Generational Transitions in Adulthood

Total Page:16

File Type:pdf, Size:1020Kb

Generational Transitions in Adulthood Title All about thirtysomething: generational transitions in adulthood Session Contemporary Adulthood: Theorizing an Uncontested Category Judith Burnett School of Social Sciences, Media and Cultural Studies Docklands Campus University of East London University Road East London UK [email protected] All about thirtysomething: generational transitions in adulthood Introduction The need to re-theorise adulthood as a changing constitution and practice has become critical if we are to grasp our biography as social and our personal problems as collective and historical (Mills 1970) and from here produce appropriate sociological responses to our global and individualising world (Beck 1992; Giddens 1991). Thus, theorising adulthood requires us to locate adulthood in its historical context, and to recognise it as a historical system in its own right. My own research suggests that we think of adulthood as, in part, a generational experience, since the concept of generation allows us to consider cohorts moving through time and acting upon, and being acted upon, by the historically contingent structures and processes which they encounter, and in turn make. In my own research, I wanted to explore the journey of a particular cohort, that of the second peak of the baby boom in Britain, (born late Fifties and early Sixties) as they hit their thirties. This period saw the rise of an identity and possibly a kind of social group, that of Thirtysomething, which appeared as a mass experience and label primarily in the cultural sphere in the largely developed, urbanised consumer cultures of the Nineties. The basis of this project is that I wanted to grasp something of the social reality behind texts such as Bridget Jones’ Diary and Sex and the City, by finding out more about the social demographic of which such texts spoke. Who is the Thirtysomething Woman? Where did she come from? Where does she go? In sociological terms, we can understand the demographic of Bridget Jones’ Diary as a cohort which emerged primarily in the post-industrial urban areas of the developed world. However, my findings were that actors who may once have been thought of, and/or may even have thought of themselves as ‘Thirtysomething’, form a much larger constituency, cross-class and region, and with multiple identities. I argue that the sociological concept of use to grasp their emergence in social life, (and it is the contention of this thesis that there has been an emergence), is that of generation. Generation as a concept has enabled me to grasp that which class, race, and gender cannot: an age based identity greater than the snap shot of the age today, i.e. an identity and location as it is lived out over time. The concept of generation alone enables us to grasp Thirtysomething as a generational event. It is a marker of age based identity, of a cohort’s specific historical experience, and in this paper, I argue that it is a signal of a transition in adulthood, understood as such by the actors themselves, who picture themselves traversing the lifecourse. This paper examines the concept of ‘thirtysomething’ as understood by focus group participants who gathered to consider their changing life course, and their changing times. The research demonstrates the extent to which the groups were able to see a social dimension to their experience of becoming ‘thirtysomething’ as well as providing some insights into how people perceive adulthood as a time of transition. The concept of Adulthood as the plateau in stasis While transitions into adulthood have been explored in sociology and its cognate disciplines, transitions within adulthood remain undertheorised (Pilcher & Williams, 2003). The general concepts of the Enlightenment have traditionally signalled adulthood as a plateau in life. Following the ferment of youth, adulthood in contrast has been implicitly constructed as a period of stasis. Adulthood was defined by modern science as the time of life when the character is permanently formed and the body is fully grown, when we have reached the limits of potential. Classically, adulthood was not interesting to the psychic trades unless there was a dramatic change, (madness, suicide, criminality, any kind of disability and so on), in which event such changes were constructed as difference, and identified as deviant from the assumed norm of one dimensional stasis. However, one ultimate deviation which attracted social attention was the universal one of ageing, synonymous with ‘growing old’,. which in contrast to the prime of life, was constructed as one of powerlessness, dependency, and even degeneracy (Hockey and James 1993). I suggest that we can imagine this to be a ‘zenith theory’ of the human life course. Implicitly, the lifecourse is drawn in an arc from youth to old age, the molten flow of human child1 becomes set in stone, before its final descent back to the Earth as it cracks and crumbles into biblical dust. This zenith arc draws on the concept of Life found not only in the human sciences, but in the geological, geographical, and botanical. I wish to suggest that adulthood was historically found ‘uninteresting’ in a sociological sense partly for all of the reasons above, but also because class reproduction and class relations were played out across the life course through the social institutions of marriage, family, labour and housing markets, and it was these, and their interrelationship as relations of capitalism which held the interest, not ‘adulthood’ per se. ‘The system’ was conceptualised as the major social system at macro level through which adults live or under which oppression they survive (or not, as the case may be). It was not thought that adulthood might be, itself, the system, or at least one of its integral drivers and dynamics, the closest position being that of the default family unit as a system. 1 A special category of human being, close to a sub-species in popular imaginary The cultural construction of adulthood may now be growing. Certainly, there is evidence that the paradigms of ageing have increased importance in producing social identities, (see for example Hockey & James 2003). Meanwhile, the material relationships of inequalities through ageing have been shown to have acquired a particular significance in the context of global capital flows, leading Vincent (2003) to conclude that ‘pension fund capitalism…appears to me to be a particularly pristine type of capitalism because of the enormous gulf between the apparent owners of ‘capital’ – the beneficiaries – and those who actually control the funds, who in reality are the fund managers,’ (ibid:107), alerting us to the need to recognise that the social relations of age are a powerful organising driver of social stratification as well as subjectivity. In contrast to the ‘plateau in stasis’ view of adulthood, I want to suggest that we instead rescue the agent and see agency at work. While the zenith itself can be more clearly understood as the ideological product, we can also being to consider what, in the absence of jet propulsion, gets a person from A to B, or, more properly, how the system itself can be propelled or constrained, with what effects, on what, with what consequences. From here we can also consider the planes and systems of the lifecourse, which are not atypical, all time and universal but historically contingent and specific to time and place. The life course is an embodied and situated life, through which agency and structure play, and our concepts of adulthood should reflect this. In order to breathe life into adulthood as a space of change and diversity, I now turn to consider the usefulness of otherwise of the conceptual frame of generation. In my own research of people in their thirties, I found the concept of generation used by the actors and by myself in order to make sense of their passage through adulthood, understanding in particular their transitions to have been ‘generational’. Mannheim’s theory of generation Mannheim (1952) argues that generations develop a social life which is above and beyond the biological rhythm of social replacement. At the centre of generational life he argued, lay generational consciousness, which is at once collective, historical and socially aware of its location, i.e. it is a critical consciousness. Mannheim argued that this arose from the difficulties that each new generation would experience as they encountered the ill-fitting traditions and patterns of behaviour of their age. In recognising these issues as social rather than personal issues, cohort agents would work up the materials of their lives to become reflexive, knowing actors acting upon structure with intention. Diversity, expressed through generational units, might occur, with some actors working for the status quo while others sought to change it. However, what precisely a generation can be said to be, is defined in part by what it is not. In particular, a generation must be distinguished from concrete groups such as communities, which can only exist where 'members have concrete knowledge of each other' (ibid), and associational organisations, 'formed for a specific purpose…characterized by a deliberate act of foundation, written statues, and a machinery for dissolving the organization.' (Mannheim 1952:289). In contrast, generations have consciousness and take action, often in an extra-institutional way, often producing its own systems of identification and symbol production, including that which attains, for Mannheim, social knowledge, or at least in our terms today, what we can think of as social understandings. This emphasis on consciousness and action is a major point of contrast with the classical view of cohorts as set out by Ryder (1965; 1985), who takes the view that 'The new cohorts provide the opportunity for social change to occur. They do not cause change; they permit it,' (1985:11).
Recommended publications
  • Popular Television Programs & Series
    Middletown (Documentaries continued) Television Programs Thrall Library Seasons & Series Cosmos Presents… Digital Nation 24 Earth: The Biography 30 Rock The Elegant Universe Alias Fahrenheit 9/11 All Creatures Great and Small Fast Food Nation All in the Family Popular Food, Inc. Ally McBeal Fractals - Hunting the Hidden The Andy Griffith Show Dimension Angel Frank Lloyd Wright Anne of Green Gables From Jesus to Christ Arrested Development and Galapagos Art:21 TV In Search of Myths and Heroes Astro Boy In the Shadow of the Moon The Avengers Documentary An Inconvenient Truth Ballykissangel The Incredible Journey of the Batman Butterflies Battlestar Galactica Programs Jazz Baywatch Jerusalem: Center of the World Becker Journey of Man Ben 10, Alien Force Journey to the Edge of the Universe The Beverly Hillbillies & Series The Last Waltz Beverly Hills 90210 Lewis and Clark Bewitched You can use this list to locate Life The Big Bang Theory and reserve videos owned Life Beyond Earth Big Love either by Thrall or other March of the Penguins Black Adder libraries in the Ramapo Mark Twain The Bob Newhart Show Catskill Library System. The Masks of God Boston Legal The National Parks: America's The Brady Bunch Please note: Not all films can Best Idea Breaking Bad be reserved. Nature's Most Amazing Events Brothers and Sisters New York Buffy the Vampire Slayer For help on locating or Oceans Burn Notice reserving videos, please Planet Earth CSI speak with one of our Religulous Caprica librarians at Reference. The Secret Castle Sicko Charmed Space Station Cheers Documentaries Step into Liquid Chuck Stephen Hawking's Universe The Closer Alexander Hamilton The Story of India Columbo Ansel Adams Story of Painting The Cosby Show Apollo 13 Super Size Me Cougar Town Art 21 Susan B.
    [Show full text]
  • When Buffy Came Along in the Late 1990S, Television Music Was Not at All As It Is Today
    “The Sound of Whedon: the influence of Joss Whedon’s early television series on TV scoring”. Janet K Halfyard Paper give at Euroslayage: sixth biennial Slayage conference on the Whedonverses at Kingston University, July 2016 When Buffy came along in the late 1990s, television music was not at all as it is today. One of the important differences between then and now lies in the use of musical themes. During the 1980s and through much of the 1990s, the received wisdom was that, with few exceptions, it was not feasible to use recurrent musical themes in TV scores, by which I mean a theme that appears in more than one episode. This seems to have stemmed from two different but complementary perceptions about music as a problem in TV. Firstly over the span of a series, a regularly repeated theme might simply become annoyingly intrusive. Secondly, quality TV shows avoided underscoring scenes because, as Robert Thompson observes in his discussion of quality TV in the US in the 1980s, among the key identifiers of quality TV was a focus on writing – dialogue - and a desire for realism; and music, with its potential to mask dialogue and its ability to emotionally manipulate an audience in a way that does not happen in real life, was therefore something that rather worked against the ethos of shows like L. A. Law and thirtysomething. The result was that in quality TV, music mostly operated quite literally at the edges of scenes, a segue providing continuity across the narrative gap as we cut to a new scene.
    [Show full text]
  • An Analysis of Hegemonic Social Structures in "Friends"
    "I'LL BE THERE FOR YOU" IF YOU ARE JUST LIKE ME: AN ANALYSIS OF HEGEMONIC SOCIAL STRUCTURES IN "FRIENDS" Lisa Marie Marshall A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY August 2007 Committee: Katherine A. Bradshaw, Advisor Audrey E. Ellenwood Graduate Faculty Representative James C. Foust Lynda Dee Dixon © 2007 Lisa Marshall All Rights Reserved iii ABSTRACT Katherine A. Bradshaw, Advisor The purpose of this dissertation is to analyze the dominant ideologies and hegemonic social constructs the television series Friends communicates in regard to friendship practices, gender roles, racial representations, and social class in order to suggest relationships between the series and social patterns in the broader culture. This dissertation describes the importance of studying television content and its relationship to media culture and social influence. The analysis included a quantitative content analysis of friendship maintenance, and a qualitative textual analysis of alternative families, gender, race, and class representations. The analysis found the characters displayed actions of selectivity, only accepting a small group of friends in their social circle based on friendship, gender, race, and social class distinctions as the six characters formed a culture that no one else was allowed to enter. iv ACKNOWLEDGMENTS This project stems from countless years of watching and appreciating television. When I was in college, a good friend told me about a series that featured six young people who discussed their lives over countless cups of coffee. Even though the series was in its seventh year at the time, I did not start to watch the show until that season.
    [Show full text]
  • PERFECTION, WRETCHED, NORMAL, and NOWHERE: a REGIONAL GEOGRAPHY of AMERICAN TELEVISION SETTINGS by G. Scott Campbell Submitted T
    PERFECTION, WRETCHED, NORMAL, AND NOWHERE: A REGIONAL GEOGRAPHY OF AMERICAN TELEVISION SETTINGS BY G. Scott Campbell Submitted to the graduate degree program in Geography and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy. ______________________________ Chairperson Committee members* _____________________________* _____________________________* _____________________________* _____________________________* Date defended ___________________ The Dissertation Committee for G. Scott Campbell certifies that this is the approved version of the following dissertation: PERFECTION, WRETCHED, NORMAL, AND NOWHERE: A REGIONAL GEOGRAPHY OF AMERICAN TELEVISION SETTINGS Committee: Chairperson* Date approved: ii ABSTRACT Drawing inspiration from numerous place image studies in geography and other social sciences, this dissertation examines the senses of place and regional identity shaped by more than seven hundred American television series that aired from 1947 to 2007. Each state‘s relative share of these programs is described. The geographic themes, patterns, and images from these programs are analyzed, with an emphasis on identity in five American regions: the Mid-Atlantic, New England, the Midwest, the South, and the West. The dissertation concludes with a comparison of television‘s senses of place to those described in previous studies of regional identity. iii For Sue iv CONTENTS List of Tables vi Acknowledgments vii 1. Introduction 1 2. The Mid-Atlantic 28 3. New England 137 4. The Midwest, Part 1: The Great Lakes States 226 5. The Midwest, Part 2: The Trans-Mississippi Midwest 378 6. The South 450 7. The West 527 8. Conclusion 629 Bibliography 664 v LIST OF TABLES 1. Television and Population Shares 25 2.
    [Show full text]
  • 10 Years of Lave & Shows
    Outline of the LAVE (Life And Values Education) PROGRAMS developed for NCSY by Rabbi Dr. N. Amsel (2002) Below is the outline of the NCSY LAVE Programs. Each lesson consists of a description of the video, goals of the lesson, a step-by-step Q&A and sources in English and Hebrew. For more information about this program, contact Rabbi Nachum Amsel TOPIC TRIGGER VIDEO YEAR I 1. Relationship to Elders and Sensitivity to All Others The Shopping Bag Lady 2. Choices and Priorities in Judaism The Bill Cosby Show 3. Tzedaka, Chesed and Charity: What’s the Difference? Clown 4. Prejudice By and Against Jews Barney Miller 5. Business Ethics and Stealing Archie Bunker: Brings home drill 6. Personal Antisemitism and the Jewish Reaction Archie Bunker: JDL YEAR II 1. Jewish Identity Archie Bunker: Stephanie’s Jewish 2. Snitching: Right or Wrong? One Day At a Time 3. Jewish Prayer and Self-Actualization Taxi 4. Shul Vandalism: The New Antisemitism? Archie Bunker 5. Lashon Hara and the Jewish Concept of Speech Facts of Life YEAR III 1. Israel and Jewish Identity (Double Lesson) Cast a Giant Shadow: (First scene) 2. Cheating and Honesty Better Days 3. Death and Shiva in Judaism Facts of Life 4. The Jewish Attitude to Wealth and Money Twilight Zone 5. Understanding the Palestinian Uprising 48 Hours: (20 minute clip) 6. Being Different and Being Jewish Molly's Pilgrim YEAR IV 1. The Jewish Attitude to Senility Grandma Never Waved Back 2-3. Bad Things Happen to Good People: Some Jewish Approaches Webster 4. Jewish Attitudes to the Mentally Handicapped Kate and Allie 5.
    [Show full text]
  • Phd Manuscript 190429 Plain Text
    The Presence of Performance and the Stakes of Serial Drama: Accrual, Transience, Companionship Elliott Logan MPhil (University of Queensland, 2013) BA, Hons (University of Queensland, 2009) BA (University of Queensland, 2007) A thesis submitted for the degree of Doctor of Philosophy at The University of Queensland in 2018 School of Communication and Arts Abstract This thesis shows how performance is a critically neglected but crucial aspect of serial television drama as an art form. One of serial drama’s obvious storytelling attractions is its ability to involve viewers in relationships between characters over long periods of time. Such involvement takes place through a recurring structure of episodes and seasons, whose unfolding reflects the extensive, ongoing history through which interpersonal bonds form and develop, deepen and decay. The characters we watch onscreen are embodied and performed by actors. Television studies, however, has persistently overlooked screen performance, hampering appreciation of serial drama’s affinity with long-term relationships as a resource for aesthetic significance. Redressing such neglect, this thesis directs new critical attention to expressive stylistic relationships between serial form, screen performance, and the subject of companionship in some recent US serial dramas. The focus of that attention is a particular aesthetic quality: the provisional, which emerges through serial drama’s distinctive tension between permanence and transience. In the first chapter, I argue that the provisional is central to an affinity between screen performance, seriality in television drama, and companionship as an aspect of human life. Chapters Two and Three then show how the art of the provisional in particular series has been underappreciated due to television studies’ neglect of performance and expressiveness as dimensions of serial form in television fiction.
    [Show full text]
  • Quality TV As Liberal TV
    Michael z. Newman and other cultural productions similarly blessed with prestige. Quality TV as Liberal TV This essay will sketch a historical outline of this tradition of Quality TV as libera l TV, ident ifying its sources and examining its Alongside so many changes in American television over its years as. expressions of an ideology. a mass medium there have also been continuit ies. These are easily) In doing so I am choosing a handful of examples of emblematic obscured by the presentist "Golden Age" rhetoric of popular critics or influential texts over this timespan rather than canvassing in the early twenty -first century.1One such continuity, spanning ; all of the telev isual representations one might associate with several aesthetic and industrial eras, is a trad ition of quality in, liberalism. There will necessarily be a provisional character scripted prime-time series, which is intertwined with a tradition to my discussion, as the topic is big enough for a much longer of liberal politics in elite urban American culture. 2 More than work. Numerpus details remain to be filled in, but I hope that the thirty years ago, Jane Feuer argued that "quality TV is liberal TV."3 connections will at least seem apposite, and the liberalism of She was talking about programs like The Mary Tyler Moore Show . American Quality TV worthy of further critical elaboration. and WKRPin Cincinnati, and using "quality" not simply to judge > Unlike more established, older art forms, televis ion has relative value but to mark off a group of programs recognizable struggled to be accepted as legitimate culture worth discussing by producers and audiences alike as having prestige.4 If Quality in aesthetic terms in the first place.
    [Show full text]
  • Emmy Award Winners
    CATEGORY 2035 2034 2033 2032 Outstanding Drama Title Title Title Title Lead Actor Drama Name, Title Name, Title Name, Title Name, Title Lead Actress—Drama Name, Title Name, Title Name, Title Name, Title Supp. Actor—Drama Name, Title Name, Title Name, Title Name, Title Supp. Actress—Drama Name, Title Name, Title Name, Title Name, Title Outstanding Comedy Title Title Title Title Lead Actor—Comedy Name, Title Name, Title Name, Title Name, Title Lead Actress—Comedy Name, Title Name, Title Name, Title Name, Title Supp. Actor—Comedy Name, Title Name, Title Name, Title Name, Title Supp. Actress—Comedy Name, Title Name, Title Name, Title Name, Title Outstanding Limited Series Title Title Title Title Outstanding TV Movie Name, Title Name, Title Name, Title Name, Title Lead Actor—L.Ser./Movie Name, Title Name, Title Name, Title Name, Title Lead Actress—L.Ser./Movie Name, Title Name, Title Name, Title Name, Title Supp. Actor—L.Ser./Movie Name, Title Name, Title Name, Title Name, Title Supp. Actress—L.Ser./Movie Name, Title Name, Title Name, Title Name, Title CATEGORY 2031 2030 2029 2028 Outstanding Drama Title Title Title Title Lead Actor—Drama Name, Title Name, Title Name, Title Name, Title Lead Actress—Drama Name, Title Name, Title Name, Title Name, Title Supp. Actor—Drama Name, Title Name, Title Name, Title Name, Title Supp. Actress—Drama Name, Title Name, Title Name, Title Name, Title Outstanding Comedy Title Title Title Title Lead Actor—Comedy Name, Title Name, Title Name, Title Name, Title Lead Actress—Comedy Name, Title Name, Title Name, Title Name, Title Supp. Actor—Comedy Name, Title Name, Title Name, Title Name, Title Supp.
    [Show full text]
  • Cpage Paper 5 Marae Sept 30
    2002 - 5 FEDERAL COMMUNICATIONS COMMISSION Media Ownership Working Group Program Diversity and the Program Selection Process on Broadcast Network Television By Mara Einstein September 2002 Executive Summary: This paper examines the extent to which program diversity has changed over time on prime time, broadcast network television. This issue is assessed using several different measurement techniques and concludes that while program diversity on prime time broadcast network television has fluctuated over time, it is not significantly different today than it was in 1966. The paper also explores the factors used by broadcast networks in recent years in program selection. It finds that networks’ program selection incentives have changed in recent years as networks were permitted to take ownership interests in programming. 2 A HISTORICAL PERSPECTIVE ON PROGRAM DIVERSITY Mara Einstein Department of Media Studies Queens College City University of New York The views expressed in this paper are those of the author alone and do not necessarily reflect the views of the Federal Communications Commission, any Commissioners, or other staff. 3 Introduction This paper analyzes the correlation between the FCC’s imposition of financial interest and syndication rules and program diversity on prime time broadcast network television. To demonstrate this, diversity will be examined in terms of 1) content diversity (types of programming) and 2) marketplace diversity (suppliers of programming). This analysis suggests that the structural regulation represented by the FCC’s financial interest and syndication rules have not been an effective means of achieving content diversity. Study Methodology By evaluating the content of programming over the periods surrounding the introduction and elimination of the financial interest and syndication rules, we will measure the trend in program diversity during the time when the financial interest and syndication (“fin-syn”) rules were in effect.
    [Show full text]
  • “I'm Looking for Jack Bauer at That Time”: 24, Torture
    “I’M LOOKING FOR JACK BAUER AT THAT TIME”: 24, TORTURE, & GETTING YOUR HANDS DIRTY IN THE NAME OF IDEOLOGY By RYAN JAMES THOMAS A thesis submitted in partial fulfillment of the requirements for the degree of MASTER OF ARTS IN COMMUNICATION WASHINGTON STATE UNIVERSITY The Edward R. Murrow School of Communication MAY 2008 To the Faculty of Washington State University: The members of the Committee appointed to examine the thesis of RYAN JAMES THOMAS find it satisfactory and recommend that it be accepted. ____________________________________ Chair ____________________________________ ____________________________________ ____________________________________ ii ACKNOWLEDGEMENTS I would like to take this opportunity to thank my committee chair, Dr. Elizabeth Blanks Hindman, for her advice, insight, dedication, and suggestions, all of which have helped shape this project into what it is today, not to mention keeping me on track with timely yet thorough feedback. I would also like to extend my sincere thanks to the rest of my committee, Dr. Susan Dente Ross, Dr. Michael Salvador, and Dr. Richard Taflinger. Each of them has offered interesting, considerate, and challenging feedback, and both this project and I are considerably richer as a result of their input. To my girlfriend, Alexandra Ford: thank you for your constant encouragement, support, and love. You have helped me meet deadlines, keep on track, stay focused, and remain positive. Perhaps most importantly, you make me smile. A lot. So thanks for that. You are an unending source of joy in my life. Finally, I wish also to thank my parents for all the encouragement they have given me from an early age to aspire to be all that I can be, instilling in me a love for books, education, and self-improvement that I have to this day.
    [Show full text]
  • Breaking Bad in De Polder. Hollands Hoop Op Kwaliteitsdrama
    Breaking Bad in de polder. Hollands hoop op kwaliteitsdrama. Narratieve complexiteit onderzocht in het scenario van Hollands Hoop en vergeleken met Breaking Bad op basis van genre, structuur en personage. Auteur: J.D.S. Fakkeldij E-mailadres: [email protected] Studentnummer: 10633588 Begeleider: dhr. Dr. F.A.M. Laeven Tweede lezer: dhr. Dr. F.J.J.W. Paalman Opleiding: MA Media Studies: Film Studies, Beroepsgeoriënteerde Specialisatie Datum: 20 april 2015 Abstract In this thesis, a comparative analysis is made between the Dutch TV-series Hollands Hoop (2014) and the American TV-series Breaking Bad(2008-2013). On first instance, both series show typical thematic and character similarities. Can the same similarity also be found in the 'quality' of the series? With the help of the concept of narrative complexity, genre, structure and character are analyzed to answer this question. Keywords: Narrative Complexity Quality TV TV-series Drama Genre Structure Character Dankwoord Ik wil in de eerste plaats mijn begeleider Erik Laeven bedanken voor zijn uiterst geduldige begeleiding van het ontwikkelings- en schrijfproces van deze scriptie. Ik dank hem voor zijn immer positieve feedback die me zelfs in de minst productieve periode vertrouwen gaf in de voortgang van het proces. De flexibiliteit en de bereidheid om zelfs met de kerstdagen een eerste deel van mijn scriptie te lezen is ongekend sympathiek. Daarnaast ben ik veel dank verschuldigd aan Franky Ribbens, scenarist van Hollands Hoop, die zo vriendelijk is geweest toestemming te geven om het scenario van Hollands Hoop te gebruiken voor het onderzoek. Daarom ook mijn dank aan Joost de Wolf, eindredacteur VPRO Drama, die zo hartelijk is geweest om zijn exemplaar van het scenario uit te lenen.
    [Show full text]
  • Applying a Rhizomatic Lens to Television Genres
    A THOUSAND TV SHOWS: APPLYING A RHIZOMATIC LENS TO TELEVISION GENRES _______________________________________ A Dissertation presented to the Faculty of the Graduate School at the University of Missouri-Columbia _______________________________________________________ In Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy _____________________________________________________ by NETTIE BROCK Dr. Ben Warner, Dissertation Supervisor May 2018 The undersigned, appointed by the dean of the Graduate School, have examined the Dissertation entitled A Thousand TV Shows: Applying A Rhizomatic Lens To Television Genres presented by Nettie Brock A candidate for the degree of Doctor of Philosophy And hereby certify that, in their opinion, it is worthy of acceptance. ________________________________________________________ Ben Warner ________________________________________________________ Elizabeth Behm-Morawitz ________________________________________________________ Stephen Klien ________________________________________________________ Cristina Mislan ________________________________________________________ Julie Elman ACKNOWLEDGEMENTS Someone recently asked me what High School Nettie would think about having written a 300+ page document about television shows. I responded quite honestly: “High School Nettie wouldn’t have been surprised. She knew where we were heading.” She absolutely did. I have always been pretty sure I would end up with an advanced degree and I have always known what that would involve. The only question was one of how I was going to get here, but my favorite thing has always been watching television and movies. Once I learned that a job existed where I could watch television and, more or less, get paid for it, I threw myself wholeheartedly into pursuing that job. I get to watch television and talk to other people about it. That’s simply heaven for me. A lot of people helped me get here.
    [Show full text]