By Ethan Thompson
In this unique learn, Thompson explores the advanced relationships among americans and tv through the Fifties, as obvious and effected via well known humor. Parody and flavor in Postwar American tv Culture files how americans grew conversant in knowing politics, present occasions, and pop culture via comedy that's concurrently severe, advertisement, and humorous. in addition to the speedy development of tv within the Nineteen Fifties, an explosion of satire and parody came about throughout a large box of yank culture—in magazines, comedian books, movie, comedy albums, and on tv itself. Taken jointly, those case reports don’t simply study and theorize the creation and intake of parody and tv, yet strength us to revisit and revise our notions of postwar "consensus" tradition as well.
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During this unique learn, Thompson explores the advanced relationships among american citizens and tv throughout the Fifties, as visible and effected via renowned humor. Parody and style in Postwar American tv tradition records how american citizens grew acquainted with figuring out politics, present occasions, and pop culture via comedy that's concurrently severe, advertisement, and humorous.
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Additional info for Parody and Taste in Postwar American Television Culture
Though he pointed out the absurdities and performative nature of midcentury life, Newhart seldom snapped. Instead, he acknowledged, then moved on. His prescriptive relationship with the ills of American culture is perhaps best evidenced by the success of his role as Chicago psychologist Dr. Bob Hartley in The Bob Newhart Show from 1972 to 1978. 32 Following the spate of articles in popular magazines and newspapers in the late 1950s that had been attempting to catch hold of what was changing on the comic scene, the television documentary cast a wide net at a point in time at which television had already taken fi rm hold, and America was out of Ike’s 1950s and into Kennedy’s brief, but psychologically immense, Camelot.
15 Though there were still laughs to be found on television, they were mostly emanating from domestic situation comedies and too often in those cases, from prerecorded laugh tracks. In addition to the view at the time that these comedians simply ran out of material and energy, Arthur Wertheim has shown how Milton Berle’s downfall from “Mr. Television” coincided with, and was in many ways a result of, the changing demographics of television viewers during the 1950s. ”17 Given the choice between the vaudeville-styled fare of Berle and decidedly less urban programming such as Death Valley Days, the expanded audience chose the latter.
But even as they sought to abolish the boundaries between art and culture, modernism mostly remained highbrow fare. Throughout the 1950s, however, madness was culturally deinstitutionalized, mobilized, and propagated by television, the burgeoning youth culture, and individuals, subcultures, and audiences who The New, Sick Sense 37 imagined themselves as countercultural—not normal and not willing to pretend to be normal. Hip, mad, sick—all these were embraced as alternatives to mainstream complacency in the performance of normativity.
Parody and Taste in Postwar American Television Culture by Ethan Thompson