According to Historian Stephanie Coontz, the Nuclear Family Is Which of the Following?

ix.two The Human relationship Between Telly and Culture

Learning Objectives

1. Identify means in which American culture is reflected on television.
2. Identify ways in which telly affects the evolution of American civilisation.

Since its inception every bit an integral office of American life in the 1950s, boob tube has both reflected and nurtured cultural mores and values. From the escapist dramas of the 1960s, which consciously avoided controversial bug and glossed over life'south harsher realities in favor of an idealized portrayal, to the copious reality TV shows in recent years, on which participants discuss fifty-fifty the most personal and taboo issues, tv set has held up a mirror to society. But the relationship between social attitudes and television is reciprocal; broadcasters have oftentimes demonstrated their power to influence viewers, either consciously through slanted political commentary, or subtly, by portraying controversial relationships (such as single parenthood, aforementioned-sex marriages, or interracial couplings) every bit socially acceptable. The symbiotic nature of television and culture is exemplified in every circulate, from family sitcoms to serious news reports.

Cultural Influences on Television

In the 1950s, most television amusement programs ignored current events and political bug. Instead, the 3 major networks (ABC, NBC, and CBS) developed prime number-time shows that would entreatment to a full general family audition. Main among these types of shows was the domestic one-act—a generic family comedy that was identified by its character-based sense of humour and usually fix within the home. Seminal examples included pop 1950s shows such as Get out It to Beaver, The Donna Reed Prove, and The Adventures of Ozzie and Harriet. Presenting a standardized version of the White middle-grade suburban family, domestic comedies portrayed the conservative values of an arcadian American life. Studiously avoiding prevalent social issues such equally racial discrimination and civil rights, the shows focused on by and large White middle-class families with traditional nuclear roles (mother in the habitation, father in the office) and implied that virtually domestic problems could be solved inside a thirty-infinitesimal time slot, always ending with a strong moral lesson.

Although these shows depicted an idealized version of American family life, many families in the 1950s were traditional nuclear families. Post-obit the widespread poverty, political uncertainty, and physical separation of the war years, many Americans wanted to settle downwardly, have children, and enjoy the peace and security that family unit life appeared to offering. During the booming postwar era, a period of optimism and prosperity, the traditional nuclear family flourished. However, the families and lifestyles presented in domestic comedies did not cover the overall American experience by any stretch of the imagination. As historian Stephanie Coontz points out, "the June Cleaver or Donna Stone homemaker role was not available to the more than 40 percentage of black women with small-scale children who worked outside the home (Coontz, 1992)." Although near 60 percent of the U.S. population was labeled middle grade by the mid-1950s, 25 percent of all families and more 50 percent of ii-parent Black families were poor. Migrant workers suffered horrific deprivations, and racial tensions were rife. None of this was reflected in the world of domestic comedies, where fifty-fifty the Hispanic gardener in Begetter Knows Best was named Frank Smith (Coontz, 1992).

Effigy 9.8

Most domestic comedies in the 1950s portrayed an arcadian version of family life and ignored social and political events.

Dennis Southward. Hurd – The Cleavers – CC BY-NC-ND 2.0.

Not all programs in the 1950s were afraid to tackle controversial social or political problems. In March 1954, journalist Edward R. Murrow broadcast an unflattering portrait of U.South. Senator Joseph McCarthy on his testify Run into Information technology Now. McCarthy, a fellow member of the Senate Investigation Commission, had launched inquiries regarding potential Communist infiltration in U.Southward. institutions. Murrow thought that McCarthy's aggressive tactics were a potential threat to civil liberties. His portrait cast the senator from Wisconsin in an unflattering light by pointing out contradictions in his speeches. This led to such an uproar that McCarthy was formally reprimanded past the U.S. Senate (Friedman, 2008).

Entertainment programs also tackled controversial issues. The long-running goggle box western Gunsmoke, which aired on CBS from 1955 to 1975, flourished in a Cold War gild, where U.S. Marshal Matt Dillon (James Arness) stood upward to lawlessness in defence force of civilization. The characters and community in Gunsmoke faced relevant social bug, including the treatment of minority groups, the meaning of family, the legitimacy of violence, and the strength of religious belief. During the 1960s, the testify adapted to the desires of its viewing audition, becoming increasingly aware of and sympathetic to ethnic minorities, in melody with the national mood during the civil rights era. This adjustability helped the show to get the longest-running western in Tv set history.

Violence and Escapism in the 1960s

During the 1960s, television news broadcasts brought the realities of real-world events into people's living rooms in bright detail. The CBS Evening News with Walter Cronkite, which debuted in 1962, quickly became the country's virtually pop newscast, and by the end of the decade, journalist Walter Cronkite was known as the most trusted man in America. Following John F. Kennedy'southward ballot to the presidency at the showtime of the decade, the 1960s took an ominous plow. Shocked viewers tuned into Cronkite's circulate on Nov 22, 1963, to acquire about the assassination of their president. During the next few days, viewers followed every aspect of the tragedy on television, from the tremor in Cronkite's vocalization as he removed his glasses and announced the news of Kennedy'south death, to the frantic scenes from Dallas police headquarters where the assassin, Lee Harvey Oswald, was gunned down past nightclub owner Jack Ruby, to the thousands of mourners lining up next to the president'due south flag-draped coffin.

Figure 9.9

Television began to play a major office in U.S. politics during the presidency of John. F. Kennedy.

Wikimedia Commons – public domain.

Effectually the same fourth dimension as Kennedy'due south bump-off, horrific images from Vietnam were streaming into people's living rooms during the nation'due south first televised war. With 5 camera crews on duty in the Saigon bureau, news crews captured brilliant details of the war in progress. Although graphic images were rarely shown on network Tv, several instances of violence reached the screen, including a CBS report in 1965 that showed Marines lighting the thatched roofs of the village of Cam Ne with Cipher lighters and an NBC news study in 1968 that aired a shot of S Vietnamese General Nguyen Ngoc Loan executing a captive on a Saigon street. Further images, of children existence burned and scarred by napalm and prisoners being tortured, fueled the antiwar sentiments of many Americans. In addition to the devastation caused by the president's death and the Vietnam War, Americans were also feeling the pressure level of the Cold War—the clash between the United states of america and the Soviet Spousal relationship in the years following World State of war II. This pressure was especially slap-up during periods of tension throughout the 1950s and 1960s, such as the 1962 Cuban Missile Crisis, a confrontation that caused many people to fear nuclear war.

As a result of the intense stress faced past many Americans during the 1960s, broadcasters and viewers turned to escapist programs such as I Dream of Jeannie, a fantasy show most a 2,000-twelvemonth-old genie who marries an astronaut, and Bewitched, a supernatural-themed show almost a witch who tries to alive every bit a suburban housewife. Both shows typified the situation one-act, or sitcom, a comedy genre featuring a recurring cast of characters who resolve zany situations based on their everyday lives. Other popular sitcoms in the 1960s included The Beverly Hillbillies, a show nigh a poor backwoods family who movement to Beverly Hills, California, afterward finding oil on their land, and Gilligan'south Island, the ultimate escapist comedy nigh seven characters shipwrecked on an uncharted island. None of the 1960s sitcoms mentioned any of the political unease that was taking place in the outside world, providing audiences with a welcome diversion from real life. Other than an occasional documentary, TV programming in the 1960s consisted of a precipitous dichotomy between prime-fourth dimension escapist comedy and hard news.

Figure 9.10

Escapist sitcoms like I Dream of Jeannie provided Americans with a much-needed diversion from the stressful events of the 1960s.

Wikimedia Commons – public domain.

Diversity and Politics in the 1970s

During the 1970s, broadcasters began to diversify families on their shows to reflect changing social attitudes toward formerly controversial bug such as single parenthood and divorce. Feminist groups including the National Organization for Women (Now), the National Women's Political Caucus, and the Coalition of Labor Marriage Women pushed for equality on issues such equally pay and encouraged women to enter the workforce. In 1972, the U.S. Supreme Court sanctioned women's right to abortion, giving them control over their reproductive rights. Divorce rates skyrocketed during the 1970s, as states adopted no-mistake divorce laws, and the alter in family unit dynamics was reflected on tv. Between 1972 and 1978, CBS aired the socially controversial sitcom Maude. Featuring a centre-aged feminist living with her fourth husband and divorced daughter, the show exploded the dominant values of the White heart-course domestic sitcom and its traditional gender roles. Throughout its 7-year run, Maude tackled social and political issues such as ballgame, menopause, nascence control, alcoholism, and depression. During its first 4 seasons, the evidence was in the peak x in Nielsen ratings, illustrating the changing tastes of the viewing audience, who had come of age during the era of civil rights and Vietnam protests and adult a taste for socially conscious television. Other 1970s sitcoms took the same approach, including Maude's CBS predecessor, All in the Family, which covered issues ranging from racism and homophobia to rape and miscarriage, and The Mary Tyler Moore Show, which reflected irresolute attitudes toward women's rights by featuring television's beginning never-married contained career woman equally the central graphic symbol. Even wholesome family unit favorite The Brady Bunch, which ran from 1969 to 1974, featured a non-nuclear family, reflecting the rising rates of blended families in American club.

Figure 9.11

The popularity of controversial shows like Maude reflected the changing cultural and social values of the 1970s.

Wikimedia Commons – public domain.

In addition to changing family unit dynamics on sitcoms and other prime number-time shows, variety and comedy sketch shows developed a political awareness in the 1970s that reflected audiences' growing appetite for social and political commentary. Sketch comedy testify Saturday Nighttime Live (SNL) premiered on NBC in 1975 and has remained on air ever since. Featuring a different celebrity invitee host every calendar week and relatively unknown comedy regulars, the prove parodies gimmicky pop culture and politics, lambasting presidential candidates and pop stars alike. Earlier NBC sketch comedy prove Laugh-In, which ran from 1968 to 1973, also featured politically charged material, though information technology lacked the satirical bite of later series such equally SNL. By the terminate of the decade, tv dissemination reflected a far more politically witting and socially aware viewing audience.

The Influence of Cablevision Television in the 1980s

Until the mid-1980s, the tiptop three networks (ABC, NBC, and CBS) dominated television broadcasting in the United States. Still, as cable services gained popularity following the deregulation of the industry in 1984, viewers constitute themselves with a multitude of options. Services such as Cable News Network (CNN), Entertainment and Sports Programming Network (ESPN), and Music Tv (MTV) greatly contradistinct the boob tube mural in the world of news, sports, and music. New markets opened up for these innovative program types, every bit well equally for older genres such as the sitcom. During the 1980s, a revival of family sitcoms took place with ii enormous hits: The Cosby Show and Family Ties. Both featured a new take on mod family life, with the mothers working outside of the home and the fathers pitching in with housework and parental duties. Despite their success on network television, sitcoms faced stiff competition from cablevision'due south diverseness of choices. Between 1983 and 1994, weekly broadcast audience shares (a measure of the number of televisions in utilise that are tuned to a particular show) for network television dropped from 69 to 52, while cablevision networks' shares rose from 9 to 26 (Newcomb, 2004).

With a growing number of households subscribing to cable Idiot box, business began to grow nearly the levels of violence to which children were becoming exposed. In addition to regularly broadcast network programs, cable offered viewers the adventure to lookout man films and adult-themed shows during all hours, many of which had far more vehement content than normal network programming. I study found that by the fourth dimension an average child leaves elementary schoolhouse, he or she has witnessed 8,000 murders and more than 100,000 other acts of violence on television (Blakey, 2002). Although no conclusive links have been drawn betwixt witnessing violence on television set and conveying out violence in real life, the loosening boundaries regarding sexual and trigger-happy content on tv set is a persistent crusade for concern for many parents. For more information on the social effects of violence in the media, please refer to Chapter 2 "Media Effects".

Specialization in the 1990s and 2000s

Although Tv set viewership is growing, the vast number of cable channels and other, newer content delivery platforms means that audiences are thinly stretched. In recent years, broadcasters have been narrowing the focus of their programming to encounter the needs and interests of an increasingly fragmented audience. Unabridged cable channels devoted to cooking, music, news, African American interests (come across sidebar beneath), weather, and court drama enable viewers to choose exactly what blazon of show they want to watch, and many news channels are further specialized according to viewers' political opinions. This trend toward specialization reflects a more general shift within society, as companies cater increasingly to smaller, more targeted consumer bases. Business concern magazine editor Chris Anderson explains, "We're leaving the watercooler era, when almost of us listened, watched and read from the aforementioned relatively small puddle of mostly hit content. And we're entering the microculture era, when we are all into different things (Gunther, 2006)." Simply every bit cablevision broadcasters are catering to niche markets, Internet-based companies such as Amazon.com and Netflix are taking reward of this concept past selling large numbers of books, DVDs, and music albums with narrow appeal. Section 9.3 "Issues and Trends in the Television Industry" and Section 9.4 "Influence of New Technologies" of this chapter will embrace the recent trends and bug of this era in television.

Black Entertainment Television (BET)

Launched in 1980, Black Amusement Idiot box (BET) was the offset television network in the United States dedicated to the interests of African American viewers. The bones-cable franchise was created in Washington, DC, by media entrepreneur Robert Johnson, who initially invested $fifteen,000 in the venture. Within a decade, he had turned the visitor into a multimillion-dollar enterprise, and in 1991 it became the first Black-controlled company on the New York Stock Exchange. The company was sold to Viacom in 2003 for $3 billion.

Pre-dating MTV by a year, BET initially focused on Black-oriented music videos merely soon diversified into original urban-oriented programs and public affairs shows. Although BET compensated somewhat for the underrepresentation of Blacks on television (African Americans made upwardly 8 per centum of the prime-time characters on television receiver in 1980 simply fabricated upwards 12 percent of the population), viewers complained about the portrayal of stereotypical images and inappropriate tearing or sexual behavior in many of the rap videos shown past the network. In a 2004 interview with BET vice president of communications Michael Lewellen, onetime BET talk prove host Bev Smith said, "We had videos on BET in those days that were graphic but didn't proliferate as they seem to exist doing now. That'southward all you exercise seem to see are scantily dressed women who a lot of African American women are upset nigh in those videos (Flim-flam News, 2004)." Despite the criticisms, BET remained the No. 1 cable network amidst Blacks 18 to 34 in 2010 and retained an average audience of 524,000 total viewers during the commencement quarter of the twelvemonth (Forbes, 2010).

Boob tube's Influence on Culture

Despite entering a microculture era with a variety of niche markets, television remains the most important unifying cultural presence in the Us. During times of national crises, television news broadcasts take galvanized the country by providing real-time coverage of major events. When terrorists crashed planes into the Globe Trade Center towers in 2001, 24-60 minutes Television news crews provided stunned viewers effectually the world with continuous updates about the set on and its aftermath. Meanwhile, network blockbusters such as Lost and 24 take united viewers in shared anticipation, launching numerous blogs, fan sites, and speculative workplace discussions nearly characters' fates.

Televised coverage of the news has had several cultural furnishings since the 1950s. Providing viewers with footage of the virtually intense man experiences, televised news has been able to reach people in a mode that radio and newspapers cannot. The images themselves take played an of import role in influencing viewer opinion. During the coverage of the civil rights motility, for example, footage of a 1963 attack on civil rights protesters in Birmingham, Alabama, showed police force diggings African American demonstrators—many of them children—with fire hoses. Coupled with images of angry White segregationist mobs squaring off confronting Black students, the news footage did much to sway public opinion in favor of liberal legislation such every bit the 1964 Voting Rights Act. Conversely, when volatile pictures of the race riots in Detroit and other cities in the belatedly 1960s hit the airwaves, horrified viewers saw the need for a render to law and order. The footage helped create an anti-ceremonious-rights backfire that encouraged many viewers to vote for conservative Republican Richard Nixon during the 1968 presidential election.

During the past few decades, mass-media news coverage has gone beyond swaying public stance through mere imagery. Trusted centrist voices such as that of Walter Cronkite, who was known for his impartial reporting of some of the biggest news stories in the 1960s, take been replaced by highly politicized news coverage on cable channels such as conservative Fox News and liberal MSNBC. As broadcasters narrow their focus to cater to more than specialized audiences, viewers choose to watch the networks that adapt their political bias. Middle-of-the-route network CNN, which aims for nonpartisanship, frequently loses out in the ratings wars against Fox and MSNBC, both of which have fierce groups of supporters. Equally i reporter put it, "A small partisan base is enough for big ratings; the mildly interested middle might rather spotter Greyness's Anatomy (Poniewozik, 2010)." Critics fence that partisan news networks crusade viewers to take less understanding of opposing political opinions, making them more polarized.

Tabular array 9.ane Partisan Contour of Television receiver News Audiences in 2008

News Channel	Republican (%)	Autonomous (%)	Independent (%)
Fox News	39	33	22
Nightly Network	22	45	26
MSNBC	18	45	27
CNN	18	51	23
NewsHour	21	46	23
Source: "Partisanship and Cable News Audiences," Oct. 30, 2009, Pew Research Heart for the People & the Printing, a project of the Pew Enquiry Center

Social Controversy

The event of whether television producers have a responsibility to promote particular social values continues to generate heated discussion. When the unmarried championship character in the CBS series Murphy Brownish—a comedy show about a divorced anchorwoman—got meaning and chose to have the infant without any involvement from the begetter, then–Vice President Dan Quayle referenced the prove as an example of degenerating family values. Linking the 1992 Los Angeles riots to a breakdown of family unit construction and social order, Quayle lambasted producers' poor judgment, saying, "It doesn't help matters when prime-fourth dimension TV has Murphy Chocolate-brown, a graphic symbol who supposedly epitomizes today's intelligent, highly paid professional woman, mocking the importance of fathers by bearing a child lonely, and calling it merely another 'lifestyle pick (Time, 1992).'" Quayle'due south flare-up sparked lively fence between supporters and opponents of his viewpoint, with some praising his outspoken social commentary and others dismissing him as out of touch with America and its growing number of single mothers.

Similar controversy arose with the portrayal of openly gay characters on prime-time television shows. When the atomic number 82 grapheme on the ABC sitcom Ellen came out in 1997 (two weeks after Ellen DeGeneres, the actress who played the part, announced that she was gay), she became the beginning leading gay character on both circulate and cable networks. The testify proved to be a test example for the nation's tolerance of openly gay characters on prime-time Television and became the discipline of much debate. Embraced by liberal supporters and lambasted by conservative objectors (evangelical Baptist minister Jerry Falwell infamously dubbed her "Ellen DeGenerate"), both the actress and the show furthered the quest to make homosexuality adequate to mainstream audiences. Although Ellen was canceled the post-obit year (amongst disagreements with producers about whether it should contain a parental advisory warning), DeGeneres successfully returned to television receiver in 2003 with her own talk show. Subsequent shows with prominent gay characters were quick to follow in Ellen'southward footsteps. Co-ordinate to the Gay & Lesbian Alliance Against Defamation (GLAAD), 18 lesbian, gay, bisexual, or transgender characters accounted for 3 percent of scripted series regulars in the 2009–2010 broadcast television receiver schedule, up from 1.3 percent in 2006 (Mitchell, 2009).

Creating Stars via Reality Television

Emerging out of the 1948 Telly series Aboveboard Photographic camera, in which people were secretly filmed responding to elaborate practical jokes, reality television aimed to capture existent, unscripted life on camera. The genre developed in several unlike directions, from habitation-video clip shows (America's Funniest Habitation Videos, America'south Funniest People) to truthful-law-breaking reenactment shows (America's Nigh Wanted, Unsolved Mysteries) to thematic shows based on professions of involvement (Projection Runway, Police Women of Broward County, Top Chef). Almost the plough of the millennium, the genre began to lean toward more than voyeuristic shows, such as MTV'south The Real Globe, an unscripted "documentary" that followed the lives of seven strangers selected to live together in a large house or apartment in a major metropolis. The show drew criticisms for glamorizing bad behavior and encouraging excessive drinking and coincidental sex, although its ratings soared with each successive controversy (a trend that critics claim encouraged producers to actively phase rating-grabbing scenarios). During the late 1990s and 2000s, a moving ridge of copycat reality Boob tube shows emerged, including the voyeuristic series Large Brother, which filmed a group of strangers living together in an isolated house full of cameras in an attempt to win large amounts of cash, and Survivor, a game testify in which participants competed against each other by performing endurance challenges on an uninhabited island. Survivor's success as the nearly popular bear witness on television set in the summer of 2000 ensured the connected growth of the reality television genre, and producers turned their attention to reality dating shows such as The Bachelor, Temptation Island, and Dating in the Night. Cheap to produce, with a seemingly never-ending supply of willing contestants and eager advertizing sponsors, reality Goggle box shows continue to bring in big ratings. As of 2010, singing talent competition American Idol is television's biggest acquirement generator, pulling in $viii.1 million in advertizing sales every 30 minutes it is on the air (Bond, 2010).

Effigy nine.12

The stress of appearing on reality tv shows has proved detrimental to some contestants' wellness. Britain's Got Talent star Susan Boyle suffered a nervous breakdown in 2009.

Banalities – SuBo Dreamed a Dream – CC BY ii.0.

Reality TV has created the cultural miracle of the instant glory. Famous for simply beingness on the air, reality show contestants are extending their 15 minutes in the spotlight. Kate Gosselin, star of Jon & Kate Plus viii, a cable Tv testify most a couple who have eight children, has since appeared in numerous magazine articles, and in 2010 she starred on celebrity reality trip the light fantastic show Dancing with the Stars. Survivor contestant Elisabeth Hasselbeck became a co-host on TV talk show The View, and several American Idol contestants (including Kelly Clarkson and Carrie Underwood) have get household names. The genre has fatigued criticism for creating a generation that expects to achieve instant wealth without having to try very hard and besides for preying on vulnerable people whom critics call "disposable." When Great britain'south Got Talent star Susan Boyle suffered a public meltdown in 2009 later on the stress of transitioning from obscurity to stardom in an extremely short time period, the media began to indicate out the dangers of reality boob tube. In 2009, TheWrap.com investigated the current lives of former stars of reality shows such as The Contender, Paradise Hotel, Married woman Bandy, and Extreme Makeover, and found that at least 11 participants had committed suicide as an credible result of their appearances on screen (Adams, 2009; Feldlinger).

Key Takeaways

• Tv set has been reflecting changing cultural values since it offset gained popularity afterwards World War II. During the 1950s, nigh programs ignored current events and political issues in favor of family-friendly domestic comedies, which featured White suburban centre-class families. Farthermost stress during the 1960s, acquired by political events such equally the Vietnam War and the Cuban Missile Crisis, led people to turn to escapist tv offered by fantasy sitcoms. These provided a precipitous dichotomy with the hard-news shows of the era. Social consciousness during the 1970s prompted television producers to reflect changing social attitudes regarding single parenthood, women's roles, and divorce, and sitcom families began to reverberate the increasing number of non-nuclear families in society. The increasing popularity of cablevision Boob tube in the 1980s led to an explosion of news and entertainment channels, some of which raised concerns almost the levels of violence on television. During the 1990s and 2000s, Telly networks became more specialized, catering to niche markets in guild to come across the needs of an increasingly fragmented audience.
• Tv set reflects cultural values, and information technology likewise influences culture. One case of this is the polarization of cable TV news, which is no longer centrist but caters to individual political tastes. Critics argue that this influences cable news viewers' opinions and makes them less open to opposing political viewpoints. Entertainment programs also play an influential role within society. By portraying controversial relationships such as unmarried parents or gay couples as acceptable, TV shows have the power to shape viewers' attitudes. In contempo years, broadcasters accept created the concept of the instant celebrity through the genre of reality tv set. Contestants on reality Goggle box shows at present permeate every aspect of civilisation and the media, from the music charts to pop magazines and newspapers.

Exercises

Delight reply to the post-obit short-answer writing prompts. Each response should be a minimum of one paragraph.

1. Choose a popular sitcom from the past fifty years y'all are familiar with (you can view episodes on Hulu.com to refamiliarize yourself if necessary). Using the ideas in this section as a starting bespeak, identify 3 ways in which your chosen sitcom reflects or reflected American civilization.
2. Spend a few days reviewing news coverage on Play a joke on News and MSNBC. How is coverage of similar news stories different? Practise you think partisan news networks tin can affect public opinion? Why or why not?

References

Adams, Guy. "Lessons From America on the Dangers of Reality Television," Contained (London), June 6, 2009, http://www.independent.co.uk/news/earth/americas/lessons-from-america-on-the-dangers-of-reality-television-1698165.html.

Blakey, Rea. "Report Links Television set Viewing Amid Kids to Later Violence," CNN Health, March 28, 2002, http://archives.cnn.com/2002/HEALTH/parenting/03/28/kids.tv.violence/index.html.

Bond, Paul. "'Idol' Listed as TV's Biggest Revenue Generator," Hollywood Reporter, May v, 2010, http://www.hollywoodreporter.com/hr/content_display/news/e3i8f1f42046a622bda2d602430b16d3ed9.

Coontz, Stephanie. "'Get out Information technology to Beaver' and 'Ozzie and Harriet': American Families in the 1950s," in The Style We Never Were: American Families and the Nostalgia Trip (New York: BasicBooks, 1992), 28.

Forbes, "BET Networks Unveils New African American Consumer Market Enquiry and New Programming at 2010 Upfront Presentation," April fourteen, 2010, http://world wide web.forbes.com/feeds/prnewswire/2010/04/xiv/prnewswire201004141601PR_NEWS_USPR_____NE86679.html.

Fob News, The O'Reilly Cistron, "Is Black Amusement Telly Taking a Disturbing Turn?" Flim-flam News, May 26, 2004, http://www.foxnews.com/story/0,2933,120993,00.html.

Frank Feldlinger, "TheWrap Investigates: 11 Players Take Committed Suicide," TheWrap, http://www.thewrap.com/television/article/thewrap-investigates-11-players-have-committed-suicide-3409.

Friedman, Michael J. "'See It Now': Murrow vs. McCarthy," in Edward R. Murrow: Journalism at Its Best, publication of U.Southward. Department of Country, June 1, 2008, http://www.america.gov/st/democracyhr-english/2008/June/20080601110244eaifas8.602542e-02.html.

Gunther, Marc. "The Extinction of Mass Culture, CNN Money, July 12, 2006, http://money.cnn.com/2006/07/11/news/economy/pluggedin_gunther.fortune/index.htm.

Mitchell, Wendy. "GLAAD Report: Gay Characters on Network TV Withal on the Rise," Entertainment Weekly, September 30, 2009, http://hollywoodinsider.ew.com/2009/09/30/glaad-written report-gay-characters-on-rise/.

Newcomb, Horace. ed., Encyclopedia of Television (New York: Fitzroy Dearborn, 2004), 389.

Poniewozik, James. "CNN: Tin can a Mainstream News Outlet Survive?" Time, May 3, 2010, http://www.fourth dimension.com/time/mag/commodity/0,9171,1983901,00.html.

Time, "Dan Quayle vs. Potato Brown," June 1, 1992, http://www.time.com/time/magazine/article/0,9171,975627,00.html.

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Source: https://open.lib.umn.edu/mediaandculture/chapter/9-2-the-relationship-between-television-and-culture/

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