Warning Concerning Copyright Restrictions

Total Page:16

File Type:pdf, Size:1020Kb

Warning Concerning Copyright Restrictions Northwestern University Reserve Services Library WARNING CONCERNING COPYRIGHT RESTRICTIONS The Copyright law of the United States (Title 17, United States Code) governs the making of photocopies or other reproductions of copyrighted material. Under certain conditions specified in the law, libraries and archives are authorized to furnish a photocopy or reproduction. One of three specified conditions is that the photocopy or reproduction is not to be used for any purpose other than private study, scholarship, or research. If electronic transmission of reserve material is used for purposes in excess of what constitutes “fair use”, that user may be liable for copyright infringement. This policy is in effect for the following document: NO FURTHER TRANSMISSION OR DISTRIBUTION OF THIS MATERIAL IS PERMITTED IN THE NAME OF THE FAMILY Rethinking Family Values Also by Judith Stacey in the Postmodern Age Brave New Families: Stories of Domestic Upheaval in Late Twentieth-Century America Patriarchy and Socialist Revolution in China Judith Stacey -:::> /"' ,r ""\ I""' I (_, '~/ ?-~:·::- ....:.:;; U l_:;> ·.!;) .. .( (' I ' '._) /' I / <J :.7 <:~ Beacon Press Boston \. To Jake and inclusive social values Beacon Press 25 Beacon Street Boston, Massachusetts 02108-2892 Beacon Press books are published under the auspices of the Unitarian Universalist Association of Congregations. © 1996 by Judith Stacey All rights reserved Printed in the United States of America 02 01 00 99 98 97 96 8 7 6 5 4 3 2 1 Text design by Nancy A. Crompton Libra·ry of Congress Cataloging in Publication Data can be found on page 196. An earlier version of chapter one, "Backward toward the Postmodern Family," first appeared in America at Century's End, Alan Wolfe, ed. Berkeley and Los Angeles: University of California Press, 1991. Chapter two, "The Family Is Dead; Long Live Our Families" revises an essay commissioned and published by Sociology Database, Craig Calhoun and George Ritzer, eds. McGraw Hill, 1994. An early version of Chapter three, "The Neo-Family-Values Campaign," first appeared in Social Text n. 40 (Fall1994). Chapter four, "Virtual Social Science and the Politics of Family Values" is a revised version of a chapter originally prepared for inclusion in Critical Anthropology in Fin-De-Siecle America: New Locations, Non-Standard Fieldwork. George Marcus, ed. Santa Fe: School of American Research, forthcoming. Chapter five, "Gay and Lesbian Families Are Here; All Our Families Are Queer; Let's Get Used to It!" is a version of a chapter commissioned for publication in The Evolving American Family. Steven Sugarman, Mary Ann Mason, and Arlene Skolnick, eds. New York: Oxford University Press, forthcoming. ~ CXJ ---.3 ~ 16 IN THE NAME OF THE FAMILY and courage-ones from which all contemporary families and com­ munities could learn and benefit. Perhaps their example could in­ spire others to accept the burdens, the paradoxes and the possibilities of"what our families are like now." In the name of all of our families, I have written this book with such a vision in mind. CHAPTER 1 Backward toward the Postmodern Family The extended family is in our lives again. This should make all I ' ~ the people happy who were complaining back in the sixties and seventies that the reason family life was so hard, especially on mothers, was that the nuclear family had replaced the extended family .... Your basic extended family today includes your ex­ husband or -wife, your ex's new mate, your new mate, possibly your new mate's ex, and any new mate that your new mate's ex has acquired. It consists entirely of people who are not related by blood, many of whom can't stand each other. This return of the extended family reminds me of the favorite saying of my friend's extremely pessimistic mother: Be careful what you wish for, you might get it. Delia Ephron, Funny Sauce In the summer of 1986 I attended a wedding ceremony in a small Christian pentecostal church in the Silicon Valley. The service cel­ ebrated the same "traditional" family patterns and values that two 17 _ ... ~ 18 IN THE NAME OF THE FAMILY Backward toward the Postmodem Family 19 years earlier had inspired a profamily movement to assist Ronald lord, the modern middle-class family, a woman's domain, soon was Reagan's landslide reelection to the presidency of the United States. sentimentalized as "traditional." At the same time, however, the pastor's rhetoric displayed substantial It took most of the subsequent two centuries for substantial num­ sympathy with feminist criticisms of patriarchal marriage. "A ring is bers of white working-class men to achieve the rudimentary eco­ not a shackle, and marriage is not a relationship of domination," he nomic passbook to modern family life-a male family wage. 2 By the instructed the groom. Moreover, the complex patterns of divorce, time they had done so, however, a second family revolution was well remarriage, and stepkinship that linked the members of the wedding underway. Once again, middle-class, white families appeared to be party and their guests bore far greater resemblance to the New Age in the forefront. This time women were claiming the benefits and extended family satirized by Delia Ephron than they did to the image burdens of modernity, a status that could be achieved only at the of traditional family life which arouses widespread nostalgic fantasies expense of the "modern" family itself. Reviving a long-dormant fem­ among religious and other social critics of contemporary family prac­ inist movement, frustrated middle-class homemakers and their more tices. Serving as the wedding photographer was the bride's former militant daughters subjected modern domesticity to a sustained cri­ husband accompanied by his live-in lover, a Jewish divorcee who ,, tique, at times with little sensitivity to the effects our anti-modern hoped to become his third wife. All of the wedding attendants were family ideology might have on women for whom full-time domes­ stepkin or step-in-laws to the groom: two daughters from the bride's ticity had rarely been feasible. Thus, feminist family reform came to first marriage served as their mother's bride matrons; their brother be regarded widely as a white middle-class agenda, and white, joined one daughter's second husband as ushers for the groom; and working-class families its most resistant adversaries. the proud flower girl was a young granddaughter from the bride I shared these presumptions before conducting fieldwork among matron's first marriage. At least half the pews were filled with mem­ families in Santa Clara County, California-the "Silicon Valley"­ bers of four generations from the confusing tangle of former, during the mid-198os. This radically altered my understanding of the step-, dual, and in-law relatives of this postmodern, divorce-extended class basis of the postmodern family revolution. Once a bucolic family. I: agribusiness orchard region, during the 196os and 1970s this county i became the global headquarters of the electronics industry and the Family Revolutions and Vanguard Classes world's vanguard postindustrial region. While economic restructur­ ing commanded global attention, most outside observers overlooked Two centuries ago leading white, middle-class families in the newly the concurrent gender and family changes that preoccupied many united American states spearheaded a family revolution that gradu­ Silicon Valley residents. During the late 1970s, before the conserv­ ally replaced the diversity and fluidity of the premodern domestic ative shift in the national political climate made feminism a de­ order with a more uniform modern family system. 1 But "modern rogatory term, local public officials proudly described San Jose, the family" was an oxymoronic label for this peculiar institution that county seat, as a feminist capital. The city elected a feminist mayor dispensed modernity to white, middle-class men only by withholding and hosted the statewide NOW convention in 1974- Santa Clara it from women. Men could enter the public sphere as breadwinners County soon became one of the first counties in the nation to elect and citizens, because their wives were confined to the newly priva­ a female majority to its Board of Supervisors. In 1981, high levels of tized family realm. Ruled by an increasingly absent patriarchal land- feminist activism made San Jose the site of the nation's first sue- ....... _ :ill 21 20 IN THE NAME OF THE FAMILY Backward toward the Postmodem Family cessful strike for a comparable worth standard of pay for city em­ spring of 1987, I conducted a commuter fieldwork study of two ex­ ployees.3 tended kin networks composed primarily of white, working people During its postindustrial makeover, the Silicon Valley also be­ who had resided in Santa Clara County throughout the period of its came an avant garde region for family change, where family and startling transformation. My research convinced me that white, household data represented an exaggeration of national trends. For middle-class families were less the innovators than the propagandists example, while the national divorce rate was doubling after 1960, in and principal beneficiaries of contemporary family change. :II II Santa Clara County it nearly tripled. "Non-family" and single-parent households grew faster than in the rest of the nation, and abortion Remaking Family Life in the Silicon Valley rates were one and one-half the national figures. 4 The high marriage casualty rate among workaholic engineers was dubbed "the silicon Two challenges to my class and gender prejudices provoked my turn syndrome,''5 and many residents shared an alarmist view of family to ethnographic research and the selection of the two kin groups who 8 life captured in the opening lines of an article in a local university became its focus. Pamela Gama , an administrator of social services magazine: "There is an endangered species in Silicon Valley, one so for women at a Silicon Valley anti-poverty agency when I met her in precious that when it disappears Silicon Valley will die with it.
Recommended publications
  • Sometimes I Wonder… If My Family Was a Tv Show… What Would Be the Ratings, and What Would People See?
    Homily | Year A | Holy Family | 12/29/2019 Sometimes I wonder… if my family was a tv show… what would be the ratings, and what would people see? Most of the most memorable TV shows I’ve watched have all revolve around family dynamics. As a child I remember watching The Wonder Years , Family Matters , Full house and Home Improvement . Then in the Early 200’s it was Malcolm in the Middle , Everybody Loves Raymond , and most recently Parenthood , Modern Family and The Middle . Now, all these TV shows showcased very different families; different cultural backgrounds, different economic status, even different values than those of my own family experiences growing up as a Mexican-American; yet, somehow, they were all relatable. The same can be said about the many families we encounter in scripture; from the Old Testament families of Adam and Eve, Noah, Abraham, Lot, and Jacob… to the New Testament family stories like that of the prodigal son, Martha and Mary, Zachariah and Elizabeth, and the Holy Family… these are all families very different form our own, yet they are somehow still relatable. That is because family values, although they might be lived differently generation to generation, culture to culture, family to family; they all emerge from universal values that all people can relate to. These values are mutuality, respect, and service, and we encounter them in scripture today. We see these universal values in Old Testament Wisdom through the example of parent-child relationship. In the Jewish tradition, parents had a God- pg. 1 Homily | Year A | Holy Family | 12/29/2019 given responsibility over their children and vice versa, children once adults had a God-given responsibility over their parents, especially when the caretaker role was reversed… First parents had the responsibility to care, feed, clothe, and bathe their children… but there would come a time when the parent would grow old and frail and this responsibility would flip… the adult child would now have the responsibility to care, feed, clothe and bathe the aged parent.
    [Show full text]
  • 30 Rock: Complexity, Metareferentiality and the Contemporary Quality Sitcom
    30 Rock: Complexity, Metareferentiality and the Contemporary Quality Sitcom Katrin Horn When the sitcom 30 Rock first aired in 2006 on NBC, the odds were against a renewal for a second season. Not only was it pitched against another new show with the same “behind the scenes”-idea, namely the drama series Studio 60 on the Sunset Strip. 30 Rock’s often absurd storylines, obscure references, quick- witted dialogues, and fast-paced punch lines furthermore did not make for easy consumption, and thus the show failed to attract a sizeable amount of viewers. While Studio 60 on the Sunset Strip did not become an instant success either, it still did comparatively well in the Nielson ratings and had the additional advantage of being a drama series produced by a household name, Aaron Sorkin1 of The West Wing (NBC, 1999-2006) fame, at a time when high-quality prime-time drama shows were dominating fan and critical debates about TV. Still, in a rather surprising programming decision NBC cancelled the drama series, renewed the comedy instead and later incorporated 30 Rock into its Thursday night line-up2 called “Comedy Night Done Right.”3 Here the show has been aired between other single-camera-comedy shows which, like 30 Rock, 1 | Aaron Sorkin has aEntwurf short cameo in “Plan B” (S5E18), in which he meets Liz Lemon as they both apply for the same writing job: Liz: Do I know you? Aaron: You know my work. Walk with me. I’m Aaron Sorkin. The West Wing, A Few Good Men, The Social Network.
    [Show full text]
  • Junior Mints and Their Bigger Than Bite-Size Role in Complicating Product Placement Assumptions
    Salve Regina University Digital Commons @ Salve Regina Pell Scholars and Senior Theses Salve's Dissertations and Theses 5-2010 Junior Mints and Their Bigger Than Bite-Size Role in Complicating Product Placement Assumptions Stephanie Savage Salve Regina University, [email protected] Follow this and additional works at: https://digitalcommons.salve.edu/pell_theses Part of the Advertising and Promotion Management Commons, and the Marketing Commons Savage, Stephanie, "Junior Mints and Their Bigger Than Bite-Size Role in Complicating Product Placement Assumptions" (2010). Pell Scholars and Senior Theses. 54. https://digitalcommons.salve.edu/pell_theses/54 This Article is brought to you for free and open access by the Salve's Dissertations and Theses at Digital Commons @ Salve Regina. It has been accepted for inclusion in Pell Scholars and Senior Theses by an authorized administrator of Digital Commons @ Salve Regina. For more information, please contact [email protected]. Savage 1 “Who’s gonna turn down a Junior Mint? It’s chocolate, it’s peppermint ─it’s delicious!” While this may sound like your typical television commercial, you can thank Jerry Seinfeld and his butter fingers for what is actually one of the most renowned lines in television history. As part of a 1993 episode of Seinfeld , subsequently known as “The Junior Mint,” these infamous words have certainly gained a bit more attention than the show’s writers had originally bargained for. In fact, those of you who were annoyed by last year’s focus on a McDonald’s McFlurry on NBC’s 30 Rock may want to take up your beef with Seinfeld’s producers for supposedly showing marketers the way to the future ("Brand Practice: Product Integration Is as Old as Hollywood Itself").
    [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]
  • Sitcom Spec Script Survey
    Sitcom Spec Script Survey 1. How would you rank yourself in terms of your sitcom writing experience? Response Response Percent Count No experience 20.5% 30 Beginner - understand the basics, but are still fairly 55.5% 81 inexperienced Advanced - written several scripts, but have not yet made any money 21.2% 31 from writing Professional - been paid to write 2.7% 4 answered question 146 skipped question 1 2. How many sitcom spec scripts have you written within the last year? Please only count COMPLETED drafts. Response Response Percent Count 0 - 2 93.8% 136 3 - 5 6.2% 9 6 - 10 0.7% 1 More than 10 0.0% 0 answered question 145 skipped question 2 1 of 18 3. Please list the sitcoms that you've specced within the last year: Response Count 95 answered question 95 skipped question 52 4. How many sitcom spec scripts are you currently writing or plan to begin writing during 2011? Response Response Percent Count 0 - 2 64.5% 91 3 - 4 30.5% 43 5 - 6 5.0% 7 answered question 141 skipped question 6 5. Please list the sitcoms in which you are either currently speccing or plan to spec in 2011: Response Count 116 answered question 116 skipped question 31 2 of 18 6. List any sitcoms that you believe to be BAD shows to spec (i.e. over-specced, too old, no longevity, etc.): Response Count 93 answered question 93 skipped question 54 7. In your opinion, what show is the "hottest" sitcom to spec right now? Response Count 103 answered question 103 skipped question 44 8.
    [Show full text]
  • 72Nd Emmy's Nominations Facts Figures
    FACTS & FIGURES FOR 2020 NOMINATIONS as of July 28, 2020 does not include producer nominations 72nd EMMY AWARDS updated 07.28.2020 version 1 Page 1 of 24 SUMMARY OF MULTIPLE EMMY WINS IN 2019 Game Of Thrones - 12 Chernobyl - 10 The Marvelous Mrs. Maisel - 8 Free Solo – 7 Fleabag - 6 Love, Death & Robots - 5 Saturday Night Live – 5 Fosse/Verdon – 4 Last Week Tonight With John Oliver – 4 Queer Eye - 4 RuPaul’s Drag Race - 4 Age Of Sail - 3 Barry - 3 Russian Doll - 3 State Of The Union – 3 The Handmaid’s Tale – 3 Anthony Bourdain Parts Unknown – 2 Bandersnatch (Black Mirror) - 2 Crazy Ex-Girlfriend – 2 Our Planet – 2 Ozark – 2 RENT – 2 Succession - 2 United Shades Of America With W. Kamau Bell – 2 When They See Us – 2 PARTIAL LIST OF 2019 WINNERS PROGRAMS: Comedy Series: Fleabag Drama Series: Game Of Thrones Limited Series: Chernobyl Television Movie: Bandersnatch (Black Mirror) Reality-Competition Program: RuPaul’s Drag Race Variety Series (Talk): Last Week Tonight With John Oliver Variety Series (Sketch): Saturday Night Live PERFORMERS: Comedy Series: Lead Actress: Phoebe Waller-Bridge (Fleabag) Lead Actor: Bill Hader (Barry) Supporting Actress: Alex Borstein (The Marvelous Mrs. Maisel) Supporting Actor: Tony Shalhoub (The Marvelous Mrs. Maisel) Drama Series: Lead Actress: Jodie Comer (Killing Eve) Lead Actor: Billy Porter (Pose) Supporting Actress: Julia Garner (Ozark) Supporting Actor: Peter Dinklage (Game Of Thrones) Limited Series/Movie: Lead Actress: Michelle Williams (Fosse/Verdon) Lead Actor: Jharrel Jerome (When They See Us) Supporting
    [Show full text]
  • “You're the Worst Gay Husband Ever!” Progress and Concession in Gay
    Title P “You’re the Worst Gay Husband ever!” Progress and Concession in Gay Sitcom Representation A thesis presented by Alex Assaf To The Department of Communications Studies at the University of Michigan in partial fulfillment of the requirements for the degree of Bachelor of Arts (Honors) April 2012 Advisors: Prof. Shazia Iftkhar Prof. Nicholas Valentino ii Copyright ©Alex Assaf 2012 All Rights Reserved iii Dedication This thesis is dedicated to my Nana who has always motivated me to pursue my interests, and has served as one of the most inspirational figures in my life both personally and academically. iv Acknowledgments First of all, I would like to thank my incredible advisors Professor Shazia Iftkhar and Professor Nicholas Valentino for reading numerous drafts and keeping me on track (or better yet avoiding a nervous breakdown) over the past eight months. Additionally, I’d like to thank my parents and my friends for putting up with my incessant mentioning of how much work I always had to do when writing this thesis. Their patience and understanding was tremendous and helped motivate me to continue on at times when I felt uninspired. And lastly, I’d like to thank my brother for always calling me back whenever I needed help eloquently naming all the concepts and patterns that I could only describe in my head. Having a trusted ally to bounce ideas off and to help better express my observations was invaluable. Thanks, bro! v Abstract This research analyzes the implicit and explicit messages viewers receive about the LGBT community in primetime sitcoms.
    [Show full text]
  • Modern Family"
    Representation of Gender in "Modern Family" Vuković, Tamara Master's thesis / Diplomski rad 2016 Degree Grantor / Ustanova koja je dodijelila akademski / stručni stupanj: University of Zadar / Sveučilište u Zadru Permanent link / Trajna poveznica: https://urn.nsk.hr/urn:nbn:hr:162:639538 Rights / Prava: In copyright Download date / Datum preuzimanja: 2021-09-26 Repository / Repozitorij: University of Zadar Institutional Repository of evaluation works Sveučilište u Zadru Odjel za anglistiku Diplomski sveučilišni studij engleskog jezika i književnosti; smjer: nastavnički (dvopredmetni) Tamara Vuković Representation of Gender in “Modern Family” Diplomski rad Zadar, 2016. Sveučilište u Zadru Odjel za anglistiku Diplomski sveučilišni studij engleskog jezika i književnosti; smjer: nastavnički (dvopredmetni) Representation of Gender in “Modern Family” Diplomski rad Student/ica: Mentor/ica: Tamara Vuković izv. prof. dr. sc. Senka Božić-Vrbančić Zadar, 2016. Izjava o akademskoj čestitosti Ja, Tamara Vuković, ovime izjavljujem da je moj diplomski rad pod naslovom Representation of Gender in „Modern Family“ rezultat mojega vlastitog rada, da se temelji na mojim istraživanjima te da se oslanja na izvore i radove navedene u bilješkama i popisu literature. Ni jedan dio mojega rada nije napisan na nedopušten način, odnosno nije prepisan iz necitiranih radova i ne krši bilo čija autorska prava. Izjavljujem da ni jedan dio ovoga rada nije iskorišten u kojem drugom radu pri bilo kojoj drugoj visokoškolskoj, znanstvenoj, obrazovnoj ili inoj ustanovi. Sadržaj
    [Show full text]
  • Modern Family
    Reference Data: Forster, D. (2013). Authentic English through Modern Family. In N. Sonda & A. Krause (Eds.), JALT2012 Authentic Conference Proceedings. Tokyo: JALT. The benefits of using television shows and films in the EFL classroom have been thoroughly researched English and documented, and they have proven to be an effective learning tool. Particularly in the Japanese EFL context, using a situation comedy motivates students because they enjoy seeing, hearing, and using the language they learn. This paper shows how the popular American sitcom Modern Family can enhance EFL instruction through its up-to-date cultural themes and stereotypes and through its lively use of lan- Through guage, especially slang and idiomatic expressions. The course summary, syllabus, lessons, and testing and evaluation information are provided. Modern 教室外での英語接触量が限られる日本人EFL学習者に、いかに「自然な会話」を教えるかは難しい問題である。そこで、授業 に自然な会話を取り入れる容易な方法として、テレビ番組の活用が挙げられる。テレビ番組の会話は、多くのEFL教科書にある ような「作られた」会話よりも優れた教材と言える。従来の研究においても、EFL授業におけるビデオ使用の効果が調査され、 その有効性が実証されてきた。特に、日本のEFL環境においては、見る、聞く、さらに学んだ表現を使うといった楽しみが得ら Family れるシチュエーション・コメディの活用は、学習者の意欲を高めることにつながる。本研究では、アメリカの人気シチュエーショ ン・コメディであるModern Familyを取り上げ、最新の文化的題材や語彙を扱いながら、いかにしてより良いEFL教育が行える かを論じる。コースの概要、シラバス、授業内容、試験、評価方法を提示する。 Douglas E. Forster Japan Women’s University OR THE past 5 years, I have been teaching a North American Studies seminar class at Japan Women’s University in Tokyo. The goal of the course is to increase students’ F knowledge and awareness of American culture and increase their vocabulary, particu- larly slang and idiomatic expressions. In the past, I have chosen Hollywood movies due to their popular appeal and their ability to reflect American culture and modern spoken English. Two years ago, I decided to use American situation comedies, such as Seinfeld, because they of- fer an interesting, and funny, array of characters, social situations, and slang and idioms.
    [Show full text]
  • Resistance to Hegemonic Masculinity in Modern Family
    Journal of Contemporary Rhetoric, Vol. 11, No.1/2, 2021, pp. 36-56. Modern Masculinities: Resistance to Hegemonic Masculinity in Modern Family Jennifer Y. Abbott∗ Cory Geraths+ Since its debut in 2009, the ABC television show Modern Family has captivated audiences and academics alike. The show professes a modern perspective on families, but many scholars have concluded that its male characters uphold problematic, normative expressions of gender. In contrast, we use the concept of hegemonic masculinity to argue that Modern Family resists normative expressions of masculinity by attuning viewers to the socially constructed nature of hegemonic masculinity and by authorizing feminine and flamboyant behaviors as appropriately manly. These coun- terhegemonic strategies work in tandem to scrutinize confining expectations for men and to offer viable alternatives. Taken together, their coexistence mitigates against an oppressive hybrid version of hegemonic masculinity. Conse- quently, our analysis introduces readers to the rhetorical power of hegemonic masculinity and strategies to resist it; considers the efficacy of these strategies while drawing a wide audience; and stresses the importance of diverse gender representation in popular media. Keywords: Modern Family, hegemonic masculinity, resistance, comedy, television, sitcom The ABC television show Modern Family concluded on April 8, 2020, securing its place in history as among the longest running and most successful domestic situation comedies. Beginning with its first season in 2009, and ending with its eleventh and final season in 2020, the series currently stands as the “third longest-running network sitcom in television history.”1 While ratings dipped ∗ Jennifer Y. Abbott (Ph.D., The Pennsylvania State University) is a Professor of Rhetoric at Wabash College and is affiliated with the college’s Gender Studies program.
    [Show full text]
  • Representation of Jews in the Media: an Analysis of Old Hollywood Stereotypes Perpetuated in Modern Television Minnah Marguerite Stein
    )ORULGD6WDWH8QLYHUVLW\/LEUDULHV 2021 Representation of Jews in the Media: An Analysis of Old Hollywood Stereotypes Perpetuated in Modern Television Minnah Marguerite Stein Follow this and additional works at DigiNole: FSU's Digital Repository. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF COMMUNICATIONS REPRESENTATION OF JEWS IN THE MEDIA: AN ANALYSIS OF OLD HOLLYWOOD STEREOTYPES PERPETUATED IN MODERN TELEVISION By MINNAH STEIN A Thesis submitted to the Department of Communications and Media Studies in partial fulfillment of the requirements for graduation with Honors in the Major Degree Awarded: Summer, 2021 The members of the Defense Committee approve the thesis of Minnah Stein defended on April 2, 2021. Dr. Andrew Opel Thesis Director Dr. Martin Kavka Outside Committee Member Dr. Arienne Ferchaud Committee Member 2 Abstract Anti-Semitism in the United States is just as prevalent today as it has ever been. How does this cultural anti-Semitism translate into the media? Through portraying Jews as greedy, neurotic, pushy, money obsessed, cheap, and a myriad other negative stereotypes, the media often perpetuates long standing anti-Semitic tropes. This thesis analyzes the prevalence of Jewish stereotypes in modern television through the analysis and discussion of three of the most popular current television shows, getting into the nuance and complexity of Jewish representation. Through the deliberate viewing of Big Mouth, The Goldbergs, and Schitt’s Creek, the conclusion is that although an effort is being made to debunk some stereotypes about Jews, there are other Jewish stereotypes that have remained popular in television media. These stereotypes are harmful to Jews because they both feed and fuel the anti-Semitic attitudes of viewers.
    [Show full text]
  • Facts & Figures
    FACTS & FIGURES FOR 2020 NOMINATIONS as of August 12, 2020 includes producer nominations 72nd EMMY AWARDS updated 08.12.2020 version 1 Page 1 of 24 SUMMARY OF MULTIPLE EMMY WINS IN 2019 Game Of Thrones - 12 Chernobyl - 10 The Marvelous Mrs. Maisel - 8 Free Solo – 7 Fleabag - 6 Love, Death & Robots - 5 Saturday Night Live – 5 Fosse/Verdon – 4 Last Week Tonight With John Oliver – 4 Queer Eye - 4 RuPaul’s Drag Race - 4 Age Of Sail - 3 Barry - 3 Russian Doll - 3 State Of The Union – 3 The Handmaid’s Tale – 3 Anthony Bourdain Parts Unknown – 2 Bandersnatch (Black Mirror) - 2 Crazy Ex-Girlfriend – 2 Our Planet – 2 Ozark – 2 RENT – 2 Succession - 2 United Shades Of America With W. Kamau Bell – 2 When They See Us – 2 PARTIAL LIST OF 2019 WINNERS PROGRAMS: Comedy Series: Fleabag Drama Series: Game Of Thrones Limited Series: Chernobyl Television Movie: Bandersnatch (Black Mirror) Reality-Competition Program: RuPaul’s Drag Race Variety Series (Talk): Last Week Tonight With John Oliver Variety Series (Sketch): Saturday Night Live PERFORMERS: Comedy Series: Lead Actress: Phoebe Waller-Bridge (Fleabag) Lead Actor: Bill Hader (Barry) Supporting Actress: Alex Borstein (The Marvelous Mrs. Maisel) Supporting Actor: Tony Shalhoub (The Marvelous Mrs. Maisel) Drama Series: Lead Actress: Jodie Comer (Killing Eve) Lead Actor: Billy Porter (Pose) Supporting Actress: Julia Garner (Ozark) Supporting Actor: Peter Dinklage (Game Of Thrones) Limited Series/Movie: Lead Actress: Michelle Williams (Fosse/Verdon) Lead Actor: Jharrel Jerome (When They See Us) Supporting
    [Show full text]