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Feminism, Women and Sitcoms… Oh My!: Feminist FEMINISM, WOMEN AND SITCOMS… OH MY!: FEMINIST REPRESENTATION ON THE DONNA REED SHOW AND ROSEANNE _______________________________________ A Thesis presented to the Faculty of the Graduate School at the University of Missouri-Columbia _______________________________________________________ In Partial Fulfillment of the Requirements for the Degree Master of Arts _____________________________________________________ by ALEXANDRA MENZ Dr. Earnest Perry, Thesis Supervisor MAY 2016 The undersigned, appointed by the dean of the Graduate School, have examined the thesis entitled FEMINISM, WOMEN AND SITCOMS… OH MY!: FEMINIST REPRESENTATION ON THE DONNA REED SHOW AND ROSEANNE presented by Alexandra Menz, a candidate for the degree of master of arts, and hereby certify that, in their opinion, it is worthy of acceptance. _______________________________________________________ Professor Earnest Perry _______________________________________________________ Professor Cristina Mislan _______________________________________________________ Professor Keith Greenwood _______________________________________________________ Professor Mary Jo Neitz ACKNOWLEDGEMENTS I would first like to thank my thesis advisor Dr. Earnest Perry of the Missouri School of Journalism at the University of Missouri in Columbia. The door to Dr. Perry office was always open whenever I ran into a trouble spot or had a question about my research or writing. He consistently allowed this paper to be my own work, but steered me in the right the direction whenever he thought I needed it. I cannot forget to thank the Martin Gostanian at Paley Center for Media. Without the organization and his assistance, I would not have the materials to research this project. Without their passionate participation and input, the research could not have been successfully conducted. I would also like to acknowledge Dr. Cristina Mislan, Dr. Keith Greenwood and Dr. Mary Jo Neitz from the Missouri School of Journalism and Department of Women and Gender Studies (respectively) at the University of Missouri in Columbia as the secondary readers of this thesis, and I am gratefully indebted to them for their very valuable comments on this thesis. Finally, I must express my very profound gratitude to my parents and to my coworkers providing me with unfailing support and continuous encouragement throughout my years of study and through the process of researching and writing this thesis. This accomplishment would not have been possible without them. Thank you. ii TABLE OF CONTENTS ACKNOWLEDGEMENTS ................................................................................................ ii ABSTRACT .........................................................................................................................v Chapter 1. INTRODUCTION ....................................................................................................1 2. LITERATURE REVIEW .........................................................................................4 Feminist Theory as a Base What’s In A Wave? Liberal Feminism, The Individual and The Equal Television and Its Complicated Ways 3. HISTORICAL BACKGROUND ............................................................................17 Women of the Small Screen: A Brief History of the Women of Popular Prime Time Television, 1950s-1990s 1950s Life: Returning To ‘Normalcy,’ TV and The Family Television’s Birth And The Nuclear Family Donna Reed, person/director/woman The Donna Reed Show, Featuring A ‘Quintessential Housewife’ Dialogue By Design: Wit And Smarts In One Pretty Package Housewife Transitions And The Working Girl New Space, New Place Roseanne Barr, Person/Director/Woman Roseanne, Featuring An ‘Unruly Domestic Goddess’ Roseanne Conner: Wife, Mother And Queen Of Sarcasm 4. METHODOLOGY ..................................................................................................68 The Study: How And What Is Happening? iii 5. FINDINGS ..............................................................................................................73 Donna Stone, Not The Typical Housewife Edgier TV For The 1950s Roseanne Conner, The ‘Unruly Woman’ A Boundary Of Feminism 6. CONCLUSIONS .....................................................................................................92 Feminism and Family Sitcoms 40 Years Apart…Did Anything Change? The Results: Why Should We Accept These? BIBLIOGRAPHY ............................................................................................................101 APPENDIX 1. The Donna Reed Show ..........................................................................................116 2. Roseanne ...............................................................................................................142 iv FEMINISM, WOMEN AND SITCOMS… OH MY!: FEMINIST REPRESENTATION ON THE DONNA REED SHOW AND ROSEANNE Alexandra Menz Dr. Earnest Perry, Thesis Supervisor ABSTRACT This study aims to illuminate the relationship between feminism and the main female characters on primetime sitcoms (The Donna Reed Show and Roseanne) when the star is also the producer. Through textual analysis and historical research, this thesis analyses plot lines, family interactions and the main female character’s role to answer four research questions: (1) How is a main female character represented on the prime time sitcoms, The Donna Reed Show and Roseanne? (2) How does the main female character’s role compare to the assumed gender roles of the time? (3) How do the main characters and shows depict feminist ideas? (4) How does The Donna Reed Show’s female representation and feminist ideas compare to Roseanne’s? The resulting comparison sheds light on female representation on television, specifically motherhood. Findings illustrate the consequences of a male dominated industry, the successful use of comedy and wit to illustrate feminist ideals and push the boundaries of traditional domestic sitcoms and the complexities of feminist texts. v Chapter 1: Introduction This research is focused on the representation of women on family sitcoms in a feminist context. Through a textual analysis and later comparison of two prime time family sitcoms, The Donna Reed Show and Roseanne, this study examines how primetime television shows represent the female gender, specifically motherhood and their version of femininity. Within the analysis and comparison of these two shows, this research answers the questions: How is a main female character represented on the prime time sitcoms, The Donna Reed Show and Roseanne? How does the main female character’s role compare to the assumed gender roles of the time? How do the main characters and shows depict feminist ideas? How does The Donna Reed Show’s female representation and feminist ideas compare to Roseanne’s? The purpose of this study is to analyze, deconstruct and compare the emergence of the domestic female role on the 1950s and 1980s primetime television in relation to feminist ideas. Using a historical research approach and textual analysis of The Donna Reed Show and Roseanne, this study examines the plot lines, family interactions and the main female character’s role. This study qualitatively explores how two prime time television shows represent the female gender and femininity, how they interact with liberal feminism and how they are their own feminist texts. In a world where powerful women are analyzed for what they wear and how they balance family life versus the job they are actually doing, there is a conversation to be had in how women are portrayed in everyday media.1 On television shows, the “reality” 1 Givan, Robin. "Condoleezza Rice's Commanding Clothes." Washington Post. February 5, 2005. Accessed November 6, 2015. http://www.washingtonpost.com/wp- 1 portrayed can either be related to or rejected by viewers, but they will always have an experience with it. Television creates its own version of gender, normally universalizing its female characters. Sitcom academic Gerard Jones claimed “he accepted what he saw on television as someone else’s truth” even if the true reality is almost never seen on television comedies. While somewhat cynical, Stephen Wizenburg’s opinion that entertainment programs are puppets to promote a social agenda rings somewhat true.2 USA Today columnist Robert Bianco wrote, “TV creates its own reality.”3 This study questions if that is true and if so, what is that text saying. This study was inspired by a single episode of Gilmore Girls and the question of who these women were. What did viewers see during their evening watching TV? Who were these women and what ideas did they represent? During the episode, Lorelai, Rory and Dean are watching an episode of The Donna Reed Show and decide they cannot stand the sickly sweet dialogue and provide their own. RORY: Mother-daughter window washing. We should try that. LORELAI: Yeah, right after mother-daughter shock treatments. "You know, Daughter, there's nothing more satisfying than washing windows-oh no!" RORY "What? Did I miss a spot?" LORELAI: "No, I just had an impure thought about your father, Alex. Funny-I don't know why I had it. It isn't the second Saturday of the month." RORY: (in a deeper voice) "Hey, I heard you had an impure thought." LORELAI: "I must now sublimate al1 my impure thoughts by going into the kitchen and making an endless string of perfect casseroles." DEAN: You're not even listening to the dialogue. RORY Ours is better.4 2 Winzenburg, Stephen. "Sitcom Structures and Reality." In TV's Greatest Sitcoms.
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