Television: The Ideal American FamilyThe American family was the basis of American culture in the postwar era, and all types of media reinforced that value. Television became the nation’s most popular medium in the 1950s, rising from 9 percent of households owning a TV at the beginning of the decade to 86 percent by the end (Young 181). This made television the perfect medium to convey ideas to the majority of American citizens about the importance of the traditional family and each member’s role within the family. These ideas were conveyed through programs like sitcoms and mental hygiene films, though the former was more effective than the latter. Show
Sitcoms, or situations comedies, in the 1950s presented an image of the ideal American family, although these television shows rarely reflected what actual society looked like. The sitcoms’ picture of an ideal family, made up of a husband, wife and 2.5 kids, was a “1950s TV fantasy” and promoted an ideal that did not exist (“American Family has Changed”). Sitcoms portrayed middle-class white families as the social norm in America and ignored most other situations (Halliwell 158). For example, there were no television shows about black Americans, or really about anything but middle class white Americans (Young 217). It was very rare for a sitcom to touch on social issues. Instead, they focused on problems “everyday Americans” would face (meaning white middle-class Americans) (Halliwell 161). Sitcoms were so popular in America during the 1950s because of the way they portrayed American values and culture. Their “sanitized” view of American life and emphasis on the family was appealing to many Americans, even though they did not accurately represent American society (Young 221). They were also easily made because their emphasis on domesticity kept most scenes inside the home, making it easy to film. This was especially helpful when shows were broadcasted live (Halliwell 158-159). The female characters in 1950s sitcoms almost always exhibit characteristics of the stereotypical housewife (whether scatterbrained like in I Love Lucy or put together and nurturing like in Father Knows Best) (Halliwell 161). Three housewives who typified 1950s female characters in sitcoms were Lucy from I Love Lucy, a wacky but well meaning housewife, Donna Stone from The Donna Reed Show, a “wholesome gracious housewife and mom,” and Beaver’s mother from Leave it to Beaver, well-dressed, patient, and a caring mother (“Winding Path”). The opening to The Donna Reed Show sums up this idea in less than thirty seconds as Donna Stone helps her children out the door in the morning, hands her husband his briefcase, kisses him goodbye, and closes the door behind them with a smile, ready to start her day alone in the house. 1950s television almost always featured women whose existences were defined by their families and their identity as a woman instead of as an individual (Press 29). Also, women in1950s television were rarely, if ever, shown outside of the home (Press 29). Television: The Ideal American Family Reinforcement of Gender Roles in 1950s Popular Culture
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journal article The "Quest for National Purpose" of 1960American Quarterly Vol. 30, No. 4 (Autumn, 1978) , pp. 451-470 (20 pages) Published By: The Johns Hopkins University Press https://doi.org/10.2307/2712295 https://www.jstor.org/stable/2712295 Read and download Log in through your school or library Alternate access options For independent researchers Read Online Read 100 articles/month free Subscribe to JPASS Unlimited reading + 10 downloads Purchase article $24.00 - Download now and later Journal Information American Quarterly represents innovative interdisciplinary scholarship that engages with key issues in American Studies. The journal publishes essays that examine American societies and cultures, past and present, in global and local contexts. This includes work that contributes to our understanding of the United States in its diversity, its relations with its hemispheric neighbors, and its impact on world politics and culture. Through the publication of reviews of books, exhibitions, and diverse media, the journal seeks to make available the broad range of emergent approaches to American Studies. Publisher Information One of the largest publishers in the United States, the Johns Hopkins University Press combines traditional books and journals publishing units with cutting-edge service divisions that sustain diversity and independence among nonprofit, scholarly publishers, societies, and associations. Journals The Press is home to the largest journal publication program of any U.S.-based university press. The Journals Division publishes 85 journals in the arts and humanities, technology and medicine, higher education, history, political science, and library science. The division also manages membership services for more than 50 scholarly and professional associations and societies. Books With critically acclaimed titles in history, science, higher education, consumer health, humanities, classics, and public health, the Books Division publishes 150 new books each year and maintains a backlist in excess of 3,000 titles. With warehouses on three continents, worldwide sales representation, and a robust digital publishing program, the Books Division connects Hopkins authors to scholars, experts, and educational and research institutions around the world. Project MUSE® Project MUSE is a leading provider of digital humanities and social sciences content, providing access to journal and book content from nearly 300 publishers. MUSE delivers outstanding results to the scholarly community by maximizing revenues for publishers, providing value to libraries, and enabling access for scholars worldwide. Hopkins Fulfillment Services (HFS) HFS provides print and digital distribution for a distinguished list of university presses and nonprofit institutions. HFS clients enjoy state-of-the-art warehousing, real-time access to critical business data, accounts receivable management and collection, and unparalleled customer service. Rights & Usage This item is part of a JSTOR Collection. Which statement best describes a paradox of the youth culture of the 1950s and 1960s quizlet?Which statement best describes a paradox of the youth culture of the 1950s and 1960s? Despite the focus on a distinctive youth culture, many young Americans rushed into marriage.
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How did the Federal Housing Administration FHA most significantly impact postwar society?How did the Federal Housing Administration (FHA) most significantly impact postwar society? Millions of Americans achieved middle-class status through affordable housing.
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How did late 1950s television reinforce the myth of national affluence and a content America?
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