Electronic Hearth: Creating an American Television Culture

Couverture
Oxford University Press, 29 oct. 1992 - 249 pages
We all talk about the "tube" or "box," as if television were simply another appliance like the refrigerator or toaster oven. But Cecilia Tichi argues that TV is actually an environment--a pervasive screen-world that saturates almost every aspect of modern life. In Electronic Hearth, she looks at how that environment evolved, and how it, in turn, has shaped the American experience. Tichi explores almost fifty years of writing about television--in novels, cartoons, journalism, advertising, and critical books and articles--to define the role of television in the American consciousness. She examines early TV advertising to show how the industry tried to position the new device as not just a gadget but a prestigious new piece of furniture, a highly prized addition to the home. The television set, she writes, has emerged as a new electronic hearth--the center of family activity. John Updike described this "primitive appeal of the hearth" in Roger's Version: "Television is--its irresistible charm--a fire. Entering an empty room, we turn it on, and a talking face flares into being." Sitting in front of the TV, Americans exist in a safety zone, free from the hostility and violence of the outside world. She also discusses long-standing suspicions of TV viewing: its often solitary, almost autoerotic character, its supposed numbing of the minds and imagination of children, and assertions that watching television drugs the minds of Americans. Television has been seen as treacherous territory for public figures, from generals to presidents, where satire and broadcast journalism often deflate their authority. And the print culture of journalism and book publishing has waged a decades-long war of survival against it--only to see new TV generations embrace both the box and the book as a part of their cultural world. In today's culture, she writes, we have become "teleconscious"--seeing, for example, real life being certified through television ("as seen on TV"), and television constantly ratified through its universal presence in art, movies, music, comic strips, fabric prints, and even references to TV on TV. Ranging far beyond the bounds of the broadcast industry, Tichi provides a history of contemporary American culture, a culture defined by the television environment. Intensively researched and insightfully written, The Electronic Hearth offers a new understanding of a critical, but much-maligned, aspect of modern life.

À l'intérieur du livre

Table des matières

Television EnvironmentA Preface
3
1 IntroductionPhasing In
11
2 Electronic Hearth
42
3 Peep Show Private Sector
62
4 Leisure Labor and the LaZBoy
84
5 Drugs Backtalk and Teleconsciousness
104
6 CertificationAs Seen on TV
129
7 Videoportraits and Authority
155
8 Two Cultures and the Battle by the Books
174
9 The ChildA Television Allegory
191
10 Comics Movies Music Stories Art TVonTV Etc
208
References
233
Index
247
Droits d'auteur

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Expressions et termes fréquents

Fréquemment cités

Page 114 - What is being offered is not, in older terms, a programme of discrete units with particular insertions, but a planned flow, in which the true series is not the published sequence of programme items but this sequence transformed by the inclusion of another kind of sequence, so that these sequences together compose the real flow, the real 'broadcasting'.
Page 149 - It is no longer a question of imitation, nor of reduplication, nor even of parody. It is rather a question of substituting signs of the real for the real itself, that is.
Page 209 - Look at me, look at me, look at me, look at me, look at me with your little eyes. I'm looking at a little old man . . ." Something like that, a joke, you see. And also "La Sandunga.
Page 113 - There has been a significant shift from the concept of sequence as programming to the concept of sequence as flow. Yet this is difficult to see because the older concept of programming - the temporal sequence within which mix and proportion and balance operate - is still active and still to some extent real.
Page 208 - Pepsi helps supply the drive. It's got a lot to give for those who like to live, 'Cause it helps 'em come alive.
Page 149 - He could see himself shot as the camera caught it. Through the pain he watched TV.
Page 109 - Like the sorcerer of old, the television set casts its magic spell, freezing speech and action, turning the living into silent statues so long as the enchantment lasts. The primary danger of the television screen lies not so much in the behavior it produces...
Page 63 - ... Times' television critic in 1949. Each of the early articles about television is invariably accompanied by a photograph or illustration showing a family cozily sitting together before the television set, Sis on Mom's lap, Buddy perched on the arm of Dad's chair, Dad with his arm around Mom's shoulder. Who could have guessed that twenty or so years later Mom would be watching a drama in the kitchen, the kids would be looking at cartoons in their room, while Dad would be taking in the ball game...
Page 141 - But if he sees a movie which shows his very neighborhood, it becomes possible for him to live, for a time at least, as a person who is Somewhere and not Anywhere

À propos de l'auteur (1992)

Cecelia Tichi is William R. Kenan, Jr., Professor of English at Vanderbilt University. She is the author of Shifting Gears: Technology, Literature, and Culture in Modernist America and New World, New Earth: Environmental Reform in American Literature from Puritans to Whitman.

Informations bibliographiques