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Love and Ideology in the Afternoon: Soap Opera, Women and Television Genre (Arts & Politics of the Everyday)

Love and Ideology in the Afternoon: Soap Opera, Women and Television Genre (Arts & Politics of the Everyday) Cover

 

Synopses & Reviews

Publisher Comments:

"Why do I like soap operas?" Laura Stempel Mumford asks, and her answer emerges in a feminist analysis of soap opera that participates in current debates about popular culture, television, and ideology. She argues that the conventional daytime soap has an implicit and at times explicit political agenda that cooperates in the "teaching" of male dominance and the related oppressions of racism, classism, and heterosexism--so that they seem inevitable. All My Children, General Hospital, Another World, One Life to Live, Days of Our Lives, The Young and the Restless: a close reading of their texts will also answer some larger questions about television and its place in the broad landscape of popular culture.

Synopsis:

'Why do I like soap operas?' asks Mumford. The answer emerges from a feminist analysis engaged in current debates about popular culture, television, and ideology. She argues that the daytime soap has an implicit and at times explicit political agenda that advocates male dominance, racism, classism, and heterosexism. Unlike other critics of the genre, Mumford situates her argument within her own history as a soap opera viewer and her struggle to reconcile her pleasure in the genre with a recognition of the form's repressive tendencies.

Description:

Includes bibliographical references (p. [137]-161) and index.

About the Author

LAURA STEMPEL MUMFORD has written about TV, women's fiction, feminist theory, style, and about the experience of being an independent scholar. She lives in Madison, Wisconsin.

Table of Contents

Chapter 1: Viewing Histories and Textual Difficulties

Chapter 2: What Is This Thing Called Soap Opera?

Chapter 3: Public Exposure: Privacy and the Construction of the Soap Opera Community

Chapter 4: How Things End: The Problem of Closure

Chapter 5: Plotting Paternity: Looking for Dad on the Daytime Soaps

Chapter 6: Beyond Soap Opera: Ideology, Intertextuality, and the Future of a Television Genre

Product Details

ISBN:
9780253209658
Subtitle:
Soap Opera, Women and Television Genre
Author:
Mumford, Laura Stempel
Author:
Mumford, Russell E.
Publisher:
Indiana University Press
Location:
Bloomington, IN
Subject:
Television - General
Subject:
Soap operas
Subject:
Television viewers
Subject:
Television and women
Subject:
Television viewers -- United States.
Subject:
United states
Subject:
Television soap operas - United States -
Subject:
Television and women -- United States.
Subject:
Film and Television-Reference
Subject:
Anthropology - Cultural
Subject:
American Studies; Performance Studies; Cinema; Criticism; Culture; Gender; Literature and Literary Studies; Media; Television and Radio; Women Literature and Literary Studies
Edition Description:
Print PDF
Series:
Arts and Politics of the Everyday
Series Volume:
1130.
Publication Date:
19950822
Binding:
Paperback
Language:
English
Illustrations:
Yes
Pages:
176
Dimensions:
8.25 x 5.5 x 0.58 in

Related Subjects

Arts and Entertainment » Film and Television » General
Arts and Entertainment » Film and Television » Reference
Engineering » Communications » Television
History and Social Science » Anthropology » Cultural Anthropology
History and Social Science » Gender Studies » Womens Studies
History and Social Science » Politics » General
History and Social Science » Sociology » Media

Love and Ideology in the Afternoon: Soap Opera, Women and Television Genre (Arts & Politics of the Everyday)
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Product details 176 pages Indiana University Press - English 9780253209658 Reviews:
"Synopsis" by ,
'Why do I like soap operas?' asks Mumford. The answer emerges from a feminist analysis engaged in current debates about popular culture, television, and ideology. She argues that the daytime soap has an implicit and at times explicit political agenda that advocates male dominance, racism, classism, and heterosexism. Unlike other critics of the genre, Mumford situates her argument within her own history as a soap opera viewer and her struggle to reconcile her pleasure in the genre with a recognition of the form's repressive tendencies.
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