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This essay will examine my thoughts and those of David Sterrit on the critically acclaimed television show The Honeymooners. First, I will talk about the Honeymooners and it’s setting in postwar America. Secondly, the social and cultural issues the series portrayed. Next, would be the psychological perspective and the aesthetics of the show. Finally, the essay would conclude with my thoughts on how the Honeymooners were impacted by these aspects, but also how the show managed to leave a legacy in television today.
The premise of the Honeymooners center on the life of a domestic couple and their everyday actions of trying to achieve happiness in post war America. Sterrit proclaims that the Honeymooners were set in atypical environment; he would on to say that the Kramden did not look the part in mirroring at the time the current household and contrast it with shows that would portrayed the common household at the time such as Father Know Best. Quoted he said that “Ralph and Alice are less typical than they appear at first glance, and less typical than they would probably like to be at a time when conformity and consensus are strong American Values” (16). I do agree that the Honeymooners setting did not mirrored the state of a household, but to an extent, the Kramdens were not financially in the upper echelon that could afford the comfortabilities of the High Class or Middle Class. They however were the depiction of the lower class, individuals that would struggle to make end meets and were comfortable with having a home than the commodities. Money played a role in the settings of the Kramdens, if the Kramdens were to say have been more financially successful than they were, the whole show would have been different, perhaps not a...
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...elopment of characters and their relationship. Many show today such as The Simpsons or Family guy have hints of the Honeymooner and “their palpably plain working-class settings”(81). I do not believe it just only influences sitcoms, but the television as a whole, an its involvement with the viewers and growth of shows that explored beyond the gimmicky clichés and non-issues, and dug deep into thought of subconsciously changing the way someone view television. The Honeymooners would forever be a show that was ahead of times and one that stood out as one of a kind, and we would have to give our appreciations to Jackie Gleason for creating such a show. Without “The Great One”, television would be different and that sole reason is because of Gleason talents to come up with such a creative, original and funny writing that would go on to innovate the shows we watch today.
In the article “TV’s Callous Neglect of Working- Class America” written by Noel Murray explains the modern day TV shows un-relatable plots to Americans today. Murray describes how shows in the ‘50s through the ‘90s were relatable to Americans and how they lived their lives. The TV shows then were able to get such great reviews because the jobs the actors had in the shows were average money making jobs. The characters are meticulously when it came to how they used the money they earned. However, as the years have passed, the shows that are on today are not as relatable to Americans. The shows express the fantasy, perfect life that everyone strives to have, but in reality, it is not possible for every family. The programs on today do not convey the difficulties that average Americans face each day, causing the shows to become more and more relatable to average TV viewers.
Younger generations and the more vulnerable in society can be influenced in avoiding peer pressure, but for the individuals filled with wisdom, the shows can reflect based on American modern society. Everybody Loves Raymond and Full House are great shows who faces similar life obstacles a typical person living in the US has today. As a result, most modern family comedy sit-coms are reflecting our society’s generations and the more vulnerable. Based on the success of early family sit coms, American’s adapted to a fast pace lifestyle with the help of modern
Americans love their television, and television loves the American family. Since the 1970’s, the depiction of the American family on television has gone through many changes. In the 70s, the Brady Bunch showed an all-white nuclear family. Today, Modern Family, shows a family of blended races, ages, and sexualities. For thirty years, the sitcom family has reflected the changing society of its time and there is no exception of this for the families in The Brady Bunch and Modern Family. The lifestyle, social aspects, and economics situations of the Bradys and the Pritchett-Dunphys are similar in their attempts to portray the lives of families of their time, but differ drastically in the types of families they represent. The characters in Modern
Keathley, Christian. "Trapped in the Affection Image" The Last Great American Picture Show: New Hollywood Cinema in the 1970s. Ed. Thomas Elsaesser, Alexander Horwath, Noel King. Amsterdam: Amsterdam University Press, 2004. 293-308. Print.
Since its start, the television industry has been criticized for perpetuating myths and stereotypes about African-Americans through characterizations, story lines, and plots. The situation comedy has been the area that has seemed to draw the most criticism, analysis, and disapproval for stereotyping. From Sanford and Son and The Jefferson’s in the 1970s to The Cosby Show (1984) and The Fresh Prince of Bel-Air in the 1990s, sitcoms featuring black casts and characters have always been controversial. However, their significance upon our American culture cannot be disregarded. During the 1950s and 1960s, 97% of the families were Caucasian. In the first five years of the 1990s, nearly 14% of the television families were African-American (Bryant 2001). These statistics obviously show the substantial impact our American culture has had on African-American television families.
After viewing an episode of I Love Lucy, positive aspects of family and financial issues can be clearly seen in the 1950s. The Ricardo's are middle class, Ricky works as a club band leader and Lucy stays home and `poured all her energies into their nuclear family.' (37) This is a positive side of the 1950s because compared to a few decades before, `women quit their jobs as soon as they became pregnant,' (36) and concentrated more on raising children. These families were much more stable and made almost `60 percent of kids were born into male breadwinner-female homemaker families,' (37) which is a important factor for children to have a good childhood.
Modern Times was unlike most movies produced during the Great Depression era because it is featuring a view on the unemployment and rough conditions that people f...
For a large part of the history of TV sitcoms women have been portrayed as mothers or as having to fulfill the woman's role in the private sphere. Family based sitcoms were one of the forms of sitcom that keep women in these roles, but what is interesting is that even in other forms of sitcoms women do not truly escape these roles. Sitcoms, like Sex and the City and Murphy Brown showcase women whom have seemingly escaped these roles, by showing liberated women, but that does not mean that both do not fall into the gender role showcased in family sitcoms. It draws the similarities between ensemble sitcoms and family sitcoms when it comes down to the role of women. The starring women in both Sex and the City and Murphy Brown, and even the Mary
Different Strokes a comedy sitcom, first aired in 1978, and lasted until 1986. This sitcom consisted of a widowed Manhattan millionaire, Phillip Drummond , who adopted two orphaned brothers. Arnold who was 8 years old and Willis who was 12. The boys' mother was Drummonds housekeeper who became very ill, so Drummond made a promise to her that he would take care of her two sons after she passed away. Drummond treated the two boys like his own. He also lived with his daughter, Kimberly, who was 13 years old, and his current housekeeper. This sitcom showed typical life lessons in growing up, and social problems that were occurring during that time. Some of the aspects of this show were both positive and negative.
Popular Culture “attempted to depict America as a wholesome, religious, democratic, family-oriented society. (Professor Abnet)” America inspired Walt Disney’s envision of Disneyland, Walt stated on Disneyland’s Opening Day, “Disneyland is dedicated to the ideals, the dreams, and hard facts that have created America…with the hope that it will be a source of joy and inspiration to all the world.” Disneyland’s Main Street U.S.A physically represents the embodiment of the 1950’s middle-class American dream, known as suburban America. Suburban development normalized “traditional” gender roles and longed for security in the consumer economy and family aspect. The new culture questioned sexuality, gender non-conformity, and the youth culture. The children’s board game Life and television show, The Honeymooners define men and women’s gendered roles in the glamorized American Dream. The Honeymooners portrays women as housewives that clean, cook, and care for the children. In contrast, the men are the breadwinners supporting the family. Women normally did not buy new popular culture products; it was the men. However, advertisements and television programs revolutionized the traditional belief, showcasing what American life should
Over decades, television shows have reflected the social changes of the family structure. Starting with the 1960’s, a family commonly consisted of parents and their children. Nuclear families, with parents and children, embodied shows like Leave it to Beaver and The Adventures of Ozzie and Harriett. Family was everything to people back in the day. People lived to create and spend time with their family. Television shows were emerging steadily and became popular. Also, television was a main source for families to bond over, and it influenced the behavior of family members. Leave it to Beaver and Adventures of Ozzie and Harriet played a major role in shaping the family structures. During the 1960’s, middle-class white families dominated television shows. Situation and family drama’s mainly influenced the traditional family structure (Television and Family 1). In Leave it to Beaver, the focus was on the ideal suburban family in the fifties through the sixties. The show was mild and the spotlight was more on the children in the family compared to the adults. The theme presented was a happy and loving family (Cox 1). The Adventures of Ozzie and Harriet was an enduring family-based comedy on television. For decades, the Nelson family symbolized a wholesome and normal family. Their main focus was to epitomize a happy, upright family life (Wesblat 1)....
During the 1950‘s suburbs such as Levitown were springing up all across the country, and the so-called American dream was easier to achieve for everyday Americans than ever before. They had just come out of two decades dominated by The Great Depression and World War Two, and finally prosperity was in sight. The need for women to work out of the home that was present during the war was no more, and women were overwhelmingly relegated to female-dominated professions like nursing, secretaries, and teachers, if they worked at all. Televisions became very popular, and quickly became part of the American cultural canon of entertainment. Leave It To Beaver is a classic American television show, encompassing values such as respect, responsibility and learning from your mistakes. But, at least in the episode used for this essay, it is also shockingly sexist to a modern viewer. This begs the question, what does the episode The Blind Date Committee1 say about the gender expectations of the 1950’s?
Almost all the households were mama-papa-kiddies: the nuclear family. (The exceptions were My Three Sons and Bonanza: Steve Douglas [Fred MacMurray] and Ben Cartwright were widowers.) There were no prior marriages, no children from prior relationships, no threat or even thought of divorce, and the closest thing we saw to physical abuse was Ralph Kramden's, "One of these days, Alice, one of these days . . . to the moon!" There were no infidelities, no drinking problems, no drugs (not even prescription tranquilizers), no racism (How could there be? With the exception of Hop Sing and Ricky Ricardo, there was only one race; even the Hispanic gardener on Father Knows Best was named Frank Smith). There was no dropping out of school, no political discussion (much less political differences), no unemployment (except for Ozzie's early retirement), no severe economic problem (except for a crop failure on Lassie, when they had to sell all the livestock, including Lassie; but just before being carted off, Lassie pawed the ground and struck oil, and everything was okay again. Except for Lassie, who looked as though the Exxon Valdez had dumped its forward holding tanks on her).
Have you ever had one of those days that were so bad that you desperately needed a night at the ice cream or candy store? The 1970’s was that really bad day, while the night of self- indulgence was the 1980’s. Americans love to escape from our daily stress, and of all the products that allow us to do so, none is more popular than the movies. Movies are key cultural artifacts that offer a view of American culture and social history. They not only offer a snapshot of hair styles and fashions of the times but they also provide a host of insights into Americans’ ever-changing ideals. Like any cultural artifact, the movies can be approached in a number of ways. Cultural historians have treated movies as a document that records the look and mood of the time that promotes a particular political or moral value or highlights individual or social anxieties and tensions. These cultural documents present a particular image of gender, ethnicity, romance, and violence. Out of the political and economic unrest of the 1970’s that saw the mood and esteem of the country, as reflected in the artistry and messages in the movies, sink to a new low, came a new sense of pride in who we are, not seen since the post-World War II economic boom of the 1950’s. Of this need to change, Oscar Award winner Paul Newman stated,
HBO's Sex and the City has become a cultural icon in its 6 seasons of running. Based on Candace Bushnell's racy book Sex and the City, the show exhibits an unprecedented example of the sexual prowess of women over the age of 35. The result is an immense viewing audience and an evolving view on the "old maid" stigma that a woman's chances of finding love are significantly reduced after thirty-five. In this paper, we will closely analyze the characters and themes of Sex and the City to explain the significance of what the show represents in American culture.