LYNN SPIGEL MAKE ROOM FOR TV PDF

Start your review of Make Room for TV: Television and the Family Ideal in Postwar America Write a review Shelves: cold-war , cultural-history , history , nonfiction In Avalon, one of my very favorite movies, there is a scene in which three generations of the Krichinsky family gather in the living room to watch their new television. The Krichinskys are in the process of assimilation - Sam, now a grandfather, came to America in His son, Jules, has brought home an early television. With the tiny screen embedded in a beautifully varnished wood cabinet, the television looks more like a piece of furniture than a revolutionary entertainment device. Switched In Avalon, one of my very favorite movies, there is a scene in which three generations of the Krichinsky family gather in the living room to watch their new television. The only image displayed on the screen is a test pattern, black and white, of course, with a slight drone or hum coming from the speaker.

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Start your review of Make Room for TV: Television and the Family Ideal in Postwar America Write a review Shelves: cold-war , cultural-history , history , nonfiction In Avalon, one of my very favorite movies, there is a scene in which three generations of the Krichinsky family gather in the living room to watch their new television. The Krichinskys are in the process of assimilation - Sam, now a grandfather, came to America in His son, Jules, has brought home an early television.

With the tiny screen embedded in a beautifully varnished wood cabinet, the television looks more like a piece of furniture than a revolutionary entertainment device. Switched In Avalon, one of my very favorite movies, there is a scene in which three generations of the Krichinsky family gather in the living room to watch their new television. The only image displayed on the screen is a test pattern, black and white, of course, with a slight drone or hum coming from the speaker.

Nonetheless, the family dutifully sits in front of the television, which silently lights the dim living room somewhere in Baltimore suburbia, waiting for something to happen. A cut, followed by changes in posture among the domestic audience, informs the viewer that the family has been waiting for some time.

Suddenly, the screen jumps to life, the Krichinsky grandchildren scramble in front of the screen, and Howdy Doody begins. Moreover, however, Spigel demonstrates that television itself helped shape the Cold War nuclear family during a time which, as illustrated by Elaine Tyler May, Americans turned to the nuclear family for a sense of stability and control over a world seemingly teetering on the edge of atomic war. Television certainly offers refuge, but interestingly, it seems to further a process of cultural homogenization while simultaneously walling off the family from the rest of society.

Spiegl also examines the restructuring of domestic space around these new electronic hearths, noting how changes in living room furniture and even domestic architecture serve as indicators of the extent of accommodation and homogenization. In Avalon, after the Krichinsky family negotiates the place of the television in their own suburban home, Jules and his cousin, Izzy, open a small appliance store which begins selling television sets to other families in Baltimore.

Having come to understand the role of television within their own homes, the Krichinsky cousins are now exporting sets into the homes of their neighbors.

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