...Sandy Flitterman-Lewis Copyright © 1988 by The Johns Hopkins University Press 1988 General Hospital All's Well that Doesn't End-Soap Opera and the Marriage Motif Sandy Flitterman-Lewis It is a well-known fact that the desire for narrative closure-the resolution...

... identity in the United States after the Second World War, through media history and analysis. A recent article appeared in Film and History . © 2013 by Camera Obscura 2013 Louise Lasser is Mary Hartman in Mary Hartman, Mary Hartman (syndicated, 1976 – 77). “The Soap Opera Is a Hell of an...

...” and “Gossip's Stages: Theatre, Scandal, and Sexuality.” Publicity still of Joan Van Ark On the Bubble: The Soap Opera Diva’s Ambivalent Orbit Nick Salvato “To Be Fabulous” In a 2006 phone interview with two of her fans, the actress Joan Van Ark gestured, quite unintentionally...

... to such efforts, for example, in the soap opera SIDA dans la cité ( AIDS in the City , Radiodiffusion-Télévision Ivoirienne, 1995, 1996–97, 2003), which consisted of three series produced by the US-based Population Services International (PSI) in Côte d'Ivoire. To the extent that AIDS in the City...

... con- struction of the viewing experience. In order to think about the theo- retical implications of retelecasting, it is useful to start elsewhere, with a form to which Lifetime’s prime demographic should immediately point us: namely, daytime soap operas. While...

... practice of sorting genres by genders, treating soap operas as women’s television and horse operas as men’s television. In this way, we recognize four social constructs: first, that culture industries target gendered audiences, aiming specific artifacts and par- ticular genres at either men or...

... fantasies for women .’ ’ Dealing specifically with the Harlequin Romance, the paperback gothic, and the television soap opera, Tania Modleski is primarily interested in the function which these texts serve for their overwhelmingly female readership / audience. All three forms are prime examples...

... audience of viewer-consumers, melodrama moves to television and so dominates its discourse that it becomes difficult to locate as a separate TV genre. Of course, there are some television forms that are clearly marked as melodrama. Both the daytime and prime-time soap opera, for example, seem to...

... California Press, 1993. $25.00. No End to Her: Soap Opera and the Female Subject by Martha Nochimson. University of California Press, 1993. $15.00. The Invention of Pornography: Obscenity and the Origins of Modernity, 1500-1 800 edited by Lynn Hunt. The MIT Press, 1993. $26.95. Dirty Looks...

... with questions of gender and aesthetic judgement: to what extent have “women’s genres” across media been regarded as particularly trashy because they deal with ccwomen7sissues” and are consumed by women? Thus, my original interest in soap opera was partly...

... theater, including Speaking of Soap Operas (University of North Carolina Press, 1985) and Horrible Prettiness: Burlesque and Amer- ican Culture (University of North Carolina Press, 1991). Mary Carbine received her MA in Communication Arts from the University of...

... 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...

... television-studies scholars have been fighting against panicked declarations that soap operas make women stupid, that cartoons make children violent, that TV can only be Camera Obscura 61, Volume 21, Number 1 doi 10.1215/02705346-2005-005  © 2006 by Camera Obscura Published by...

... form to heighten sexual indeterminacy and to resist the televisual normalization (or erasure) of queer desire and racial difference. Furthermore, in fusing high and low cultural forms—borrowing from “quality” television, realist docudramas, exploitation cin- ema, and soap operas—Oz unsettles...

... contains extensive 206 holdings in the area of domestic comedy and family drama, ranging from such early series as Jackson and Jill, Wren's Nest and The Marriage, to such classic comedies as I Love Lucy, The Honeymooners, Father Knows Best and Leave it to Beaver, to soap...

... examines how television helped women adapt beauty and consumer ideals from the thirties and forties to postwar ideals of "domesticity" and "classlessness." Examining wedding sequences in soap operas, Sandy Flitterman-Lewis argues that they evoke memories of a cinematic past (for...

... (within, of course, certain limits and at the risk of being presented as bizarre spectacles rather than contributing voices): television’s “reality” programming, ranging from talk, real-courtroom, and 140  •  Camera Obscura makeover shows to reality soaps and game-doc competitions. For all its...

... film/vidco bonks. book reviews, and a special section of college cnurse outlines for media instructors. Past iuues of Thr Jountal have been on: Soap...

.... After several years of operating at a loss, the management decided to revamp its daytime programming with “original, entertaining and contempo- rary” women’s shows-such as talk shows, parenting shows, and women-oriented movies-to compete with the network soaps.2 In late 1987, Lifetime...

..., which addresses alternative video practices in different cultural formations. Laura Stempel Mumford has written about television-including Love and Ideology in the Afternoon: Soap Opera, Women, and Television Genre (Indi- ana University Press, 1995)-and about...