Wait a second!
More handpicked essays just for you.
More handpicked essays just for you.
Gender roles during the 1920s
Gender roles in the 1960s
IMPACT OF movies in the 1920s
Don’t take our word for it - see why 10 million students trust us with their essay needs.
Recommended: Gender roles during the 1920s
A Change in Perception: The Evolution of Entertainment Between 1920-1962
In the last century, America and its inhabitants underwent many changes. From the "Roaring Twenties" to the Great Depression, and from the Dust Bowl to the ideal 50's, entertainment evolved to suit an ever changing nation. In D.W. Griffith's film, Way Down East, a young woman seeks out financial assistance from her wealthier family members. In this film in particular an ever widening separation between the classes is evident. In John Ford's The Grapes of Wrath, and The Salt of the Earth, a change has occurred within the sexes, and within the struggles of working class American's. In Leave it to Beaver, American is life depicted as worry free and ideal. It is through movies and television shows of these eras that people of today are able to witness the evolution of a culture first hand. Between 1920 and 1962, movies and television experienced a vast amount of progress. During this century, as is displayed in these films, woman's roles were drastically transformed. The struggles that families faced during the Great Depression and the overwhelming Dust Bowl called on women, especially mother's, to become just as much the backbone of the American family as the father had always been. Another great change that is apparent from the viewing of these films is the ever changing fashion and the prominent emphasis placed on appearances. Perhaps the most momentous change apparent in the comparing of American life in these films is the substantial emphasis placed on the appearance of the home. Within the fifty years between 1920 and 1962 American's and their perceptions of the world changed substantially. By taking an in depth look at women's roles, the e...
... middle of paper ...
...nd examining the portrayal of women's roles, fashion and clothing, and the home in Way Down East, The Grapes of Wrath, The Salt of the Earth, and Leave it to Beaver, clearly, there were deeper meanings behind everyday images. All of these images in each of these films and in this television show have symbolic and purposeful meanings. Through the evolution of America and the culture of America, those who make movies and television shows have also changed their subjects and how they are portrayed over the course of a century. Whether representing class, poverty, or consumerism, all of these images within these films serve a bigger purpose than to just simply be seen. By viewing these films and analyzing the underlying meanings of symbols within them, we can gain a greater understanding of history, and what was important to each of the eras these films represent.
...aily life in the United States during the 1920s and 30s is a relatively complete one. Kyvig captivates the reader with his abundance of facts, while still allowing the reader to do some thinking of their own. This book would most likely be used for someone who is researching the titular topic of daily life. However, almost everyone can benefit from reading this book. It allows people in modern America to look back upon the things which we now take for granted. It shows the hardships that Americans have been forced to endure and shows how timeless our perseverance is.
A main theme in this small town’s culture is the issue of gender and the division of roles between the two. Not uncommon for the 1950’s, many women were taught from a young age to find a good man, who could provide for them and a family, settle down and have children – the ideal “happy family.” As Harry states after singing the showstopper “Kids,” “I have the All-American family: A great wife, 2 wonderful kids and a good job.”
In the 1950’s becoming a wife, having and raising children and taking care of the home was the primary goal for most women. Post war brides were marrying young, having children at significant and unrivaled rates, and settling into roles that would ultimately shape a generation. This ideal notwithstanding, women were entering the workplace like never before and changing the face of American business forever. In the movie The Man in the Gray Flannel Suit directed in 1956 by Nunnally Johnson, we get an inkling of the type of voice American women would develop in the character of Betsy Rath. We are introduced to a wife and mother who leverage her role in the family to direct and influence. The decade of the 50’s signify the beginnings of the duplicity that women would embrace in America, being homemakers and independent women.
Elaine Tyler May's Homeward Bound weaves two traditional narratives of the fifties -- suburban domesticity and rampant anticommunism -- into one compelling historical argument. Aiming to ascertain why, unlike both their parents and children, postwar Americans turned to marriage and parenthood with such enthusiasm and commitment, May discovers that cold war ideology and the domestic revival [were] two sides of the same coin: postwar Americans' intense need to feel liberated from the past and secure in the future. (May, p. 5-6, 10) According to May, "domestic containment" was an outgrowth of the fears and aspirations unleashed after the war -- Within the home, potentially dangerous social forces of the new age might be tamed, where they could contribute to the secure and fulfilling life to which postwar women and men aspired.(May, p. 14) Moreover, the therapeutic emphases of fifties psychologists and intellectuals offered private and personal solutions to social problems. The family was the arena in which that adaptation was expected to occur; the home was the environment in which people could feel good about themselves. In this way, domestic containment and its therapeutic corollary undermined the potential for political activism and reinforced the chilling effects of anticommunism and the cold war consensus.(May, p.14)
May argues that “the depression thus paved way for two different family forms: one with two breadwinners who shared tasks and the other with spouses whose roles were sharply differentiated.” In the latter form the father would have earned a “family wage” while his wife would have been responsible the children and their home, only working if it was necessary to supplement her husband’s income. This trend was caused mainly by two factors. During the financial strain of the depression, marriage and birth rates were much lower than they had been in the previous decade while the divorce rate was much higher. Young men of the time were afraid that they would not be able to provide for their new families and chose not to get married. While young women on the other hand, encountered an employment boom that allowed them to gain a sense of economic freedom that allowed them to not feel compelled to marry. This new single woman was glamorized by Hollywood during the 1930s. However, families tended toward choosing a life with the husband earning a “family wage” with the wife at home. Why? May concludes, "for all its affirmation of the emancipation of women, Hollywood fell short of pointing the way toward a restructured family that would incorporate independent women." Films from the 1930s like Gone with the Wind and His Girl Friday portrayed strong female leads that had to choose between their independent working life and domestic happiness, as it seemed that both could not coexist in their lives. Another cause for this were the programs implemented during the New Deal Era. Such programs aimed to raise male employment levels and often did nothing for female employment. Men had become embittered during the depression when women
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?
As mentioned before, sociologists Coontz and Hochschild further elaborate upon Parsons and Bales’ concepts of the American family, but they mostly critique the idea of the male-breadwinner family. One of the main arguments Coontz and Hochschild present is the decline of the male-breadwinner family due to the economic changes of the United States and the arising social norms of consumerism. Because Parsons and Bales never considered how the changes throughout society would affect family, they believed the male-breadwinner family would continue to be a functional type of family for everyone. However, within her text, “What We Really Miss about the 1950s,” Coontz specifically discusses the major expense of keeping mothers at home as consumption norms...
For over centuries, society had established the societal standard of the women. This societal standard pictured the ideal American woman running the household and taking care of the children while her husband provided for the family. However, between 1770 and 1860, this societal standard began to tear at the seams. Throughout this time period, women began to search for a new ideal of American womanhood by questioning and breaking the barriers society had placed upon them.
American commercial cinema currently fuels many aspects of society. In the twenty-first century it has become available, active force in the perception of gender relations in the United States. In the earlier part of this century filmmakers, as well as the public, did not necessarily view the female“media image” as an infrastructure of sex inequality. Today, contemporary audiences and critics have become preoccupied with the role the cinema plays in shaping social values, institutions, and attitudes. American cinema has become narrowly focused on images of violent women, female sexuality, the portrayal of the “weaker sex” and subversively portraying women negatively in film. “Double Indemnity can be read in two ways. It is either a misogynist film about a terrifying, destroying woman, or it is a film that liberates the female character from the restrictive and oppressed melodramatic situation that render her helpless” (Kolker 124). There are arguably two extreme portrayals of the character of Phyllis Dietrichson in Double Indemnity; neither one is an accurate or fare portrayal.
...es, in the eyes of the modern moviegoers, this position is no longer reasonable due to the strides already made by women in quest for equality. It is a reflection of how the past American society treated its women and draws to the traditional inclination of the Americans to achieve financial independence as seen in this post war film.
Every film can be related back to socially significant issues that occurred during the time it was released. It’s a snapshot of the issues during that time period. Film is not created in a vacuum. As described in our textbook, film “Conveys “the temper of an age of a nation” as well as that of the artists who produces it” (Belton 22). Films tend to reflect current society, country ideals or beliefs in order for the audience to relate. Some of those techniques used include, the American dream, family, corruption, divorce, and crime. If a director decides not include current social issues than it becomes harder for an audience to relate to the film because they will not be able to connect to the characters and get into their shoes. One film that encompasses all of these current social issues is American Hustle (David O. Russell, 2013). This film is a melodrama because of the context and social issues this film deals with. American Hustle has a social significance to today’s current culture, society, beliefs and social issues through the use of the American dream, corruption, divorce, crime and family.
John Updike presents the generational change at the earliest reference point of the story. He states, “In walk these three girls in nothing but bathing suits.” (482) This shows how principles for ladies began to move in the 1960s. Ladies were not any more the cliché housewives in long dresses. They were trying the limits on their approach to radical changes from the customary lifestyle. All through whatever is left of the story, Updike keeps on epitomizing the social changes in America. “A few houseslaves in pin curlers…” (484) Updike utilizes cites like this to demonstrate the conventional way of life of ladies and what more youthful ages consider them. There is flawlessly a distinction in how the story teller sees the ladies of his age and the ladies of his folks’
In my Essay I will be explaining how the 1950’s family life was nothing like the ideal tv shows we all looked up to like Leave it to Beaver or even The Brady Brunch. There were many factors of women and marriages in everyday American life that were nothing like they were when portrayed in TV life. Instead of families living in extended households many newlyweds decided to live on their own when they finally got married. The trend grew rapidly quickly becoming the normal thing to do. Citing that living in extended families was destroying marriages and children.
In the 1950s gender roles and surbanization were publicized on the television screens constantly. Lynn Spigel argues that television brings the ideal family together but also can divide them as well. Television might be the divider between families because the entire family might watch their own separate television shows. Spigel is concerned in the way that woman are being portrayed on television. Haralovich speaks about the gender differences that is portrayed discreetly in the 1950s television shows and how woman are these “ideal” housewives and they are only meant to do attain the housewife status and nothing
American movies shape our conception of American society and its individuals being a mere reflection of our society, connecting to its audience, and contribution to mass communications. As America continues to grow in its population and diversity,