By Janet Thumin
Small displays, large rules brings jointly in particular commissioned writings from British and American members to discover subject matters of range within the formative interval of the Nineteen Fifties. With radical alterations happening in terrestrial tv, it is a well timed second to revisit the last decade while television's very novelty used to be its such a lot amazing function. Discussing television's function within the development of nationwide and gender identities and its relation to different media similar to theatre, movie, and radio, this clean exploration is predicated on unique case-studies of this advanced period.
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Extra info for Small Screens, Big Ideas: Television in the 1950s
Significantly, more of these studies have concerned themselves with the 1950s than with any other period in broadcasting history. ’ Given a swagger and scope currently rivalled only by its immediate successor, ‘The Sixties,’ the Fifties have historically served as the effective social, economic and cultural nexus of the twentieth century. Conventional wisdom – and conventional historiography – approaches the decade as the high-water mark of strict bourgeois norms in modes of sexuality, work, childhood, fashion and leisure.
See especially Caldwell; D’Acci; Mellencamp; Liebman; Spigel 1992; and Spigel and Curtin. 5. See Belfrage; Brienes; Halberstam; and Meyerowitz. 6. See Spigel 1995 for an interesting ethnographic study in this area. 7. ’ Great Britain has gone particularly nostalgia- and retro-mad over the last several years, with old BBC and ITV programming becoming popular all over again on the broadcast networks, satellite channels and home video. 8. Viacom, a company formed in 1971 ostensibly to handle CBS’s syndication and cable holdings in compliance with the Federal Communication Commission’s Financial Interest and Syndication (Fin-Syn) Rules, is now one of the largest media corporations in the world, particularly after its 1994 merger with Paramount Communications and its 1999 oedipal acquisition of CBS.
The ‘television heritage’ in this case could only be attained with close, attentive and (ostensibly) repeated viewing of each of these series: the citation of actor Tony Randall’s ‘Unger Leap’ as an artefact from the annals of cultural history is only conceivable within a television environment which consistently shows reruns; the ‘heritage’ is not natural, but the result of repeated, contextual viewing. A more recent campaign on TV Land, titled ‘Times Change, Great TV Doesn’t,’ perfectly crystallizes the production of the television heritage, or at least Nick At Nite/TV Land’s version of it.