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Ella Taylor - Prime-time families: television culture in postwar America

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Prime-Time Families provides a wide-ranging new look at television entertainment in the past four decades. Working within the interdisciplinary framework of cultural studies, Ella Taylor analyzes television as a constellation of social practices. Part popular culture analysis, part sociology, and part American history, Prime-Time Families is a rich and insightful work the sheds light on the way television shapes our lives.

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title Prime-time Families Television Culture in Postwar America - photo 1

title:Prime-time Families : Television Culture in Postwar America
author:Taylor, Ella.
publisher:University of California Press
isbn10 | asin:0520058674
print isbn13:9780520058675
ebook isbn13:9780585178400
language:English
subjectTelevision and family--United States, Television serials--United States.
publication date:1989
lcc:PN1992.8.F33T39 1989eb
ddc:302.23/45/0973
subject:Television and family--United States, Television serials--United States.
Page iii
Prime-Time Families
Television Culture in Postwar America
Ella Taylor
University of California Press
Berkeley Los Angeles London
Page iv
University of California Press
Berkeley and Los Angeles, California
University of California Press, Ltd.
London, England
1989 by
The Regents of the University of California
Library of Congress Cataloging-in-Publication Data
Taylor, Ella.
Prime-time families : television culture in postwar America/Ella
Taylor.
p. cm.
Based on the author's thesis (Brandeis University).
Bibliography: p.
Includes index.
ISBN 0-520-05867-4 (alk. paper)
1. Television and familyUnited States. 2. Television serials
United States. I. Title.
PN1992.8.F33T39 1990
302.23450973dc20 89-31544
CIP
Printed in the United States of America
3 4 5 6 7 8 9
Page v
For my parents,
Hannah and Sol Gafan,
who, by creating quiet time and space
in which to do homework,
turned their daughter into an intellectual
Page vii
Contents
List of Tables
ix
Acknowledgments
xi
1. Introduction: Cultural Analysis and Social Change
1
2. Television as Family: The Episodic Series, 1946-1969
17
3. Prime-Time Relevance: Television Entertainment Programming in the 1970s
42
4. Trouble at Home: Television's Changing Families, 1970-1980
65
5. All in the Work-Family: Television Families in Workplace Settings
110
6. Family Television Then and Now
150
Notes
169
Bibliography
179
Index
187

Page ix
Tables
1. Top-Rated Prime-Time Television Programs, 1964-1965, Ranked by Audience Size (A. C. Nielsen)
30
2. The Rise of Relevance: Changes in Top-Rated Prime-Time Programs, 1968-1974, Ranked by Audience Size
48
3. The Age of Relevance: Top-Rated Prime-Time Television Programs, 1974-1975, Ranked by Audience Size
52

Page xi
Acknowledgments
Successive drafts of this book have trotted obediently about the United States with me as I made the transition from graduate student to assistant professor. As a result I have received more help and support with this project than it takes to make a miniseries. At Brandeis University, Maurice Stein, Egon Bittner, Kurt Wolff, and George Boss provided insight and encouragement in unlimited quantities, along with a willingness to have the boundaries of sociology stretched to meet the requirements of an interdisciplinary study. The final shape of this book owes a great deal to the formidable critical intelligence of Michael Rogin, my unseen reviewer at the University of California at Berkeley, who commented extensively on two versions. Two anonymous reviewers made suggestions that greatly eased the work of revision.
In Boston, Andrea Walsh brought her prodigious knowledge of film and television to bear on successive drafts of the manuscript. Joel Greifinger was my' first guide through the labyrinth of American television history. His erudition in cultural theory and television studies have influenced my work enormously, as has the combination of intellectual agility, wicked wit, and grace with which he habitually encouraged me to sharpen my thoughts. "So," he observed genially as I expounded my theory of realism in television, "what you're trying to say is that people think that Fantasty Island is a documentary?"
Page xii
Lynn Davidman, Robert Horwitz, Sonya Michel, Mitchell Silver, and Carmen Sirianni commented on substantial portions of the manuscript in detail. Art Goldhammer in Boston and John Bowes and Pat Dinning in Seattle spent hours at various stages coaxing my intransigent software into producing final copies. Lee Biggerstaff showed unvarying good humor in the face of requests to type awkward portions of manuscript at short notice. Sarah Key provided invaluable research assistance during my stay at the Annenberg School of Communications at the University of Southern California in Los Angeles.
Numerous others gave me intellectual and moral support, as well as dinner when things got hecticin particular Allan Arkush, Harriet Baxter, Susan Biskeborn, Wini Breines, Mary Bruno, Anita Diamant, Stephanie Engel, Ora Gladstone, Herman Gray, Judy Howard, Cheryl Klausner, Lynne Layton, Netta Rice, Michal Safdie, George Scialabba, Ann Senechal, and Svi Shapiro. Evan Watkins suggested a change that liberated me from one of those stuck positions that are the occupational hazard of writers. My colleagues in the School of Communications at the University of Washington created time and a supportive environment in which to finish this project. Students who took my media courses at Brandeis, Clark University, Northeastern University, the Annenberg School, and the University of Washington kept me on my toes with their knowledge and enthusiasm and occasionally by dropping quietly off to sleep. Naomi Schneider, Steve Rice, and Marilyn Schwartz at the University of California Press advised and encouraged in countless ways. Richard Miller edited the manuscript with all the skill, tact, and restraint a writer could wish for in an editor.
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