The Evolution Of The American Television Family

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The Evolution Of The American Television Family Essay, Research Paper Television is not just a form of entertainment, but it is an excellent form of study of society?s view concerning its families. This study focuses on the history of television beginning in the early 1950s and will run through present day. It examines the use of racial, ethnic and sexual stereotypes to characterize the players of these shows. The examples assist in tracing what has happened to the depiction of the American family on prime time television. It reveals the change of the standards employed by network television as disclosed to the American public. Finally, I will propose the question of which is the influential entity, television or the viewing audience. The Goldbergs, which was originally a

radio show, became the first popular family series. It became a weekly TV series in 1949, revealing to Americans a working class Jewish family who resided in a small apartment in the Bronx. The show, while warm and humorous, confronted delicate social issues, such as sensitivity due to the Second World War. It is an excellent example of an ethnic family?s status in society. A classic among classics, I Love Lucy appeared on television on October 15, 1951, (http://www.nick-at-nite.com/tvretro/shows/ilovelucy/index.tin). The series? premise focused on the antics of a nonsensical wife who beguiles her easily angered husband. The series created the men-versus-women standard on television, (such as what we see between Dan and Roseanne on Roseanne today), that still predominates today.

One circumstance that led TV executives to seriously challenge the show?s impending success was the use of Lucille Ball?s real-life Cuban husband, Desi Arnaz. The ?mixed-marriage? status was a questionable concept that worried the administrators. The situation prevailed; its episodes routinely attracted over two-thirds of the television audience. Leave it to Beaver, the definitive 1950?s household comedy, focused on life through the eyes of an adolescent boy, Beaver. Beaver was a typically disorderly youngster. His brother Wally, just entering his teens, was beginning to discover the opposite sex. The relationship that existed between the boys and their parents, Ward and June, was impeccable. A situation never developed that damaged the kinship beyond restoration. The parents

exhibited perfect attributes that no real man and wife could attain. The children bestowed unnatural virtues. The program became popular with Americans but it did not realistically portray America?s family status. In 1974, a series developed by Garry Marshal entitled Happy Days issued popularity to this era. The Cunningham family was the primary family featured on the program. The view of the American family modified little when the sixties arrived. Leave it to Beaver dominated television through 1963. In 1961, the ?Dick Van Dyke Show? aided in reinforcing the flawless family image. Some viewers thought Rob and Laura Petire were visibly similar to the first family, John and Jackie Kennedy. The highly successful series Bewitched further developed the perception of an immaculate

suburbia. The identical condition developed by the Ward and Petire families was operative in the Stephens family. Each television household featured a working father, affectionate mother, and attentive children. Each family was a middle-class family and all financially secure. They each resided in secure households, which were in carefree urban areas. The morality displayed between the parents was commendable and sacred. The finest depiction of the American family living in the 1960s came twenty years later. The Wonder Years, which debuted on January 31, 1988, exhibited the best portraiture of a middle-class family in distinction to the 1960s. The Arnold family featured a struggling urban household. The parents were both conventional and, in the case of the father, emotionally