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Journal Article
Camera Obscura (2013) 28 (2 (83)): 109–149.
Published: 01 September 2013
...Erin Lee Mock Mary Hartman, Mary Hartman (syndicated, 1976 – 77) rightly remains a touchstone for television scholars whose work emphasizes genre, gender, and sexuality, and its creator, Norman Lear, is a critical figure to discussions of the television industry in the 1970s. I argue...
Journal Article
Camera Obscura (2000) 15 (1 (43)): 45–93.
Published: 01 May 2000
... tarnished image. CBS employed two independent television production companies to accomplish this goal: MTM Enter- prises (headed by Grant Tinker) and Tandem/TAT Productions (headed by Norman Lear and Bud Yorkin). The two companies produced a large number...
Journal Article
Camera Obscura (2013) 28 (3 (84)): 169–170.
Published: 01 December 2013
... in Finding Christa and Off and Running. No. 83: pp. 77 – 107 Bienvenida Matías, see Catherine L. Benamou and Bienvenida Matías Sam McBean Seeing in Alison Bechdel’s Fun Home. No. 84: pp. 103 – 23 Erin Lee Mock “The Soap Opera Is a Hell of an Exciting Form”: Norman Lear’s Mary...
Journal Article
Camera Obscura (1988) 6 (1 (16)): 128–153.
Published: 01 January 1988
....' "17 While the growth of the therapeutic ethos and a consumption-oriented secularism has been linked by T. J. Jackson Lears to a sense of weightlessness found in the late nineteenth and early twentieth centuries, these are today almost fully institutionalized." Yet rather than fulfilling the need...
Journal Article
Camera Obscura (1988) 6 (1 (16)): 47–77.
Published: 01 January 1988
..." as something outside the individual's everyday experience. Jackson Lears ' At the turn of the century in America, the burgeoning field of mass amuse• ment institutionalized the promise that "real life" was just around the corner. Hollywood, with its...
Journal Article
Camera Obscura (1990) 8 (1 (22)): 50–72.
Published: 01 January 1990
... power, a force to be reckoned with. At the same time and, it seems, for that very reason, the gender connotations of consumption shifted on the symbolic level, in a kind of chiasmus effect. To borrow from Jackson Lears, if nineteenth-century advertising beckoned with images of abundance...
Journal Article
Camera Obscura (2014) 29 (2 (86)): 1–33.
Published: 01 September 2014
... as a phone sex operator, history returns largely through homage to earlier, ostensibly positive representations of African Americans in such films asCarmen Jones (dir. Otto Preminger, US, 1954) and Cleopatra Jones (dir. Jack Starrett, US, 1973) and in Norman Lear’s 1970s television series...
Journal Article
Camera Obscura (1990) 8 (2 (23)): 132–147.
Published: 01 May 1990
..., and thus were useful in everyday life. Proverbial quotations circulated orally and frequently reemerged on the vaudeville stage. The plays themselves were also designed to pro- duce a moral. Tate’s ending of King Lear, in which the good prosper and the evil are punished, was more popular than...
Journal Article
Camera Obscura (2002) 17 (1 (49)): 73–105.
Published: 01 May 2002
... Stebbins, Delsarte’s System of Expression (New York: Dance Horizons, 1977), 67. Emphasis mine. 19. For a connection between physical culture, antimodernism, and anti-immigrant sentiment, see T. Jackson Lear, No Place of Grace: Antimodernism and the Transformation of American Culture...
Journal Article
Camera Obscura (2014) 29 (2 (86)): 85–117.
Published: 01 September 2014
... [was] quite staggering.”41 Their adaptations in miniature include The Story of Treasure Island (1907), Francesca di Rimini (1907), Romeo and Juliet (1908), Macbeth (1908), East Lynne (1908), Richard III (1908), Oli- ver Twist (1909), and Shakespeare’s Tragedy, King Lear (1909). “Even D. W. Griffith...
Journal Article
Camera Obscura (2015) 30 (2 (89)): 125–155.
Published: 01 September 2015
... in the 1970s, like Norman Lear’s Sanford and Son (NBC, 1972 – 77) and The Jeffersons (CBS, 1975 – 85). Conceived and imagined by white writers and confined by the conventions of the sitcom genre, these shows rarely, if ever, explicitly challenged the white-­ordered worlds of prime-­time television...
Journal Article
Camera Obscura (2002) 17 (1 (49)): 149–187.
Published: 01 May 2002
...- viduated subject under these conditions, Babe, King Lear–like, wanders off alone, spending a stormy night exposed to the ele- Bringing Up Babe • 169 ments until Hoggett and the dogs find him shivering in the grave- yard in the morning. The individual’s “last stand...
Journal Article
Camera Obscura (1990) 8 (2 (23)): 8–41.
Published: 01 May 1990
... and T. Jackson Lears, eds., The Culture of Consumption (New York: Pantheon, 1983);John Goldthorpe and David Lockwood, The Affi7uent Worker in the Class Structure (London: Cam- bridge UP, 1969). 6. Cohen 7, 16. 7. Cohen 21-26. 8. John Fiske, “Popular Forces and the Culture...
Journal Article
Camera Obscura (1999) 14 (3 (42)): 124–159.
Published: 01 September 1999
... involved with the film version of Fried Green Tomatoes, friends were the answer to all your problems. For example, in light of audience response, producer Norman Lear realized "The movie is touching something that is very deep. I'm getting mail and calls and the message is always the same. In this very...
Journal Article
Camera Obscura (2005) 20 (1 (58)): 59–105.
Published: 01 May 2005
... notes that quality television (MTM) was marked by self-reflexivity and aligned with feminism, the professional managerial middle class, whiteness, sexual morality, and femininity; relevant television (Norman Lear and Bud Yorkin), on the other hand, defined realism...