JК
Danse Macabre :: Кинг Стивен
Страница: 204 из 359Kolchak: The Night Stalker (which became known during its run to some pundits as Kolchak's Monster of the Week ) nonetheless holds a certain warm spot in my heart-a small warm spot, it is true-and in the hearts of a great many fans.
There is something childlike and unsophisticated in its very awfulness.
5
" There is a fifth dimension beyond that which is known to man. It is a dimension as vast as space and as timeless as infinity. It is the middle ground between light and shadow, between science and superstition, between the pit of man's fears and the summit of his knowledge. It is the dimension of the imagination. It is an area we call . . . The Twilight Zone .” With this rather purple invocation-which did not sound purple at all in Rod Serling's measured and almost matter-of-fact delivery-viewers were invited to enter a queerly boundless other world . . . and enter they did. The Twilight Zone ran on CBS from October of 1959 through the summer of 1965-from the torpor of the Eisenhower administration to LBJ's escalation of American involvement in Vietnam, the first of the long hot summers in American cities, and the advent of the Beatles.
Of all the dramatic programs which have ever run on American TV, it is the one which comes closest to defying any overall analysis. It was not a western or a cop show (although some of the stories had western formats or featured cops 'n' robbers); it was not really a science fiction show (although The Complete Directory to Prime Time Network TV Shows categorizes it as such); not a sitcom (although some of the episodes were funny) ; not really occult (although it did occult stories frequently-in its own peculiar fashion), not really supernatural. It was its own thing, and in a large part that fact alone seems to account for the fact that a whole generation is able to associate the Serling program with the budding of the sixties . . . at least, as the sixties are remembered.
Rod Serling, the program's creator, came to prominence in what has been referred to as television's "golden age"-although those who have termed it so because they remember fondly such anthology programs as Studio One, Playhouse 90, and Climax have somehow managed to forget such chestnuts as Mr. Arsenic, Hands of Mystery, Doorway to Danger, and Doodle Weaver -programs which ran during the same period, and which by comparison make such current TV programs as Vega$ and That's Incredible ! look like great American theater. Television never really has had a golden age; only successive seasons of sounding brass which vary slightly as to the trueness of the tone.
There is something childlike and unsophisticated in its very awfulness.
5
" There is a fifth dimension beyond that which is known to man. It is a dimension as vast as space and as timeless as infinity. It is the middle ground between light and shadow, between science and superstition, between the pit of man's fears and the summit of his knowledge. It is the dimension of the imagination. It is an area we call . . . The Twilight Zone .” With this rather purple invocation-which did not sound purple at all in Rod Serling's measured and almost matter-of-fact delivery-viewers were invited to enter a queerly boundless other world . . . and enter they did. The Twilight Zone ran on CBS from October of 1959 through the summer of 1965-from the torpor of the Eisenhower administration to LBJ's escalation of American involvement in Vietnam, the first of the long hot summers in American cities, and the advent of the Beatles.
Of all the dramatic programs which have ever run on American TV, it is the one which comes closest to defying any overall analysis. It was not a western or a cop show (although some of the stories had western formats or featured cops 'n' robbers); it was not really a science fiction show (although The Complete Directory to Prime Time Network TV Shows categorizes it as such); not a sitcom (although some of the episodes were funny) ; not really occult (although it did occult stories frequently-in its own peculiar fashion), not really supernatural. It was its own thing, and in a large part that fact alone seems to account for the fact that a whole generation is able to associate the Serling program with the budding of the sixties . . . at least, as the sixties are remembered.
Rod Serling, the program's creator, came to prominence in what has been referred to as television's "golden age"-although those who have termed it so because they remember fondly such anthology programs as Studio One, Playhouse 90, and Climax have somehow managed to forget such chestnuts as Mr. Arsenic, Hands of Mystery, Doorway to Danger, and Doodle Weaver -programs which ran during the same period, and which by comparison make such current TV programs as Vega$ and That's Incredible ! look like great American theater. Television never really has had a golden age; only successive seasons of sounding brass which vary slightly as to the trueness of the tone.