The Revolution Wasn't Televised
Sixties Television and Social Conflict
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Revolution Wasn't Televised by Lynn Spigel
Book DescriptionCaricatures of sixties television--called a "vast wasteland" by the FCC president in the early sixties--continue to dominate our perceptions of the era and cloud popular understanding of the relationship between pop culture and larger social forces. Opposed to these conceptions, The Revolution Wasn't Televised explores the ways in which prime-time television was centrally involved in the social conflicts of the 1960s. It was then that television became a ubiquitous element in American homes. The contributors in this volume argue that due to TV's constant presence in everyday life, it became the object of intense debates over childraising, education, racism, gender, technology, politics, violence, and Vietnam. These essays explore the minutia of TV in relation to the macro-structure of sixties politics and society, attempting to understand the struggles that took place over representation the nation's most popular communications media during the 1960s.
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Book DetailsISBN: 9780415911221
(229mm x 152mm x 27mm)
Publisher: Taylor & Francis Ltd
Publish Date: 8-May-1997
Country of Publication: United Kingdom
Books By Author Lynn Spigel
Revolution of the Eye, Hardback (June 2015)
An engaging exploration of the relationship between avant-garde art and American network television from the 1940s through the 1970s
TV by Design, Hardback (January 2009)
Uncovers the story of how modernism and network television converged and intertwined in their mutual ascent during the decades of the cold war. This title shows how TV was instrumental in introducing the public to the different trends in art and design.
Feminist Television Criticism, Paperback (December 2007)View all books by Lynn Spigel
Takes into account the changes in the television industry, the academic field of television studies and the culture and politics of feminist movements. This book explores how television represents feminism and considers how critics themselves have created feminism and post-feminism as historical categories and political identities.
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