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The Castaways: Affect, Alienation, a...

Durst, Lawrence Bruce,

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The Castaways: Affect, Alienation, and Authorship in American Sitcoms of the 1960s /

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	The Castaways: Affect, Alienation, and Authorship in American Sitcoms of the 1960s // Lawrence Bruce Durst.
作者:	Durst, Lawrence Bruce,
面頁冊數:	1 electronic resource (272 pages)
附註:	Source: Dissertations Abstracts International, Volume: 86-01, Section: A.
Contained By:	Dissertations Abstracts International86-01A.
標題:	American studies. -
電子資源:	https://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=31149336
ISBN:	9798383567951

The Castaways: Affect, Alienation, and Authorship in American Sitcoms of the 1960s /
Durst, Lawrence Bruce,

The Castaways: Affect, Alienation, and Authorship in American Sitcoms of the 1960s /Lawrence Bruce Durst. - 1 electronic resource (272 pages)

Source: Dissertations Abstracts International, Volume: 86-01, Section: A.

This dissertation reassesses a novel style of American sitcom that emerged in the mid-1960s in which serene depictions of suburbia that had dominated the genre in the late 1950s and early 1960s suddenly were populated by witches, Martians, genies, and other powerful alien characters. These programs were not only new in concept, they would make situation comedy the most popular genre on American TV. The central question guiding this study is: why did that specific new mode of comedy emerge at that particular moment?Much of the preceding scholarship interprets these sitcoms as reflections of the broad cultural disruptions of the era, including civil rights, feminism, consumerism, and the Cold War. What those readings overlook is a socioeconomic transition as crucial but less in the news: the transformation in the structure and control of American broadcasting. By the early 1960s, the three national networks had consolidated authority over the industry's other functional parties-local broadcasters, advertisers, and independent program producers-just as television became the most powerful mass medium in the nation.This dissertation argues that the conceptual genesis of the programs was not in response to those broad societal changes but as projections of the shared anxieties experienced by their creators within their changing industry. While the programs resonated with audiences due to their culturally relatable themes and characters, they were conceived as personal expressions of their creators' struggles to maintain a sense of self-respect as they lost their former places of authority in the medium they helped create. Through intertextual analysis of the sitcoms alongside their creators' published memoirs through the lens of Affect Theory, this dissertation explicates how the producers' immediate concerns were encoded in the emotional reactions of their programs' protagonists to the powerful outsiders who suddenly appeared in those characters' lives.By recontextualizing these sitcoms within their creators' historical industrial conditions, this study adds to current scholarship on the interconnectedness of creativity and media industry dynamics. It also reveals how the industry structures and relationships of a handful of television executives in the mid-twentieth century established the model of media control still in place today.

English

ISBN: 9798383567951Subjects--Topical Terms:

2122720
American studies.
Subjects--Index Terms:

Gilligan's Island

The Castaways: Affect, Alienation, and Authorship in American Sitcoms of the 1960s /
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520 $a This dissertation reassesses a novel style of American sitcom that emerged in the mid-1960s in which serene depictions of suburbia that had dominated the genre in the late 1950s and early 1960s suddenly were populated by witches, Martians, genies, and other powerful alien characters. These programs were not only new in concept, they would make situation comedy the most popular genre on American TV. The central question guiding this study is: why did that specific new mode of comedy emerge at that particular moment?Much of the preceding scholarship interprets these sitcoms as reflections of the broad cultural disruptions of the era, including civil rights, feminism, consumerism, and the Cold War. What those readings overlook is a socioeconomic transition as crucial but less in the news: the transformation in the structure and control of American broadcasting. By the early 1960s, the three national networks had consolidated authority over the industry's other functional parties-local broadcasters, advertisers, and independent program producers-just as television became the most powerful mass medium in the nation.This dissertation argues that the conceptual genesis of the programs was not in response to those broad societal changes but as projections of the shared anxieties experienced by their creators within their changing industry. While the programs resonated with audiences due to their culturally relatable themes and characters, they were conceived as personal expressions of their creators' struggles to maintain a sense of self-respect as they lost their former places of authority in the medium they helped create. Through intertextual analysis of the sitcoms alongside their creators' published memoirs through the lens of Affect Theory, this dissertation explicates how the producers' immediate concerns were encoded in the emotional reactions of their programs' protagonists to the powerful outsiders who suddenly appeared in those characters' lives.By recontextualizing these sitcoms within their creators' historical industrial conditions, this study adds to current scholarship on the interconnectedness of creativity and media industry dynamics. It also reveals how the industry structures and relationships of a handful of television executives in the mid-twentieth century established the model of media control still in place today.
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