Prime-Time Families: Television Culture in Post-War AmericaUniversity 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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... particular Allan Arkush , Harriet Baxter , Susan Biskeborn , Wini Breines , Mary Bruno , Anita Diamant , Stephanie Engel , Ora Gladstone , Herman Gray , Judy Howard , Cheryl Klausner , Lynne Layton , Netta Rice , Michal Safdie , George ...
... particular Allan Arkush , Harriet Baxter , Susan Biskeborn , Wini Breines , Mary Bruno , Anita Diamant , Stephanie Engel , Ora Gladstone , Herman Gray , Judy Howard , Cheryl Klausner , Lynne Layton , Netta Rice , Michal Safdie , George ...
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... particular concern was with the light that changing themes in television could shed on certain issues that were preoccupying cultural critics and social scientists during this period : the tendency to describe America as a culture in ...
... particular concern was with the light that changing themes in television could shed on certain issues that were preoccupying cultural critics and social scientists during this period : the tendency to describe America as a culture in ...
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... particular themes that deepen and qualify conceptual sweeps of continuity and change . The 197os ( loosely defined as the period between 1968 and 198o ) are of particular interest to cultural historians because the period is marked by ...
... particular themes that deepen and qualify conceptual sweeps of continuity and change . The 197os ( loosely defined as the period between 1968 and 198o ) are of particular interest to cultural historians because the period is marked by ...
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... particular difficulties faced by women , the majority of whom were working mothers in low - paying routine jobs . With the divorce rate and the number of unmarried mothers ( especially teenage mothers ) rising , a growing proportion ...
... particular difficulties faced by women , the majority of whom were working mothers in low - paying routine jobs . With the divorce rate and the number of unmarried mothers ( especially teenage mothers ) rising , a growing proportion ...
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Inhalt
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 |
Andere Ausgaben - Alle anzeigen
Prime-Time Families: Television Culture in Post-War America Ella Taylor Eingeschränkte Leseprobe - 1989 |
Prime-Time Families: Television Culture in Post-War America Ella Taylor Eingeschränkte Leseprobe - 1989 |
Prime-time Families: Television Culture in Postwar America Ella Taylor Keine Leseprobe verfügbar - 1989 |
Häufige Begriffe und Wortgruppen
advertisers ambiguous ambivalence American Archie Barney Miller becomes Bob Newhart Show boundaries Bunker Chapter character commercial concerns conflict consensus contemporary corporate Cosby Show cultural criticism daughter decade divorce domestic comedy dramatic series episodic series ethnic everyday family comedies feminism film gender genre growing Hill Street Blues imagery industry issues Lear lives Lou Grant marriage Mary Hartman Mary Tyler Moore Mary's mass audience Maude meanings Michael modern mother movie MTM Productions Nielsen ratings Norman Lear Norman Lear's normative nuclear family parents police political popular prime-time television problems producers professional programming relationship relevance Rhoda role routine Sanford Sanford and Son season shift show's sitcom situation comedy soap opera social change sphere structure success television entertainment television families television narrative television workplace television's themes traditional troubled Tyler Moore Show viewers Waltons woman women work-family
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.