrote “Reel Romance. The Lovers’ Guide to the 100 Best Date Movies” (Taylor Trade Publishing), a book that reviews date movies for couples, and suggests romantic ideas inspired by these films. Her articles have appeared in hundreds of entertainment trade and consumer magazines. Visit Leslie’s website at http://home.cfl.rr.com/lesliehalpern/leslie_halpern.htm

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Coming May 12, 2006, to a theatre near you, a new updated retelling of “The Poseidon Adventure” called just, “Poseidon”. The original classic 1972 movie starred Ernest Borgnine and Gene Hackman. The premise focuses on a cruise ship named Poseidon that is flipped upside down by a giant wave. A group of survivors head toward the bottom of the ship, which is really the top, in an effort to survive certain doom.

The movie was actually based on a book by by Paul Gallico. He had based the story on a childhood experience aboard the Queen Mary where a wave had almost capsized the ship. He would later do research with insurance companies concerning overturned ships to get information for his novel.

The original movie was followed by “Beyond the Poseidon Adventure” starring Michael Caine and Telly Savalas Where as the first one centered around escaping an overturned ship, this one focuses on men seeking treasure from the overturned ship. The original movie is currently on DVD format, but “Beyond the Poseidon Adventure” at the time of this writing has not yet been released.

The TV movie version, now on DVD, starring Steve Guttenberg and C. Thomas Howell, of “The Outsiders” fame, was actually pretty good, but I doubt it will compare to the latest movie version in terms of special effects and production value.

The new movie, starring Kurt Russell, Richard Dreyfuss, and Josh Lucas, doesn’t appear to be using the same characters as the classic “Poseidon Adventure”. I suppose this is a move to not just repeat the same exact story with higher production values. It promises to be a very exciting movie. If “Titanic” was any indication this one could really make big bucks at the box office. One thing is for sure, this movie release can’t be good for the cruise industry.

http://movie-poster.ws/ movie posters,news, and wallpaper

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Clearly, many shows are carried by the personality of the presenter though they frequently reflect a triumph of style over substance. This, arguably, excludes Dickinson, who dominates the screen, demonstrating boundless enthusiasm and an opinion on almost everything. He is somewhat redolent of the eponymous Lovejoy, that roguish, careworn but charming dealer, so successfully played by Ian McShane in the BBC series, but his piece de resistance surely has to be his hair. Whatever authority he may exude examining a Victorian tortoise shell box or a chipped Minton plate, one cannot but be drawn to his vertiginous mullet, a shock of hair so dense it could comfortably accommodate a nest of birds. I think he could probably make a passable living as an Elvis impersonator such is his showmanship but this is in marked contrast to another member of the bouffant brigade, the erstwhile host of The Antiques Roadshow, Hugh Scully, who looked as though he’d taken a dose of mogadon every time he stepped in front of the camera.

Then again, The Antiques Roadshow experts generally come over as a pretty uninspiring crowd. Some of them are well qualified on their specialist subjects and, indeed, are often a fount of knowledge but I’ve seen more verve from a blind man crossing a busy dual carriageway. They come from near and far, many representing leading auctioneers, but their delivery and mode of questioning are so entirely predictable, this show must possess the most threadbare autocue in television history. Can it be a complete coincidence that The Antiques Roadshow is scheduled alongside another BBC stalwart, Songs of Praise, a programme that appears to be populated by precisely the same audience, albeit the host is in a frock? Perhaps they’re all seeking salvation for ghastly misjudgements or overinflated expectations.

Anyhow, some experts are notably well informed so should, for example, James Braxton of Edgar Horn or Roy Butler of Wallis and Wallis pop up on your screen talking about Tunbridgeware and guns respectively, please pay attention. These guys know what they are talking about. The problem is that the producers seem hell bent on incorporating all manner of rubbish in their desire to be egalitarian and inclusive and fail miserably in the process. It would be far better television, frankly, if the nominated expert took one look at a given object, profusely thanked the owner for shlepping it over land and sea, and then recommended it for firewood. Why has The Antiques Roadshow not created a Christmas special of all those unmitigated disasters brought in by the deeply earnest, deeply greedy and deeply ignorant? Don’t you secretly long for a sarcastic appraiser to enquire “You really dragged this piece of crap in here thinking it was worth something? What do you use for brains? Stop wasting my time!” Is anybody home at Broadcasting House? And is anybody listening?

Part two in the series of articles by Howard Lewis.
(Read part one… The Price is Right: Appraisal, Valuation and Inspired Guesswork or the Rise of TV Antique Shows and the Collecting Bug in the invaluable blog at www.invaluable.com).

Howard Lewis,
Chairman, Invaluable group of companies.

http://www.invaluable.com

Only Invaluable gives you unrivalled access to pre-sale and post-sale information for auction houses and salerooms across the globe.

Find art, antiques and collectables. Try our Keyword search, register at http://www.invaluable.com for a free 14 day trial.

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Many proponents of market sphere argue that freedom of the mass media is an essential part of democracy. Television along with other mass media has the important role of keeping citizens informed about domestic and world events. Thus, the mass media have been called the watchdogs of democracy because journalists are expected to keep an eye on the government for the people. The ability of journalists to write and broadcast without fear of government censorship is a cornerstone of freedom in the United States.

In 1941, television broadcasting began in the United States. By 1949, there were more than 100 television stations and two regular news programs on NBC and CBS. The new medium of television quickly became more powerful than radio.

In 1961, Newton Minow, chairman of the Federal Communications Commission (FCC) gave a now-famous speech to the National Association of broadcasters in which he described the world of television broadcasting as a “vast wasteland,” consisting of nothing more than game shows, westerns, Cold War spy dramas, formula comedies, and cartoons. At the same time, some Americans were arguing that television stations should offer more educational programming.

In 1967, a federally funded commission of educators and broadcasters issued a landmark report on the future of educational television, stating that public broadcasting—funded by the taxpayers—could provide an important public service and improve the democratic process by airing government debates, expanding citizens’ world views, and giving voice to groups that would otherwise never be heard. That is how Public Broadcasting was created.

Critics of public broadcasting say it is a liberal and elitist institution that is too focused on attracting corporate sponsors. They cite popular shows such as Teletubbies as an example of how public programming has moved away from its original mission of education and public service and created more commercial offerings. Many people also contend that public broadcasting no longer provides a unique product now that private cable companies offer options such as the history Channel and the Discovery Channel. Opponents of federal subsidies argue that public broadcasting stations can do without the extra money anyway, because they already raise enough pledge drives, corporate underwriting, and video and book sales.

Supporters of public broadcasting reply that it still offers a wider variety of in-depth educational and cultural programs than any of the private television channels or radio stations. They say that public programming is not biased and point to past efforts to accommodate republican critics by offering conservative news commentary programs. Public broadcasters argue that they still need federal support because their projects—while educationally valuable—are often risky and not necessarily commercially viable. They also note that opinion polls consistently reveal that the public is happy with PBS.

Croteau and Hoynes in their book The Business of Media explore issues and concerns from a market model perspective. They stress the public sphere model, providing a critical analysis of the contemporary media business. The authors argue that, in its expansive pursuit of profits, the highly concentrated media industry often fails to serve public interests.

Many supporters of Corteau and Hoynes argue that media has too much power and often use it irresponsibly. Others respond that the press promotes democracy by keeping citizens informed, searching for the truth, and exposing corruption and scandals.

The public broadcasting system has become too commercial and biased toward its liberal, elitist audience. As a result, its programming has suffered. Now that private cable channels offer similar shows, taxpayers-funded broadcasting is no longer necessary. Public broadcasting stations should and can support themselves through other means.

Lloyd Johns was a professional freelance writer for 13 years.
Now he is a technical writer, advertising copywriter, & website copywriter for Custom Essays Writing Network

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WHO’S THAT KNOCKING AT MY DOOR? (1967) is probably Martin Scorcese’s first film. I bet it is also Harvey Keitel’s first film who showed up in response to an “actors wanted” ad that then NYU graduate student Scorcese ran in the local paper.

The shooting started in 1964 and ended up 4 or 5 years later, with some of the bedroom scenes shot in Holland.

It’s the story of a young good for nothing guy from Little Italy just bumming around with his friends and falling in love with a girl, blond and non-Italian, who is just a size too big for his conservative and male chauvinistic values.

Haunting B&W camera work foretells the great director of the future (who still is without an Academy Award of his own at this writing in 2006 despite having been nominated 6 times).

Choppy editing but surprise! It’s the same Thelma Schoonmaker who edited this “student film”. She will of course collaborate on many other projects with Marty and end up winning TWO Editing Oscars (for The Aviator in 2005 and Raging Bull in 1980).

The story line is nothing to write home about – young bum for whom women are either “girls” or “broads” and “whores” tries to find happiness as the world and his own background conspire against him. But young Keitel and Scorcese treat us to the raw talent that will eventually evolve into a focus of major fascination for us all movie fans and writers.

A 6 out of 10.

Ugur Akinci, Ph.D. is a Creative Copywriter, Editor, an experienced and award-winning Technical Communicator specializing in fundraising packages, direct sales copy, web content, press releases and hi-tech documentation.

He has worked as a Technical Writer for Fortune 100 companies for the last 7 years.

You can reach him at writer111@gmail.com for a FREE consultation on all your copywriting needs.

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The last book he has edited: http://www.lulu.com/content/263630

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As a kid I spent nearly every Saturday afternoon at the movies. You got to see a newsreel, cartoon, serial and a western for a quarter. Occasionally they would play a Lon Chaney werewolf movie, or a vampire film. They were all right, but I can’t say that they really frightened me very much. I didn’t get a real scare out of a movie until I was well into my teens. The movie was 1957 classic, The Night of the Hunter.

(Please be advised that the following contains spoilers and anyone intending to watch the film for the first time should be so warned.)

A young Peter Graves robs a bank. Before he is captured he gives the money to his children to hide. In prison, he tells Robert Mitchum about the money, and Mitchum, of course, is determined to get the money. He thanks god for the opportunity that has come his way. Several times in the movie he prays, with his knife between his hands. The villain quickly locates the town where Graves’ family is living and summarily seduces the mother. He also makes several attempts to find out where the children have hid the money. His sweet tone barely hides the malice underneath. The noir photography does a marvelous job of intensifying the terror, and James Gleason adds a much needed comic relief to the story.

Mitchum quickly murders the mother and disposes of the body by placing it into her car and runs it off of a dock. One of the film’s most haunting scenes is Shelley Winters long hair flowing under water. Afraid for their lives, the children take off in a boat. Again, the night scene on the river with the stars and the creatures along the bank are almost surreally beautiful. As they are on the river they see Mithum ride by against the moon singing Leaning on the Everlasting Lord.

Fortunately the children find a kindly heart, Lilian Gish, to take care of them. How the seemingly harmless Gish foils the villain is a masterpiece in telling. A scene where she is sitting on her porch with shotgun in hand and singing Bringing in the Sheathes with Mitchum is one of the great moments in film-making.

Besides a heart-thumping story, the cast is perfect. The children maintain their innocence, but have the necessary toughness to survive. Shelley Winters portrays the hapless mother to perfection. An interesting sidelight, Charles Laughton dislked children and so despised directing them that Robert Mitchum wound up directing them himself in several of the scenes.

This was the only film Charles Laughton ever directed. He had planned to direct The Naked and the Dead, but was so disappointed with the response to Night that he never directed again. I personally have never been able to understand why this isn’t considered one of the great film classics of all time. Blood and entrails make for nifty movies, but the cool and quiet menace of a honest-to-goodness makes for a much scarier film. I recommend this gem to everyone who likes movies.

John Anderson, AKA Raymond John, is a film-lover who has seen many thousands of films in his lifetime. His novel, The Cellini Masterpiece, written under the pen-name of Raymond John, is a movie in print. If you have a question, or would like to read the first chapter, please log-on to http://www.cmasterpiece.com.

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Widely considered one of the greatest, if not the greatest, show in television history, I Love Lucy signaled the ascendance of the prime time TV era. The brainchild of Lucille Ball and Desi Arnaz, I Love Lucy revolutionized the television industry with its extensive use of a live audience and the employment of multiple camera angles. The result of true comic genius, the show’s ability to entertain is just as relevant today as it was fifty years ago…

Real-life couple Lucille Ball and Desi Arnaz play the prominent roles of Lucy and Ricky Ricardo, a married couple living in a New York apartment complex. Ricky is a Cuban-born band leader who wows night clubs with his act, while Lucy is a homemaker. Lucy and Ricky’s best friends are landlords Fred and Ethel Mertz who often become intertwined in Lucy’s get-rich-quick schemes, screwball ideas, and comic shenanigans. Former masters of the stage, the cast comes across as a likeable bunch, with Lucille Ball stealing the show with her goofy antics and brilliant facial contortions. If ever there were a television classic, then I Love Lucy is it…

The I Love Lucy (Season 5) DVD offers a number of hilarious episodes including the season premiere “Lucy Visits Grauman’s” in which Lucy is wrapping up her extended trip to Hollywood where she’s collected a number of oddball collectibles, such as a tin can run over by Cary Grant’s car and a napkin used by Lana Turner. But when Lucy learns that John Wayne’s imprints on a concrete block in front of Grauman’s Chinese Theater have come loose, she decides to steal a real souvenir to take home… Other notable episodes from Season 5 include “Lucy Goes to a Rodeo” in which Lucy confuses Ricky’s performance on a “radio show” with his performance in a “rodeo show,” and “Paris at Last” in which Lucy’s trip to Paris is marked by her quest to find a famous artist whose paintings will one day be valuable, but the only artist she meets is a con artist who steals her blind…

Below is a list of episodes included on the I Love Lucy (Season 5) DVD:

Episode 128 (Lucy Visits Grauman’s) Air Date: 10-03-1955
Episode 129 (Lucy and John Wayne) Air Date: 10-10-1955
Episode 130 (Lucy and the Dummy) Air Date: 10-17-1955
Episode 131 (Ricky Sells the Car) Air Date: 10-24-1955
Episode 132 (The Great Train Robbery) Air Date: 10-31-1955
Episode 133 (Homecoming) Air Date: 11-07-1955
Episode 134 (The Ricardos are Interviewed) Air Date: 11-14-1955
Episode 135 (Lucy Goes to a Rodeo) Air Date: 11-28-1955
Episode 136 (Nursery School) Air Date: 12-05-1955
Episode 137 (Ricky’s European Booking) Air Date: 12-12-1955
Episode 138 (The Passports) Air Date: 12-19-1955
Episode 139 (Staten Island Ferry) Air Date: 01-02-1956
Episode 140 (Bon Voyage) Air Date: 01-16-1956
Episode 141 (Second Honeymoon) Air Date: 01-23-1956
Episode 142 (Lucy Meets the Queen) Air Date: 01-30-1956
Episode 143 (The Fox Hunt) Air Date: 02-06-1956
Episode 144 (Lucy Goes to Scotland) Air Date: 02-20-1956
Episode 145 (Paris at Last) Air Date: 02-27-1956
Episode 146 (Lucy Meets Charles Boyer) Air Date: 03-05-1956
Episode 147 (Lucy Gets a Paris Gown) Air Date: 03-19-1956
Episode 148 (Lucy in the Swiss Alps) Air Date: 03-26-1956
Episode 149 (Lucy Gets Homesick in Italy) Air Date: 04-09-1956
Episode 150 (Lucy’s Italian Movie) Air Date: 04-16-1956
Episode 151 (Lucy’s Bicycle Trip) Air Date: 04-23-1956
Episode 152 (Lucy Goes to Monte Carlo) Air Date: 05-07-1956
Episode 153 (Return Home from Europe) Air Date: 05-14-1956

About the Author

Britt Gillette is author of The DVD Report, a blog where you can find more reviews like this one of the I Love Lucy (Season 5) DVD.

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