*Susan Ohmer*, George Gallup in Hollywood** (New York: Columbia *Univeristy* Press, 2006).
Pg2: “…the decade of the 1940s marks a critical juncture. Before then, directors, producers, and exhibitors relied primarily on their own observations, on fan mail, or on reports in trade papers for indications of how audiences felt about a film.”
Pg2: “Though there were some informal studies of public opinion during the 1920s and 1930s, it was not until the 1940s that the industry began to employ what were considered to be more scientific methods for studying viewers’ responses, using carefully designed questionnaires and population samples.”
Pg2: “These new methods reflected the emergence of national opinion polls in the United States and the development of more sophisticated techniques of empirical research in print and broadcasting media.”
Pg3: “…polls carrying his name are seen as authoritative sources of information about public opinion on a wide range of subjects.”
Pg11: “During World War II there was a lull in commercial opinion polling, though the military and government greatly increased their use of survey research.”
Pg194: “As animation’s most visible practitioner, Disney possessed enormous cachet within the film industry and within American culture as a whole.”
Pg194: “Disney’s characters became an integral part of American popular culture: images of Mickey mouse, Donald Duck, and the Three Little Pigs saturated the country in comic strips storybooks, watches, and toys.”
Pg204: “As Eric Smoodin documents in Animating Culture, this film – The New Spirit– was intended to inspire particular economic groups, lower- and lower-middle-income citizens, to pay the new taxes willingly. Gallup offered Disney determine whether the film had succeeded by providing a demographic analysis of its viewers.”
Pg205: “Recognized as a leading expert on air warfare, Severskypublished the book to promote his idea that the United States needed to upgrade its...