24 Matching Annotations
  1. Last 7 days
    1. While this avalanche of sex‐themed programming did not, necessarily, signal that network television was a participant in a radical politics of sexual revolution, TV representations managed to both uphold traditional sexual dynamics, gender representations, and heterosexism and to incorporate new feminist and gay rights‐informed discourses and sexual politics.

      It seems that oftentimes when there is an effort to incorporate more diversity in television/film, there is a balance between representation and a reinforcement of stereotypes or traditional dynamics. Considering how far television, film, and other forms of media have come in terms of production, it is concerning that we still face similar social issues revolving around the representation of different genders, sexual orientations, races, and so on.

    2. Gray (1994) further notes the sustained, cumulative power of contrasting representations of black life in the United States as seen during the classic network era in the juxtaposition of news and documentary images of “underclass failure,” on the one hand, and those of The Cosby Show’s (NBC, 1984–92) “middle‐class success,” on the other. News reports tended to focus on themes of “drugs, homicide, and crime,” while entertainment programming gave viewers a utopian world of black success that confirmed the American Dream and presented black characters inhabiting familiar TV genres (like the sitcom) likely to be comfortable to white viewers (Gray 1994: 185)

      I feel that this juxtaposition of Black Americans being shown as "underclass failures" in the news, and "middle-class successes" in TV programs can be very harmful, as it may give people a false belief that Black citizens in less well-to-do communities can simply work their way up and out of the poor living conditions that they face. Pushing out the negative stories that come from these poorer communities in the news, the white-dominated media promotes an idea that non-white Americans are willingly choosing to act criminally instead of working their way up in life.

    3. In a post‐VCR era, scholars also had the benefit of being able to actually capture, read, and analyze TV’s programming and advertising

      This is an aspect of television analysis that I also had not considered, and I wonder how thoughts about early television broadcasting may have compared if scholars were able to record, re-watch, and examine these older programs and advertisements more carefully. While the content and themes within shows and advertisements changed over the years, I'm curious whether general reactions to these programs would be similar, or if the public's attitude toward television shifted too significantly over these years for there to be a fair comparison between the eras.

    4. While scholars from the Chicago School tradition conceived of communication as a site of struggle through which social life itself was imagined, negotiated, and produced (Marx 1964; Munson and Warren 1997) other approaches to mass media from the tradition of Frankfurt School scholars in exile warned of the standardization of culture and thought that might dull critical awareness and the diversity of voices essential for democratic functioning

      I would argue that today, the ways in which we use social media prove the legitimacy of these scholars' concerns more than our uses of television have over the years. Not only have social media platforms created an atmosphere in which people primarily share the highlights of their lives or post things that fit a certain image that they want to put forth, but they have also made it easier for us to be exposed to several different forms of personal content, news, and so on, at a rapid, never-ending pace. Due to the oversaturation of posts on these platforms, it has become difficult for a lot of people to pause and focus on one story or subject at a time, making it tougher for them to look deeper into certain topics and think critically about them.

    5. During these years the US television industry was characterized by the oligopolistic control of three vertically‐integrated, for‐profit networks, each of which was national in reach, featured standardized programming and advertising practices, and exerted expanded control over affiliate stations, advertisers, and program producers. As Hilmes and Boddy in particular have argued, the quiz show scandals of 1958–59 had the effect of consolidating network power in the name of the public good.

      I find it interesting to consider how television broadcasting was once very centralized, with the "big three" taking control over most of TV's programming. While television in the following decades became less controlled by these three organizations, we have been seeing a sort of re-consolidation in recent years, with companies like Disney buying and taking control over Fox.

  2. Apr 2025
    1. As Jenkins notes, being a female grotesque in early Hollywood was to be perceived as unfeminine; stars such as Lightner were subject to the misogynistic readings of an era where the “true woman” was the approved model of femininity (Jenkins 1992 Links to an external site., 259–269). Winnie Lightner demonstrates that while stage and screen comedy offers a space in which female performers can address and transgress dominant stereotypes it is also a space in which transgression is licenced at a cost. In early Hollywood that cost was that the female comedy star was “unsexed” by her performance.

      I wonder if this view of women being "unsexed" by their performances on stage and screen factored into Lucille Ball's success. Was it easier for her to take command on screen and challenge traditional gender roles and ideals of femininity if viewers already had separated her from their view of the "true woman?"

    2. The appearance of Lucy and Ethel in disguise prompts a hysterical response from the studio audience, which Ball plays to throughout; she is in command physically, verbally and comedically. Arnaz is cast in a role more often construed as feminine, that of the reactive foil to an active protagonist, and he looks convincingly afraid of this wild country woman.

      I like how White describes a specific scene/portrayal in this show that challenged gender norms in a very over-the-top manner. Not only did Ball completely reverse traditional gender roles at times throughout the series, but also, in a sense, in real life. Taking physical, verbal, and comedic command, as the author points out, Ball's abilities were undeniable, even during a time in which women still weren't taken very seriously as performers.

    3. In the face of CBS network executives’ scepticism that a mass audience would accept a television comedy based around a “mixed race” couple, Ball and Arnaz put their own money into producing a pilot, and also got funding from the General Amusement Corporation, their agents for the vaudeville tour (Higham 1986 Links to an external site., 105).

      I Love Lucy challenged several societal norms of the time, especially in the context of media representation. Not only did the show fight traditional gender roles and ideals of femininity, but it also pushed boundaries related to society's ideas about race and ethnicity.

  3. Mar 2025
    1. That dualism – between feminine/unfeminine, object/subject, control/chaos is the basis of Ball's performance in I Love Lucy and she deploys her skills to shatter any easy opposition between such binaries.

      I'm also curious about the potential backlash that Ball's performance may have caused during this time, and wonder how these challenges to traditional depictions of femininity would be viewed in the modern day and vice-versa. I feel that many gender-related portrayals that we don't give a second thought to today would lead to public backlash during the time period in which I Love Lucy was on air.

    2. The young, well-dressed French woman flirted with male strangers on the street, while her immigrant characters – with drab or tattered clothes – complained about the harsh conditions of their domestic lives and dreamed of breaking free from the authority of their husbands. While some of her characters were attractive, others were grotesque; part of her routine was sexually titillating, other parts were disgusting. In these ways, her approach to her audience as well as her commentary on women's roles and sexual values were complex and often contradictory.

      I find it interesting that Shaw's commentary on women's roles and values were incorporated into the many roles that she chose to play. However, I also wonder whether these characters were based on stereotypical ideas about what place a wealthy French woman, Italian immigrant girl, and so on, would have in their respective societies.

    1. While there were examples of television writers beyond Oppenheimer and Berg who served as producers, the hyphenate truly emerged in the mid-1950s, when television production moved primarily to Los Angeles.

      I feel that the rise of writer-producers was a positive for film and television, as consistency and quality became more sought after by the public. Although many people were and are still responsible for bringing these scripts to life, problems can arise if writers and producers are fighting to tell the story in the way they see fit. When one person is in charge and finds a successful formula, it becomes much easier to remain consistent and develop storylines in ways that both make sense and appeal to the audience.

    2. But in the 1950s, the landscape of Hollywood looked quite different. After twenty years of battling against management, the Screen Writers Guild could not fathom the idea that a writer could balance his own interests as a producer and as a writer. Thus, they viewed the hyphenate role of a writer-producer as a powerful new threat and a potential infiltrator into the union.

      It's interesting to consider how the landscape of Hollywood has changed over the years, especially when comparing the modern the day to the 1950s. While it is not uncommon today for people to take on multiple roles at once, such as writer-producer, actor-producer, and so on, these hyphenate positions used to be rare.

    3. I made it a point, no matter how good their draft was, to re-dictate the entire thing from beginning to end, because that way each of the characters consistently spoke the same way each week. It didn’t have to be me, necessarily, as long as it was filtered through one person’s sense. But I felt that I knew best the mood and feel of our previous shows, and that I could bring it all into line so that nothing sounded too different or out of character The more consistency there is, the more comfortable [the audience is], and the more you can enjoy everything that happens. So, rightly or wrongly, the show sounded the same each time because it funneled through me.5

      Oppenheimer's ideas about the show's mood and characters needing to be consistent were likely ahead of the time, helping reinvent how shows were written and produced. While consistency in the atmosphere and storyline of a show is very important today, I wonder how different television could've been if early writer-producers like Oppenheimer didn't pay as much attention to these details.

    4. Oppenheimer was a young radio writer, director, and producer on a number of hit series including Fanny Brice’s The Baby Snooks Show (CBS, 1944–1950). This hyphenate role that Oppenheimer played in the series, in fact, had its roots in radio soaps and later in other celebrated popular series.

      Even today, it seems pretty common for the people behind the scenes to be overlooked, no matter how much they contribute to the success of a show, movie, and so on. Oftentimes, the people who appear on the screen who get the attention, rather than those who are helping set everything up before the actors can bring the story to life. While the actors do deserve praise, it should be more common for the creators behind the scenes to get recognition for their work.

    5. The easy answer would be to point to star Lucille Ball. From the show’s first run in the 1950s to the present day, in the United States and around the globe, audiences have been enchanted with the unruly housewife who attempts to escape the confines of her apartment, only to find herself in the most outrageous of situations each week: stomping on grapes for an Italian film shoot (“Lucy’s Italian Movie”), shoving chocolates into her mouth trying to keep up with her job on a conveyor belt at a candy factory (“Job Switching”), peddling Ricky’s sponsor Vitameatavegamin on his TV show (“Lucy Does a Commercial”).

      Although I have never watched "I Love Lucy," I feel like I remember watching scenes in other shows that have referenced/copied these. While I have heard of the show, I was not aware of how groundbreaking it was at the time, and find it interesting to read about all the ways in which this show pushed the boundaries of television.

    1. Throughout the entire disagreement between the press and the broadcasting industry one fact stands out above all others, and that is that both parties failed to consider the public at all.

      Although public media is built on the ideal of effectively serving the public and its best interests, it is clear that profit and success are often the driving forces within this industry. While the press disguised its fear as concern that radio broadcasters were giving false and inaccurate news to the public, the truth is that people within this part of the industry were afraid of being completely overrun by the growing popularity of the radio.

    2. This report called for government control of radio in the United States, giving as reasons that every other major country in the world had placed broadcasting under governmental control, and also stating that the only way that broadcasters could be prevented from giving false and inaccurate news is by direct government control.

      This report calling for government control of radio appears to be a desperate attempt to restrict radio broadcasting, instead of a genuine show of concern that broadcasters may be giving false information. Although it easy for us today to see this as panicked response from the press, I wonder how people viewed this report when it was first made.

    3. Radio is beating the newspaper almost daily, whenever it sees an event which it deems of sufficient importance to broadcast ... Incomplete, to be sure, abominably reported, often, by radio's student news-casters. But first by radio, and second by newspapers.14

      Although Raymond criticized radio's news-casters for doing a poor job of reporting events, this quote indicates that they were able to get stories out before the newspapers, likely even covering more topics each day. Although the lack of quality in reporting can be seen as a negative, the rapid pace in which news could be shared through radio broadcasting was a major innovation in the media at this point in time.

    4. The Radio Committee of ANPA issued a report which concluded that: "Radio competes with newspapers today in news, editorials, features, and advertising, and when you have named these you have just about encompassed the whole newspaper."

      The ability of radio broadcasters to cover all the same topics as newspapers in an even more efficient manner was a key to their success. If newspapers had more to offer than the radio, they likely would've had less of an issue with competition. However, combining the innovation of radio broadcasting with the ability to report the same news at a faster rate, people's interest in radio understandably grew very quickly.

    5. The initial analysis of the press was accurate, but what the press achieved in perception of the status quo they more than lacked in foresight. The role of broadcasting was going to change, but the nation's editors and publishers were slow to recognize this change, even as it was taking place.

      This section stands out to me, because this mistake has been repeated several times throughout history when new forms of technology and media platforms have emerged. For example, when early streaming services, such as Netflix, were launching, many people were skeptical that they'd have any long-term success. However, these services ultimately killed the old practice of going to rental shops and picking up DVDs, making it clear that their critics thought incorrectly.

  4. Jan 2025
    1. Historical training is not, however, an indulgence; it applies directly to many careers and can clearly help us in our working lives.

      Understanding the history of your career, personal interests, and so on, can be a very important factor in your success. Seeing how trends or how certain work methods or modes of thinking have developed can be very helpful with understanding what you can do with your career/interests and how to adapt to any changes that may come about in the future. For example, as someone who into making music, it interests me to learn about how new genres/styles started and developed over time, and the changes that have occurred within the music industry as a whole over the past few decades.

    2. But history particularly prepares students for the long haul in their careers, its qualities helping adaptation and advancement beyond entry-level employment.

      I think that this understanding of history is very important for many jobs, but especially for those related to media. Considering how fast technological advancements are made, and how our methods of communicating and sharing information have changed in just the past 10-20 years, it is important to understand historical trends and methods of adaptation and predict how they may carry over to the future.

    3. History provides data about the emergence of national institutions, problems, and values—it's the only significant storehouse of such data available.

      I agree that this is a really important point. When looking current issues in our country, or even on a global scale, it is very important to consider the historical factors that contributed to these problems. A lot of times, it seems that people think certain issues, whether they are social, economic, etc., can be solved easily, when in reality, years of poor decisions and struggles to develop real solutions have caused these problems to become more extreme.

    4. "History teaching by example" is one phrase that describes this use of a study of the past—a study not only of certifiable heroes, the great men and women of history who successfully worked through moral dilemmas, but also of more ordinary people who provide lessons in courage, diligence, or constructive protest.

      I think that this is an important point when you consider the idea that "history repeats itself." If and when we are put in a situation that is similar to a historical event/incident, it can be helpful to consider the decisions that were made, as well as the final result. In doing this, we can avoid potentially disastrous consequences.