Has Classic TV Gone Out of Style?

Author:

O'Hara, Megan Kathleen

Area of Honors:

Media Studies

Degree:

Bachelor of Science

Document Type:

Thesis

Thesis Supervisors:

Jeanne Lynn Hall, Thesis Supervisor
Jeanne Lynn Hall, Thesis Honors Advisor
Matthew Paul Mcallister, Faculty Reader
Jeanne Lynn Hall, Thesis Supervisor

Keywords:

television
family

Abstract:

From The Adventures of Ozzie and Harriet, The Donna Reed Show, and Leave It to Beaver to Roseanne, Everybody Loves Raymond, and Married…with Children, the television and its sitcom families have been a part of our lives from TV's inception. Although sixty years have passed since TV's modest beginnings, through the power of technology, reruns, and networks such as TV Land, we, the modern viewing public, have a glimpse into the world of classic TV. A world filmed entirely in black and white, it gives us insight into the TV world of yesteryear. It also gives us the chance to compare that world with today's world filmed in spectacular Technicolor. It's easy to see that black and white versus color isn't the only difference between classic TV and modern programming. Turn on the TV during primetime tonight. Notice anything? Look in the upper left hand corner of the screen. Most shows today come with a rating, warning parents of violence, language, sex, and drugs that may deem the program unsuitable for younger viewers. Sixty years ago ratings were unnecessary. Anytime of day or night, adults, children, or the entire family could turn to any channel and watch wholesome TV programming. Just as times have changed, TV has changed the way it portrays the family unit. The classic sitcom family is generally nothing like the modern sitcom family. June Cleaver isn’t Roseanne Conner, Jim Anderson isn’t Al Bundy, and Ricky Nelson isn’t Bart Simpson. They just don’t make TV families like they used to. In recent years, classic TV bashing has come into vogue. Many people complain that classic domestic sitcoms give an unrealistic portrayal of American families – then and now. They see classic TV as irrelevant to society. This, however, is untrue. As in the past, classic domestic sitcoms continue to provide their viewers with positive role models and a moral compass; they embody the ideals that America was founded on. This thesis is, therefore, a defense of the representations of family dynamics on classic domestic sitcoms, and, by extension, a critique of contemporary constructions. It compares the families on classic domestic sitcoms to those of modern domestic sitcoms. For the purpose of this thesis, classic TV is defined to include shows that premiered prior to 1970, although they may have continued to air past that year. Accordingly, modern TV consists of shows that debuted in or after 1970. The year 1970 is used as the point of differentiation because, although TV was changing during the 1960s, the greatest divergence from classic TV is apparent in the 1970s. It must also be noted that this writer is speaking in generalities. In almost all cases, especially in modern TV, there are exceptions to most premises. These are exceptions, however; and the premises apply to the majority of shows of their times. Television has been written about as long as the medium has existed. While this thesis cites numerous books and articles, it is important to discuss some of the most notable sources here. First, Prime-Time Families, by Ella Taylor (1989), takes a look at TV’s influence on cultural change. Taylor, using historical context and sociology, examines changing TV family life and the changing ideas of the “normal family”, both pre- and post-1970. She then goes on to explore domesticity within another sitcom setting – the workplace. Where Taylor studies sitcoms, S. Robert Lichter, Linda S. Lichter, and Stanley Rothman study numerous genres of TV’s prime time in the book Prime Time: How TV Portrays American Culture (1994). This comprehensive study details how television has portrayed American society since its beginning. It also looks at social conflict and leadership in America and the interaction of TV and our society. Prime Time, like this thesis, argues that TV is not merely a “fantasy factory” but a serious source of social commentary. Living Room Lectures, by Nina C. Leibman (1995), compares and contrasts classic TV shows with feature films of the same era. In doing so, she explores how each genre depicts common themes as well as familial power, gender roles, and finances. Finally, Stephanie Coontz’s The Way We Never Were: American Families and the Nostalgia Trap (2000) provides a jumping off point for this thesis. In her book, Coontz uses historical analysis to show that the classic domestic sitcoms were not the “traditional family” in America. She analyzes the gender roles and division of labor in the 1950s. Coontz asserts that nostalgia created the unrealistic yet ideal family presented in classic TV. Despite Coontz’s criticism of the lack of realism in classic sitcoms, that alone does not make classic domestic sitcoms unworthy of study. Where the aforementioned texts provide a foundation for this thesis, most of the comparison presented here is based on this writer’s own observations and knowledge of television. Two main sources were referenced to support and provide details of the sitcoms discussed. The first, The Great TV Sitcom Book, by Rick Mitz (1988), delves into a few of the “front runners” of each year from 1949 to 1988. The second, The Complete Directory to Prime Time Network and Cable TV Shows: 1946 – Present, by Tim Brooks and Earle F. Marsh (2007), provides a short description of each show in addition to a list of characters and actors. Both of these sources buttress this writer’s knowledge of the subject matter. The first chapter of this thesis compares family structure and composition, including the reasons for missing family members and how these roles are filled. Chapters two through four compare the roles of family members – fathers, mothers, and children respectively. Chapter five looks at race as a part of both classic and modern domestic sitcoms and the integration of television through time. Chapter six then compares the issues addressed in classic and modern sitcoms, such as family problems, sexuality, and current events. Next, chapter seven provides a comparison of the values reflected by each type of sitcom. Finally, chapter eight compiles the information presented in the previous sections to discuss the benefits and downsides of both classic and modern television. It then discusses the value of classic domestic sitcoms and their place in society. Within these eight chapters, it will be proven that although classic and modern sitcoms are different; classic TV still has value and, therefore, a place in modern society.