This book examines the representation of blackness on television at the height of the southern civil rights movement and again in the aftermath of the Reagan-Bush years. In the process, it looks carefully at how television's ideological projects with respect to race have supported or conflicted with the industry's incentive to maximize profits or consolidate power. Reviews Review Policy. Published on. Original pages. Best For. Web, Tablet. Content Protection.
Revolution Televised Prime Time And The Struggle For Black Power
Learn More. Flag as inappropriate. It syncs automatically with your account and allows you to read online or offline wherever you are. Please follow the detailed Help center instructions to transfer the files to supported eReaders. Similar ebooks. See more. Aniko Bodroghkozy. Equal Time: Television and the Civil Rights Movement explores the crucial role of network television in reconfiguring new attitudes in race relations during the civil rights movement.
Due to widespread coverage, the civil rights revolution quickly became the United States' first televised major domestic news story. This important medium unmistakably influenced the ongoing movement for African American empowerment, desegregation, and equality.
Aniko Bodroghkozy brings to the foreground network news treatment of now-famous civil rights events including the Selma voting rights campaign, integration riots at the University of Mississippi, and the March on Washington, including Martin Luther King's "I Have a Dream" speech. Christine Acham.
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After a decadelong hiatus, African Americans once again began appearing regularly on television in the s. Over the next ten years, shows with African American casts became more common; some, like "Sanford and Son and "Good Times, were hits with both black and white audiences.
REVOLUTION TELEVISED: Prime Time and the Struggle for Black Power
Yet many within the black community criticize these programs as perpetuating demeaning stereotypes and hampering the political progress made by African Americans. In "Revolution Televised, Christine Acham offers a more complex reading of this period in African American television history, finding within these programs opposition to dominant white constructions of African American identity. She explores the intersection of popular television and race as witnessed from the documentary coverage of the civil rights and Black Power movements, the personal politics of Flip Wilson and "Soul Train's Don Cornelius, and the ways in which notorious X-rated comic Redd Foxx reinvented himself for prime time.
Reflecting on both the potential of television to effect social change as well as its limitations, Acham concludes with analyses of Richard Pryor's politically charged and short-lived sketch comedy show and of the success of outspoken comic Chris Rock. Donald Bogle. A landmark study by the leading critic of African American film and television Primetime Blues is the first comprehensive history of African Americans on network television. Note: The ebook edition does not include photos. The news media's exposure of these events made it all the more warranted that the demands and anxieties associated with the civil rights movement were a relevant enough theme to be negotiated in prime time television sitcoms in a more accurate way than the portrayals of African- American life in Amos 'n' Andy and Beullah of the s.
University of Minnesota Press. Indicative of the success of the civil rights movement in making their voices heard, Boyd explains that by the twin force of the Civil Rights Movement and the now fully committed Kennedy Administration managed to convince the networks that they could no longer afford to ignore what was fast becoming the nation's number one domestic sociopolitical preoccupation. Thus, integration rather than segregation could be promoted on television and relayed into society.
Shot in foreign locations, the double-act keep a close eye against global communist influence. Contrary to the stereotypical portrayals of African-Americans in Amos 'n' Andy, 'Scotty' is represented as sophisticated and equally as capable an agent as Kelly.
Kelly's interactions and experiences with Scotty show no signs of racial or cultural difference. The show is silent on the racial conflict taking place during the mids when "A landmark civil rights bill was passed by Congress in and signed into law, only to be followed by urban rioting that set cities ablaze" Although the Civil Rights Act was passed, "Nothing approaching the sums and institutions necessary to eradicate poverty and racism was ever committed by the government.
History of the American cinema: The sixties, 8 1. University of California Press. South End Press. However, racially equal it was not.
Revolution Televised: Prime Time and the Struggle for Black Power
Dudziak states: In addressing civil rights reform from through the mids, the federal government engaged in a sustained effort to tell a particular story about race and American democracy: a story of progress, a story of triumph of good over evil, a story of U. It works, to some extent, to justify their fight against the communists and to defend the West's 'superior' way of life. It was important to address America's image overseas because the racial conflict at home was drawing criticisms from prominent black figures abroad.
Princeton University Press.
The show promotes the ideology of individualism enabling one to achieve success in life whilst rejecting structural inequality and institutional racism because race is not portrayed as a barrier to self achievement. I Spy, then, takes the liberal pluralist approach backed by Martin Luther King, Jr that would use the system's own rules to correct it. On the other hand, perhaps the show negotiated the demands and anxieties associated with the civil rights movement by presenting an image of an African-American that was not seen before on television.
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Promoting ideas that African-Americans have the same capabilities and deserve the same rights as white America. In , NBC aired Julia. The Fair Housing Act perhaps alluded to, here. Julia's husband was slain in the U. Media Diversity and Localism: Meaning and Metrics.
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If nothing else, she saw it as an opportunity to draw more African-Americans into television production. Future programming also would not have needed to address or attempt to explore black life beyond the confines of integrated and assimilated Julia.