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Popularity of soap operas
Soap opera history
History of soap opera
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Soap Opera Genre
"Before I saw Neighbours, I didn’t know there was an Australia" (Jerry Hall, The Clive James Show, UK, 31 December, 1989) The soap opera genre originated in American radio serials of the 1930s, and owes the name to the sponsorship of some of these programs by major soap powder companies. Proctor and Gamble and other soap companies were the most common sponsors, and soon the genre of 'soap opera' had been labeled. Like many television genres (e.g. news and quiz shows), the soap opera is a genre originally drawn from radio rather than film. Television soap operas are long-running serials traditionally based on the close study of personal relationships within the everyday life of its characters. Soaps are a consistent set of values based on personal relationships, on women’s responsibility for the maintenance of these relationships and the applicability of the family model to structures. In soap operas at least one story line is carried over from one episode to the next. Successful soaps may continue for many years: so new viewers have to be able to join in at any stage in the serial. In serials, the passage of time also appears to reflect 'real time' for the viewers: in long-running soaps the characters age as the viewers do. Christine Geraghty (1991, p. 11) notes that 'the longer they run the more impossible it seems to imagine them ending.' There are sometimes allusions to major topical events in the world outside the programs. Soap operas have attempted to articulate social change through issues of race, class and sexuality. In dealing with what are often perceived to be awkward issues soap operas make good stories along the emotional lines of the characters. Christine Geraghty (1991, p. 147) ‘While it seeks...
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Turner, V (1974) Social Dramas and ritual metaphors In V.Turner, Dramas, fields and metaphors: symbolic action in human society Cornell University Press: Ithaca Hobson, Dorothy (1982): Crossroads - The Drama of a Soap. London: Methuen
Modleski, Tania (1982): Loving with a Vengeance: Mass-Produced Fantasies for Women. Hamden, CT: Archon
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On September 20, 1984 a show aired that changed the way we view gender roles on television. Television still perpetuates traditional gender stereotypes and in reflecting them TV reinforces them by presenting them as the norm (Chandler, 1). The Cosby Show, challenged the typical gender stereotyping of television, daring to go against the dominant social values of its time period. In its challenge of the dominant social view, the show redefined the portrayal of male and female roles in television. It redefined the gender role in the work place, in social expectations, and in household responsibilities. The Cosby Show supported Freidan in her view of “castigating the phony happy housewife heroine of the women’s magazines” (Douglas 136).
Lorimer , R., Gasher, M., & Skinner, D. (2008). Mass communication in canada. (6 ed.). Don Mills, Ontario: Oxford University Press.
Hartley, John (2002), Communication, Cultural and Media Studies: The Key Concepts, London, Routledge, pp. 19-21.
Soaps will use current events as a major point for viewing. Events such as teenage pregnancy, death of a friend or family member, or domestic violence for example, will be used to relate to the audience. In turn the audience themselves can use the storylines and characters
11 Ellen Seiter and Mary Jeanne Wilson, “Soap Opera Survival Tactics”, in Thinking Outside the Box: A Contemporary Television Genre Reader (Lexington: The University Press of Kentucky, 2005), 138.
Showalter, Elaine. The Female Malady: Women, Madness, and English Culture, 1830-1980. New York, NY: Pantheon Books, November 1985.
Ott, B. L, & Mack, R. L. (2010). Critical media studies: An introduction. Malden, MA: Wiley-
David. "Mass Media and the Loss of Individuality." Web log post. Gatlog. N.p., 11 Sept. 2007. Web. 10 May 2014.
Relationship Between Soap Operas and Reality TV Dating Shows Tania Modleski’s “The Search for Tomorrow in Today’s Soap Operas” proposes that the unique appeal and function of soap opera lies in (a) the viewer’s ability to inhabit the text’s prescribed spectatorial position of ‘the good mother’, and (b) using the archetypal ‘villainess’ to displace one’s own repressed anger and powerlessness. It can be argued, using Modleski’s analytical perspectives on the interpellated spectatorial positions of soap operas, that a new genre of television programs (namely the reality dating shows) function in a similar way. An examination of Modleski’s thesis renders these statements more likely. Modleski argues that soap operas are essential in understanding women’s role in culture.
Mass Media. Ed. William Dudley. Farmington Hills, MI: Thompson Gale, 2005. 121-130.
Gauntlett, D. Hill, A. BFI (1999) TV Living: Television, Culture, and Everyday Life, p. 263 London: Routledge.
Reality TV is influencing the way individuals live their lives. It encompasses staged drama, false images of families, and it tries to make immorality seem appealing. Clearly, what people believe to be somewhat realistic is just another Hollywood show. The only truth in the shows are found by skimming the surface of the family’s lives. Hence, reality TV is not anything except a glorified, unrealistic life.
In conclusion, David Lodge managed to embody the concrete term of feminism. Through the character of Robyn Penrose, he creates the breakup of the traditional Victorian image of woman.“ `There are lots of things I wouldn 't do. I wouldn 't work in a factory. I wouldn 't work in a bank. I wouldn 't be a housewife. When I think of most people 's lives, especially women 's lives, I don 't know how they bear it. ' `Someone has to do those jobs, ' said Vic. `That 's what 's so depressing. ' ”(Lodge
O’Shaughnessy, M., Stadler, J. (2009)Media and Society: An introduction. Dominant Ideology and Hegemony. London: Oxford.