Prime-Time Families: Television Culture in Post-War America

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University of California Press, 14.09.1989 - 208 Seiten
Prime-Time Families provides a wide-ranging new look at television entertainment in the past four decades. Working within the interdisciplinary framework of cultural studies, Ella Taylor analyzes television as a constellation of social practices. Part popular culture analysis, part sociology, and part American history, Prime-Time Families is a rich and insightful work the sheds light on the way television shapes our lives.

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Inhalt

Introduction Cultural Analysis and Social Change
1
Television as Family The Episodic Series 19461969
17
PrimeTime Relevance Television Entertainment Programming in the 1970s
42
Trouble at Home Televisions Changing Families 19701980
65
All in the WorkFamily Television Families in Workplace Settings
110
Family Television Then and Now
150
Notes
169
Bibliography
179
Index
187
Urheberrecht

Andere Ausgaben - Alle anzeigen

Häufige Begriffe und Wortgruppen

Beliebte Passagen

Seite 28 - a procession of game shows, violence, audience participation shows, formula comedies about totally unbelievable families, blood and thunder, mayhem, violence, sadism, murder, western bad men, western good men, private eyes, gangsters, more violence, and cartoons. And endlessly, commercials—many screaming, cajoling, and offending
Seite 34 - appeals to that side of all of us which refuses to believe in the ‘normal' possibilities of happiness and achievement; the gangster is the ‘no' to that great American ‘yes' which is stamped so big over our official culture
Seite 8 - by way of a dialectic Marx could never have imagined, technocratic America produces a potentially revolutionary element among its own youth. The bourgeoisie, instead of discovering the class enemy in its factories, finds it across the breakfast table in the person of its own pampered children
Seite 153 - if we understand the television narrative as a commentary on, and resolution of, our troubles rather than a reflection of the real conditions of our lives, it becomes possible to read the television work-family as a critique of the alienating modern corporate world and an affirmation of the possibility of community and cooperation amid the loose and fragmentary ties of association.
Seite 7 - our last refuge, our only defense against universal predatory selfishness, loneliness, and rootlessness; the idea that there could be desirable alternatives to the family is no longer taken seriously.
Seite 127 - We wanted to say that war was futile, to represent it as a failure on everybody's part that people had to kill each other to make a point,
Seite 58 - the way the women's movement started to evolve. So not only our ideas, but what was happening in society began to appear in the show. But we did not espouse women's rights, we sought to show a woman from Mary Richards' background being in a world where women's rights were being talked about.
Seite 66 - the New York Times and the Los Angeles Times as well as in
Seite 81 - Mister we could use a man like Herbert Hoover again Didn't need no Welfare State Everybody pulled his weight Gee, our old Lasalle ran great Those were the days.

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