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The traditional format of the domestic sitcom has been around since the dawn of television. It is one of the more traditional formats for a television program. But like all television programs, the structure and format of a “traditional sitcom” can vary and change according to various social and cultural factors. From the 1950’s to the 1990’s, domestic sitcoms evolved with the representations of the American family by expanding gender roles for men and women and revising notions of the traditional American nuclear family. In the early days of the domestic sitcom, programs worked to portray the facsimile of real life by representing the family in a very specific way, which emphasized that men and women had distinct yet separate roles in the …show more content…
In the case of Malcolm in the Middle, the expansion of gender roles can be seen in the actions that Lois, the mother and Hal, the father, take in the episode “Bowling.” In the episode, Malcolm and his brother ask a parent to drive them to a bowling alley so they could hang out with their friends. The episode explores the alternate timelines and events that could happen to Malcolm and the rest of his family depending on who goes bowling with the boys. In the timeline where Lois drives the boys, Hal is left to discipline the youngest son Dewey. But instead of disciplining Dewey with a stern hand, from an objective medium shot, he can be seen reading Dewey stories. Instead of being the disciplinarian, this shot works normalizes the presence of males as a nurturing force in the context of the domestic space. Even though he does not discipline Dewey, the shot proves the competency of males in the domestic space and therefore expands gender roles for men. In the timeline where Lois stays home with Dewey, she acts as the disciplinarian by confining Dewey to his room and immediately telling him to go back if he’s found outside of his room. In the scene where she punishes Dewey, the camera tilts upward before cutting to Dewey at a lower …show more content…
The evolution of the sitcom also parallels the change in television from the Classic Network area to the convergence era, by illustrating that as families began to get busier and parents have to take on more work both inside the domestic sphere and out, families became more mobile to keep up with the lack of time they had due to work or other obligations. The prevalence of too much obligations and a mobile family unit worked to change the function of television from an event to one of distraction, whereby people would watch sitcoms that would closely mirror their own life to distract themselves from their own
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.
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.”
McCarthy, Tyler. “Sitcom success a reflection of changing society.” Daily Campus. 29 Jan. 2012. Web. 17 Nov. 2013.
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?
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
The word sitcom is short for Situation Comedy. A good sitcom story idea places the star (or supporting character) into a situation in need of a resolution, which will cause the character to respond in unexpected, exaggerated, and hugely sidesplitting ways (Rannow, pg. 13). A comedy now days are different from how they were in the 1960's and 1970's though. Today directors use sexual content and foul language to make people laugh and do not usually have a purpose or point to get across to the audience with each show. In earlier comedy, such as The Brady Bunch, Director Jack Arnold tried have a lesson learned in each episode while still maintaining a sense of humor, minus the foul language and sexual content. Although the show is not extremely funny to most people it is still a classic show that deserves to be remembered.
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.
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.
As gender roles were enhanced, the nuclear family was birthed. This ideal family, mainly portrayed in popular culture, had a working father, homemaking mother, and children. Television shows depicting this type of household, Leave it to Beaver, and I Love Lucy, were not representative of the reality of America. Not all of Americans were white, and not all women were happy living as housewives (Boyer 101). Although most did not fit the mold
The roles African Americans play on television are not satisfactory. Though the roles have changed during the development of television, the current relationship is not representative of true African American people or their lifestyles. The question is how do the past roles African Americans play in television sitcoms compare to the current roles? How does this affect society’s perception of the African American in American culture? Throughout the history of television the roles and the representation of African Americans has developed with the changing cultural conditions. However, the representation of African American’s has not fully simulated into today’s society. What the average citizen views on his or her television does not accurately portray the African American’s influence on America.
The average America watches more than 150 hours of television every month, or about five hours each day (“Americans,” 2009). Of the 25 top-rated shows for the week of February 8-14, 2010, six were sitcoms, averaging 5.84 million live viewers each (Seidman, 2010), to say nothing for the millions more who watched later on the Internet or their Digital Video Recorders. The modern sitcom is an undeniable force in America, and its influence extends beyond giving viewers new jokes to repeat at the water cooler the next day: whether Americans realize it or not, the media continues to socialize them, even as adults. It may appear at first glance that sitcoms are a relatively benign force in entertainment. However, the modern sitcom is more than just a compilation of one-liners and running gags. It is an agent of gender socialization, reinforcing age-old stereotypes and sending concrete messages about how, and who, to be. While in reality, people of both sexes have myriad personality traits that do not fall neatly along gender lines, the sitcom spurns this diversity in favor of representing the same characters again and again: sex-crazed, domestically incompetent single men enjoying their lives as wild bachelors, and neurotic, lonely, and insecure single women pining desperately to settle down with Prince Charming and have babies. Sitcoms reinforce our ideas about what it is “normal” to be, and perhaps more importantly feed us inaccurate ideas about the opposite sex: that women are marriage-crazed, high-maintenance, and obsessed with the ticking of their biological clocks, while men are hapless sex addicts whose motives can’t be trusted. The way that singles are portrayed in sitcoms is harmful to viewers’ understanding of themselves...
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
“The sitcom is a jumble of mixed metaphors: the repetition compulsion of eternal sameness conjoined to a desire to overturn the established order; a profound aesthetic conservatism bundled with an ingrained desire to shock. Every sitcom possess not just a routine that it perpetually seeks to overturn but also a particular style of fomenting that chaos.”
By leaping into the societal messages of the popular 1980s show, Full House, one is able to learn a great deal about what the cultural direction of society was like at that time. Full House was a kind of, makeshift sitcom because it expanded on the typical formula of the age-old conventional “nuclear” family and made room for the idea of a non-traditional family that revealed it’s unconventional nature. As viewership grew, so did the acceptance of such a family structure in American culture.
I never realized the impact television has had on my family until recently. My parents divorced eleven years ago, resulting in my sisters and I being raised in a single parent household. My mom decided to go back to school and get her degree; soon after she met the man she would marry and become our stepdad. Our family transformed from a nuclear family, to a single parent family to a mixed family. My mom had made a career for herself instead of being the stay at home mom like we saw in the traditional nuclear families. I was truly shocked to see how closely television shows resembles my own family. It is safe to say that television has progressed the culture of American families everywhere, even our