Kvinderne Og Dallas

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Kvinderne Og Dallas Elektronisk version af artikel i Analyser af TV, ISBN 87-7332-102-8, Forlaget Medusa 1985 Anne Hjort Kvinderne og Dallas Den amerikanske W-serie Dallas forblev fra premieren i julen 1980, indtil det sidste 71. afsnit blev sendt to år senere, lidt af en sensation i dansk W. Med et overordentlig stort seertal på 2.9 millioner i starten og 2.4 millioner til slut er Dallas blevet set i alle samfundsgrupper - men alligevel ikke lige meget. Dal- las har været mest populær hos kvinderne. Det er kvinderne - og de kvindelige erfaringer - i Dailas og foran Dallas, der står centralt i den folgende artikel. Sporgsrnålet om Dallas' fascination og værdi for specielt dens kvindelige seere soges nemlig ikke alene besvaret ud fra en indholdsanalyse af serien, men også udfra interviews med kvinder om deres faktiske oplevel- se af serien og af en konkret episode, 'Julie vender tilba- ge', sendt i danskfjernsyn den 21. august 1981. Dallas er interessant, ikke mindst i lyset af den aktu- elle mediepolitiske situation i Europa, hvor W-satellit- ter og kabel-TV vil betyde en voldsom forogelse af TV- udbuddet og W-forbruget. Det er en situation, hvis kul- turpolitiske konsekvenser er usikre, men som med ga- ranti medforer én ting - vi får mere 'Dallas'. Dallas-serien Den fnrste episode af Dallas blev vist i USA i april 1978. Seriens ojeblikkelige succes betod, at CBS generobrede pladsen som 'the top prime-time network' fra ABC, som derefter straks gik i gang med at producere 'modserien' Dynasty (Dollars). Dallas' plof er folgende: Jock Ewing (som spilles af westernfilmveteranen Jim Davis) og Digger Barnes indgår engang i 30'erne et partnerskab. De leder efter olie og finder den. Men de bliver uvenner. Digger begynder at drikke, og det ender med at Jock drager af med storstedelen af firmaet og Diggers elskede Ellie Southworth (Barbara Bel Geddes), som er datter af en rig rancher. Hermed er grunden lagt til den familiefejde, som er én af seriens intriger. Jock og Ellie får 3 snnner: JR (John Rosc) (Larry Hagman), som overtager faderens plads som Dette materiale er udlånt via bibliotekerne udelukkende til personligt brug. Der må ikke foretages viderekopiering. Elektronisk version af artikel i Analyser af TV, ISBN 87-7332-102-8, Forlaget Medusa 1985 direktm for Ewing Oil, og som har giftet sig med den tidligere Miss Texas, Sue Ellen (Linda Gray). Den anden s0n, Gary, er drevet væk fra hjemmet f0r serien starter af den ondskabsfulde og magtbegærli- ge JR, men har efterladt sin teenage-datter Lucy (Charlene Tilton). Den yngste s0n Bobby (Patrick Duffy) tager sig af ranchen. Han har giftet sig med Digger Barnes datter, Pamela (Victoria Principal). Hun er således i et konstant dilemma mellem de to familier, idet hendes bror Cliff synes at have viet sit liv til at få ram på Ewing- familien. Dallas er genremæssigt set en blanding. Den kombinerer elemen- ter fra både western- og krimigenren, men ligger dog tættest på soap-operaen, den melodramatiske familiefdjeton. Soap-operas er rettet specielt mod kvinder - de var oprindelig sponsored af sæbe- firmaer, deraf navnet - og er nok den genre i amerikansk fjernsyn som mest direkte beskæftiger sig med hverdagserfaringer. Men Dallas er hurtig 'soap' - der er mere 'action' end normalt. Seriens uendelige intriger og konflikter involverer emner som skils- misse, - utroskab, psykiske problemer, alkoholisme, barnlmhed, - ~ brystkræft, f~dselspsykose,tvivl om faderskab til bmn, mord og mordfors~g.Ved at placere 3 generationer under samme tag er der mulighed for at gennemspille allehånde familiekonflikter, og det store persongalleri i ~vrigtsikrer, at der alt i alt er indgange for brede publikumsmasser. Og det skal der være - en amerikansk serie, der sendes i 'prime time' (den tidlige aftensendetid), skal nå mindst 20% af seerne for at networket kan sælge- reklametiden i programmet til en ordentlig pris. Dallas spiller på et ældgammelt tema - kampen mellem det gode og det onde - mellem den 'gode' og gennemhæderlige Bobby og den 'onde', skrupell~seog (magt)liderlige JR. Men det er JR-figuren der er seriens store scoop og trækplaster. Hvor det traditionelt ville være lov og orden, retfærdighed og anstændighed, der sejrede til sidst, sker det ikke i Dallas. I kampen melem JR og Bobby er der aldrig nogen endelig sejrherre - begge er så at sige n~dvendigefor 'familiens' overlevelse. Dallas forer samtidig den gamle western- myte om det hæderlige og enkle liv op i den moderne verden og gar det afhængigt af denne - og dens moralske fordærv. I den flotte 'trailer' til serien tematiseres de to sider af det amerikanske samfund - landbruget og industrien - men Dallas viser at USA ikke længe- re kan leve af kvæg og de gode gamle dyder. Efter Watergate og Vietnam er det blevet vanskeligt at legitimere magten moralsk, og den vises nu åbent som baseret på manipulation og uhæderlighed, Dette materiale er udlånt via bibliotekerne udelukkende til personligt brug. Der må ikke foretages viderekopiering..
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