DOCSLIB.ORG

IMAGINING the HOUSEWIFE: MEDIATED REPRESENTATIONS of GENDER in POST- WAR AMERICA Nicole Barnes

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
IMAGINING the HOUSEWIFE: MEDIATED REPRESENTATIONS of GENDER in POST- WAR AMERICA Nicole Barnes Georgia State University ScholarWorks @ Georgia State University Communication Dissertations Department of Communication 8-12-2016 IMAGINING THE HOUSEWIFE: MEDIATED REPRESENTATIONS OF GENDER IN POST- WAR AMERICA Nicole Barnes Follow this and additional works at: https://scholarworks.gsu.edu/communication_diss Recommended Citation Barnes, Nicole, "IMAGINING THE HOUSEWIFE: MEDIATED REPRESENTATIONS OF GENDER IN POST-WAR AMERICA." Dissertation, Georgia State University, 2016. https://scholarworks.gsu.edu/communication_diss/74 This Dissertation is brought to you for free and open access by the Department of Communication at ScholarWorks @ Georgia State University. It has been accepted for inclusion in Communication Dissertations by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. IMAGINING THE HOUSEWIFE: MEDIATED REPRESENTATIONS OF GENDER IN POST-WAR AMERICA by NICOLE WILLIAMS BARNES Under the Direction of Professor James F. Darsey, PhD ABSTRACT World War II women are commonly understood to have come closer to equality than any previous generation. Their mass entry into the workforce is remembered as a united front to support the troops while simultaneously claiming ground to demonstrate their abilities as workers. However, scholarship which emphasizes the collaboration between the government and advertisers to create propaganda that persuaded women to enter the workforce and thus serve as the "domestic front" of the war begins to question the prevailing notion of wartime employment as strides towards equality. This project begins with the question: why did post-war women seemingly willingly abandon these jobs and move to the suburbs? I argue the construct of the post-war housewife, which positions women as willing to abandon careers for the suburban kitchen, is a social imaginary which responds to and uses social anxieties to constrain women’s gender performance and silence gender anxieties. I use the context of the time, as well as rhetorical analysis of mediated artifacts of representations of housewife, to argue this social imaginary silences women’s post-war lived experience and replaces it in public discourse with the multimodal image of Fifties housewife. A visual rhetorical analysis of post-war advertisements which portray the housewife reveals the work of the social imaginary using social anxieties concerning gender roles as well as Cold War fears to define woman’s place. Examining the way Hollywood uses housewife as a frame for its female stars uncovers how circulated use of the imaginary of housewife perpetuates the imaginary by seeming to evidence its claims to representation. However, an analysis of televised representations of the housewife imaginary reveals the fabric of the imaginary fraying. Television humor illuminates the illusion of the imaginary of housewife’s claims to representativeness, and therefore creates a public space in which women can contest the imaginary by exposing women’s discontent with the role of housewife. I conclude with a discussion of the ways this social imaginary of housewife continues to define women’s lives in political debate seventy years after it began to define and constrain post-war women’s gender performance. INDEX WORDS: Feminist rhetoric, Visual rhetoric, Gender roles, Post-war, Media, Social imaginary IMAGINING THE HOUSEWIFE: MEDIATED REPRESENTATIONS OF PRIVATE LIVES IN POST-WAR AMERICA by NICOLE WILLIAMS BARNES A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in the College of Arts and Sciences Georgia State University 2016 Copyright by Nicole Williams Barnes 2016 IMAGINING THE HOUSEWIFE: MEDIATED REPRESENTATIONS OF PRIVATE LIVES IN POST-WAR AMERICA by NICOLE WILLIAMS BARNES Committee Chair: James Darsey Committee: Nathan Atkinson George Pullman Catherine Palczewski Electronic Version Approved: Office of Graduate Studies College of Arts and Sciences Georgia State University August 2016 iv DEDICATION For James Darsey and Andrew Barnes, without either of whom it wouldn’t have been possible. ii ACKNOWLEDGEMENTS This project obviously would have remained a nugget of an idea in my head if not for the wisdom and guidance of my committee. I am a better and smarter person for the mentorship of Darsey, and can never repay him for his time, patience, and willingness to listen. Thank you for accepting me as a project, and for the faith in me to stick with it for longer than either of us would have liked this to take. Nate’s door is always open and a bibliography always at hand. Thank you for expanding my ideas as to what rhetoric is and can do, and adding visual rhetoric to my toolbox. George’s guidance through Greek and Roman rhetoric taught me what rhetoric is and its potential. Thank you for always asking the question that cuts to the heart of the matter and teaching me how to get at what’s most important. Cate’s willingness to mentor me, emails every time she sees something that makes her think of my project, and willingness to listen and offer advice, support, or research, shaped this project and me as a scholar. Thank you for joining this project, for your willingness to read work and comment on it, and for welcoming me as a scholar. If not for my husband, I literally wouldn’t be who I am today. Andrew, thank you for taking a chance on me as a sophomore in college and teaching me debate, even if we never were quite as good as we wanted to be; for being the one to take the leap of faith and decide stick it out long-distance; for constant encouragement; for taking me to class with you, introducing me to Darsey, and convincing me I could and should be doing this; for countless nights discussing texts and concepts that helped me to become the scholar I am; for your willingness to listen; for Owen. I am only who I am for you being my partner and my best friend. iii Owen always knows when I need a hug, a laugh, or a break, unless the break is from him. Thank you for teaching me truly unconditional love; no one should like me as much as you do. I know it will end soon enough. My parents’ faith in me epitomizes the “substance of things hoped for, the evidence of things not seen” (Hebrews 11:1). They never once questioned me or my decision to return to school, or my ability to finish, even when I was riddled with doubt, and always know when I need quiet support. They always let me think they think I’m the smartest person in the room, even when I constantly try to prove them otherwise. They are my biggest cheerleaders and fans, and their emails, phone calls, and texts of encouragement sustained me through the toughest times. Thank you, both, for constant encouragement, your relentless faith in me, and constantly pushing me to do the best I can, as well as your unwavering confidence in me. Mom, thank you in particular for always answering the phone and being willing to listen, even when you should be working. Dad, thank you for always seeming to know what I need to hear, whether you tell me yourself or tell other people to tell it to me. My second parents (otherwise known as in-laws) accepted me as their own immediately and completely. Lin, thank you for being willing to twist yourself up into a pretzel at a moment’s notice for luck, and for your encouragement and friendship; you really are my second Mom. Bill, thank you for always making me earn it. You never just take anything I say for granted, never assume research, and always insist on a bibliography for verification. Debates with you can feel a little like comps all over again, but it always keeps me on my toes and makes my arguments stronger and clearer. My siblings keep me honest. Brian and Lori, thank you for your unwavering faith in me while never letting me take myself too seriously. I couldn’t have gotten through this process if I iv did. Valerie, you’re my other best friend, and may be the only family member who actually considers reading this project. Thank you for your comedic timing and listening even when I know you’re bored out of your mind and have one ear on West Wing in the background, and for always being there for me. I was fortunate in a fantastic cohort at Georgia State who continuously challenged and encouraged me. Stephen Heidt, thank you for getting me through coursework, for making me smarter, for nights of debate over Andrew’s cooking, for continued friendship and encouragement that I know will last the length of our careers. J Derby, thank you for being one of the most genuine friends anyone can be, willing to offer anything and everything you can to help. Sam Perry, you’re my younger big brother, and the only other person at GSU with me that understood being a Darsey advisee. And of course thank you to all those who helped me survive Atlanta, Georgia State, and graduate school: Nick Stamper, Jason Jarvis, Lindsey Icenogle, Vann Morris, Shawn Powers and Amelia Arsenault, and Sara Baugh, among others. The rhetoric faculty at Georgia State is phenomenal in both their scholarship and their ability within the classroom. I thank you all, but special thanks to Carol, for constant encouragement and a willingness to help at the drop of a hat, and Mary, for introducing me to Cate at my first Alta conference. The final thank you is for the departmental staff at GSU, especially Marilyn Stiggers and Tawanna Tookes, for help and administrative support throughout the graduate process. v TABLE OF CONTENTS ACKNOWLEDGEMENTS ............................................................................................. ii LIST OF FIGURES ........................................................................................................ vii 1 INTRODUCTION ...................................................................................................... 1 1.1 Context ................................................................................................................
Load more

Recommended publications
  • Manifest Destiny
    UNLV Retrospective Theses & Dissertations 1-1-2007 Manifest Destiny John Nardone University of Nevada, Las Vegas Follow this and additional works at: https://digitalscholarship.unlv.edu/rtds Repository Citation Nardone, John, "Manifest Destiny" (2007). UNLV Retrospective Theses & Dissertations. 2132. http://dx.doi.org/10.25669/gi3n-246p This Thesis is protected by copyright and/or related rights. It has been brought to you by Digital Scholarship@UNLV with permission from the rights-holder(s). You are free to use this Thesis in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Thesis has been accepted for inclusion in UNLV Retrospective Theses & Dissertations by an authorized administrator of Digital Scholarship@UNLV. For more information, please contact [email protected]. MANIFEST DESTINY by John Nardone Bachelor of Arts University of Scranton 1999 A thesis submitted in partial fulfillment of the requirements for the Master of Fine Arts Degree in Creative Writing Department of English College of Liberal Arts Graduate College University of Nevada, Las Vegas December 2007 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. UMI Number: 1443780 INFORMATION TO USERS The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleed-through, substandard margins, and improper alignment can adversely affect reproduction.
    [Show full text]
  • By Jennifer M. Fogel a Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy
    A MODERN FAMILY: THE PERFORMANCE OF “FAMILY” AND FAMILIALISM IN CONTEMPORARY TELEVISION SERIES by Jennifer M. Fogel A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Communication) in The University of Michigan 2012 Doctoral Committee: Associate Professor Amanda D. Lotz, Chair Professor Susan J. Douglas Professor Regina Morantz-Sanchez Associate Professor Bambi L. Haggins, Arizona State University © Jennifer M. Fogel 2012 ACKNOWLEDGEMENTS I owe my deepest gratitude to the members of my dissertation committee – Dr. Susan J. Douglas, Dr. Bambi L. Haggins, and Dr. Regina Morantz-Sanchez, who each contributed their time, expertise, encouragement, and comments throughout this entire process. These women who have mentored and guided me for a number of years have my utmost respect for the work they continue to contribute to our field. I owe my deepest gratitude to my advisor Dr. Amanda D. Lotz, who patiently refused to accept anything but my best work, motivated me to be a better teacher and academic, praised my successes, and will forever remain a friend and mentor. Without her constructive criticism, brainstorming sessions, and matching appreciation for good television, I would have been lost to the wolves of academia. One does not make a journey like this alone, and it would be remiss of me not to express my humble thanks to my parents and sister, without whom seven long and lonely years would not have passed by so quickly. They were both my inspiration and staunchest supporters. Without their tireless encouragement, laughter, and nurturing this dissertation would not have been possible.
    [Show full text]
  • Watch out for Eddie Haskell
    Human Capital Management Watch Out for Eddie Haskell f you’re old enough to remem- quirements, and they offer almost noth- ber Leave It To Beaver, or if ing to attract real talent. Online job posts you’ve caught a re-run on “Nick are no better. Sometimes they’re longer, I but again, most say little more than “this at Nite,” you know who Eddie is what we need.” Remember, Eddie’s Haskell is. He’s Wally’s smooth out there reading these, and he’s looking talking friend, and no matter what for the next new thing to pique his inter- trouble he may have caused, he was est. Recruitment advertising, whether always able to charm his way past online or off, is marketing. To make your Mrs. Cleaver. marketing successful, and attract real tal- ent, you need to create compelling copy. Now before you say, “what does this You need to sell. And you need to give have to do with me,” consider this: There candidates a strong reason to take ac- are a lot of “Eddie Haskell’s” out there… tion…now! Make ads and position de- and they’re trying to get a job with you! scriptions visibly attractive with intrigu- ing titles and graphics that capture the But, were they great interviewees? Some attention of the best candidates. Include CAN YOU SPOT EDDIE? may have been, but many more prob- detailed information about the benefits ably were not. Here’s why: great em- of working for your company, the posi- The problem with Eddie Haskell’s is that ployees don’t change jobs all that often, tive aspects of your corporate culture, they’re hard to spot.
    [Show full text]
  • Classic Tv and Faith: Vii - Leave It to Beaver ‘Red and Yellow, Black and White
    “CLASSIC TV AND FAITH: VII - LEAVE IT TO BEAVER ‘RED AND YELLOW, BLACK AND WHITE . .’” Karen F. Bunnell Elkton United Methodist Church August 19, 2012 Galatians 3:23-29 Luke 19:1-10 Life has been different this week without the Olympics on television. I don’t know about you, but I was glued to the TV for two weeks, watching the action. I don’t want to tell you how many nights I stayed up until midnight watching the competition, and then when my alarm went off at 5:30 a.m., turned it back on again. It was so great to watch how well everyone did. Who will ever forget watching Michael Phelps achieve something no other Olympic athlete has ever done? Or who will forget watching Usain Bolt run - “the fastest man alive”? Or the women’s gymnastics team, or the women’s soccer team, or the young American diver who shocked the diving world by winning the gold medal? It was all just wonderful. But you know what I always find really, really inspiring? It’s the closing ceremonies. No, not the opening ceremonies, although this year’s was exceptional, with the Queen appearing with James Bond and all. But the closing ceremonies are always wonderful for one big reason, in my opinion - that all of the athletes come on to the field in a group - all nations, all athletes, all sports - one great, huge group of humanity. They join together across competitive boundaries, and national boundaries, and ethnic boundaries, and language boundaries - they forget all of that and just revel in joy together at what they’ve experienced at the Games! It is absolutely wonderful, and I truly believe, in my heart of hearts, that it is a portrait of the coming kingdom of God - where all dwell together in harmony, as one.
    [Show full text]
  • AP English Language & Composition HIGHLIGHTED Summer Assignment Packet
    1 AP English Language & Composition HIGHLIGHTED Summer Assignment Packet HIGHLIGHTED Summer Assignment Packet Table of Contents ● Passage #1: Analyzing Diction in “The Declaration of Independence” 5 by Thomas Jefferson 2 ● Passage #2: Analyzing Imagery in “Once More to the Lake” by E.B. White ● Passage #3: Analyzing Detail in “Grant and Lee: A Study in Contrasts” by Bruce Catton ● Passage #4: Analyzing Syntax in “Ain’t I a Woman” by Sojourner Truth ● Passage #5: Analyzing Tone in “I Am Tired of Fighting” by Chief Joseph ● Passage #6: Analyzing Visual Text Using “The Louisville Flood” Margaret Bourke White’s Photograph ● Passage #7: Analyzing Visual Text Using Vintage Advertisements ● Summaries, Worksheets, and Reactions on Summer Reading Books Assignments 1. Read all of the passages found in this packet, and, using Google Classroom, highlight each passage according to the instructions. 2. Then, in Google Classroom, respond to each question or statement using the format provided. 3. You also need to read the two books listed below and write summaries and reactions as directed later in the packet. The books you need to read are: ● Narrative of the Life of Frederick Douglass by Frederick Douglass which can be downloaded at http://www.ibiblio.org/ebooks/Douglass/Narrative/Douglass_Narrative.pdf ● Thank You for Arguing, Revised and Updated Edition, Chapters 1-- 13, by Jay Heinrichs which can be downloaded at http://www.mrpenza.com/uploads/2/1/3/5/21358904/thank-you-for-arguing.pdf 4. Look up all words in this packet for which you do not know the meaning. It is imperative that you build your vocabulary in AP Language.
    [Show full text]
  • 092607 Tv Land Celebrates the 50Th Anniversary of Leave It To
    Contacts: Vanessa Reyes-Smith Rachel Sandler 310-752-8081 212-846-4412 [email protected] [email protected] GEE, WALLY!! TV LAND CELEBRATES THE 50TH ANNIVERSARY OF LEAVE IT TO BEAVER WITH 24 HOUR ON-AIR SALUTE BEGINNING SATURDAY, OCTOBER 6TH Marathon Features Show’s Rarely-Seen 1957 Pilot, “It’s A Small World” TV Land.com Offers Full Streaming Episodes, Exclusive Photos and Sweepstakes New York, NY – September 26, 2007 –- TV Land celebrates the 50th anniversary of one of television’s beloved family sitcoms, Leave It To Beaver, with a 24 hour marathon beginning on October 6th at 8:00PM ET/PT concluding on Sunday, October 7th at 8:00PM ET/PT. The marathon includes the rarely-seen 1957 pilot entitled “It’s a Small World” that features Jerry Mathers as the Theodore “Beaver” Cleaver; Paul Sullivan as Wally and Barbara Billingsley and Max Showalter as the parents June and Ward Cleaver. Additionally, veteran comedic actor Harry Shearer is seen in one of his very first roles as Frankie, a neighborhood tough guy. Leave It To Beaver is one of the first sitcoms to take a look at life from a seven-year old’s point of view. Much to the dismay of his parents, Ward and June, “Beaver” got himself into and out of one childhood jam after another. In addition to the All-American Cleavers, audiences fondly remember the shenanigans of Eddie Haskell who tried hard to sweet talk the adults all the while bullying Beaver and his pals. The show premiered on October 4, 1957 and followed “Beaver” and his brother, Wally through their adolescent years, with the series ending September 12, 1963 with Wally going off to college and “Beaver” starting his teenage years.
    [Show full text]
  • Mental Muscle “The Hardest Part About This Competition Was Chess Owls Are No
    News From Memphis University School Volume 13, Number 3, May 2011 about what’s going on in your head.” Sorensen had a similar outlook. MENTAL MUSCLE “The hardest part about this competition was CHESS OWLS ARE NO. 2 IN THE STATE playing people better than I am, especially when by Miss Erin Floyd I didn’t have much time to think about my moves,” he said. “Also, it’s challenging to play chess as a The chess teams had all the right moves team-based game because you rely on your other while competing in the Region IV Team teammates to win their games. The team has Qualifying Tournament on March 5. to get two and a half wins out of four to win At the regional level, the varsity team came the round.” in second and the Lower School team came in When it comes to sharpening their skills, fourth. Both teams qualified for the Tennessee members of the chess team agreed that practice MUS MUS State makes perfect. Scholastic “When I first Team Chess learned chess, I Tournament in frequently prac- o n o r q u e 1 8 9 3 H Cookeville on ticed to improve March 26. my skills,” o u n d e d F Because of Sorensen said. e r i t a s V schedule “Tactics become conflicts, the very important.” Lower School Meyer team did not added that skills compete at the he develops state level. The (left to right) Amit Shah, Nathan Vogt, Andy Sorensen, while practicing varsity team Ashish Nathani, and Pete Abston chess aid him in came home everyday life.
    [Show full text]
  • 1 Mark Hamrick
    NATIONAL PRESS CLUB LUNCHEON WITH HARRY SHEARER SUBJECT: MEDIA MYTHS IN MAJOR NEWS COVERAGE MODERATOR: MARK HAMRICK, PRESIDENT, NATIONAL PRESS CLUB LOCATION: NATIONAL PRESS CLUB BALLROOM, WASHINGTON, D.C. TIME: 12:30 P.M. EDT DATE: MONDAY, MARCH 14, 2011 (C) COPYRIGHT 2008, NATIONAL PRESS CLUB, 529 14TH STREET, WASHINGTON, DC - 20045, USA. ALL RIGHTS RESERVED. ANY REPRODUCTION, REDISTRIBUTION OR RETRANSMISSION IS EXPRESSLY PROHIBITED. UNAUTHORIZED REPRODUCTION, REDISTRIBUTION OR RETRANSMISSION CONSTITUTES A MISAPPROPRIATION UNDER APPLICABLE UNFAIR COMPETITION LAW, AND THE NATIONAL PRESS CLUB RESERVES THE RIGHT TO PURSUE ALL REMEDIES AVAILABLE TO IT IN RESPECT TO SUCH MISAPPROPRIATION. FOR INFORMATION ON BECOMING A MEMBER OF THE NATIONAL PRESS CLUB, PLEASE CALL 202-662-7505. MARK HAMRICK: (Sounds gavel.) Good afternoon, and welcome to the National Press Club. I’m Mark Hamrick, I'm a broadcast journalist for the Associated Press, and I'm the 104th president of the National Press Club. We are the world’s leading professional organization for journalists committed to our profession’s future through our programming, events such as this, while fostering a free press worldwide. For more information about the National Press Club, I'd ask you to please visit our website at www.press.org. And to donate to programs offered to the public through our Eric Friedheim National Journalism Library, you could find that information on our website as well. So on behalf of our members worldwide, I'd like to welcome our speaker and those of you attending today’s event. Our head table guests include guests of our speaker, as well as working journalists who are club members.
    [Show full text]
  • Read Agency Decision (PDF)
    BEFORE THE SECRETARY OF STATE STATE OF COLORADO CASE NO. OS 20050006 AGENCY DECISION IN THE MATTER OF THE COMPLAINT FILED BY LELAND GILBERT REGARDING ALLEGED CAMPAIGN AND POLITICAL FINANCE VIOLATIONS BY ALLIANCE FOR COLORADO FAMILIES. History of the Case This case concerns a complaint filed March 28, 2005 with the Secretary of State by Leland Gilbert against Alliance for Colorado Families (“ACF”). The complaint alleges that the Defendant ACF is a political committee and that it accepted 32 contributions of more than $500 per House of Representatives election cycle as prohibited under Colo. Const. art. XXVIII, Section 3(5). The Secretary of State referred the complaint to an Administrative Law Judge (“ALJ”) as provided by Colo. Const. art. XXVIII, Section 9(2)(a). Prehearing conferences were held on April 14, 2005 and on May 6, 2005. The parties agreed that no hearing was immediately required as the issues were primarily legal ones. Instead, the parties agreed to have the ALJ determine whether a violation occurred. The parties agreed this could be done via a stipulated set of facts and motions for summary judgment. In the event a violation was proven, the parties agreed that a separate hearing would be held on the issue of proper sanction. After the completion of briefing, the ALJ, on July 5, 2005, issued an Order Granting Summary Judgment as to Liability. The Order concluded that ACF was liable for a violation of Section 3(5). A hearing as to appropriate sanction was therefore held August 30, 2005. At the hearing and throughout this case Scott Gessler, Esq represented the Complainant.
    [Show full text]
  • 1 June 21, 2015 Father's Day 2015 Genesis 37:1-4 Ward Cleaver's
    June 21, 2015 Father’s Day 2015 Genesis 37:1-4 Ward Cleaver’s Curse Opening words: Last month I told you Mother’s Day was big business. According to the Chicago Tribune, the average American spent $172.63 on their mother this year. That is up $10 from last year. That means Americans spent a total of $21.2 billion on Mother’s Day. Father’s Day is big business too, but not quite as big. According to the National Retail Federation, the average American will spent $115.57 on their fathers. As a country, we will spend $12.5 billion on Father’s Day. This is the breakdown: 64.1% of children will get their father a card 41.5% of children will get their father a new apparel item, like a tie ($1.8 billion) 42.6% of children will get take their father on an outing, like lunch ($2.5 billion) $1.6 billion will be spent on electronic gifts $336 million on tools How are you going to honor your father? On this Father’s Day, we find ourselves in the thirty-seventh chapter of Genesis. The story is a familiar one, the day Joseph received his colorful coat from his father, Jacob. It must have been a great day for him, but it wasn’t so great for his eleven brothers. Good fathers love their children equally, but Jacob loved his sons unequally. Verse three says it clearly, “Jacob loved Joseph more than his other sons because he was born in his old age.” Who was your father’s favorite in your family? Our scripture lesson for today is Genesis 37:1-4.
    [Show full text]
  • 112206 Tv Land's the 100 Greatest Tv Quotes & Catchphrases Hits the Air with a Comprehensive List of Tv's Most Memorable
    Contacts: Rachel Sandler Vanessa Reyes Smith TV Land TV Land 212/846-4412 310/752-8081 [email protected] [email protected] TV LAND’S THE 100 GREATEST TV QUOTES & CATCHPHRASES HITS THE AIR WITH A COMPREHENSIVE LIST OF TV’S MOST MEMORABLE EXPRESSIONS OVER THE PAST 60 YEARS Week-long Primetime Salute Kicks Off on TV Land Monday, December 11 at 10 P.M. ET/PT New York, NY, November 22, 2006 – TV Land counts down The 100 Greatest TV Quotes & Catchphrases in a week-long look at the memorable sayings from cartoons, television series, commercials and news programs over the past 60 years like Donald Trump’s ( The Apprentice ) “You’re fired” to Billy Crystal’s ( Saturday Night Live ) “You look mahvelous!” to Walter Cronkite’s “And that’s the way it is.” Building on the success of 2005’s The 100 Most Unexpected TV Moments , The 100 Greatest TV Quotes & Catchphrases gives viewers a look inside the origins of some of pop culture’s most remembered and repeated catchphrases. The 100 Greatest TV Quotes & Catchphrases, which is produced by Gay Rosenthal Productions ( Behind the Music and Little People, Big World ), airs on Monday, December 11 from 10 to 11P.M. ET/PT for five consecutive nights. TV Land’s The 100 Greatest TV Quotes & Catchphrases features original talent interviews and archival clips of those who made them famous as well as those who have been deeply influenced by the catchphrases. From Neil Armstrong’s unforgettable “One small step…” to Fred Flintstone’s cartoon catchphrase “Yabba dabba do” to The Price is Right’s Johnny Olson’s call to “Come on down,” TV Land’s The 100 Greatest TV Quotes & Catchphrases will take viewers from 100 to 1 in this lively week-long countdown show.
    [Show full text]
  • Leave to Beaver Show
    Leave to beaver show Its reception led to a new first-run, made-for-cable series, The New Leave It to Beaver (–), with Beaver and ​Production · ​Themes and recurring · ​Cancellation and · ​Media information. Comedy · The misadventures of a suburban boy, family and friends. Videos. Leave It to Beaver -- Trailer for Leave It to Beaver: The Complete Series. Comedy · The Cleavers are an all-American family living in Ohio - wise father Ward, loving .. Barbara Billingsley who played Aunt Martha, was the original June Cleaver in the television show "Leave It to Beaver" (). See more». I knocked on a door and a woman answered. I told her, "You must be lost, let me know you where the kitchen is. It's been 56 years since a cute little munchkin named Theodore entered our lives as "The Beaver" in an all-American show about suburban. Leave It to Beaver is one of the first primetime sitcom series written from a child's point of view. Like several television dramas and sitcoms of. One common criticism of Leave It to Beaver is that June, the Cleaver the first season of the show; she started wearing heels at the suggestion. Leave It to Beaver also went out on its own terms, as we will see. Let's take a look at some fascinating facts about the show that will make you. One of television's most iconic series, 'Leave It to Beaver' follows the adventures of inquisitive but often naive Theodore "The Beaver" Cleaver. Along with. The very first episode of classic television show Leave it to Beaver almost never made it on air, according to the show's star Jerry Mathers.
    [Show full text]