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Love and ideology in the afternoon : soap opera, women, and television genre / Laura Stempel Mumford.

By: Material type: TextTextSeries: Arts and politics of the everydayPublication details: Bloomington : Indiana University Press, �1995.Description: 1 online resource (viii, 165 pages)Content type:
  • text
Media type:
  • computer
Carrier type:
  • online resource
ISBN:
  • 0585023506
  • 9780585023502
  • 025320965X
  • 9780253209658
Subject(s): Genre/Form: Additional physical formats: Print version:: Love and ideology in the afternoon.DDC classification:
  • 791.45/6 20
LOC classification:
  • PN1992.8.S4 M86 1995eb
Other classification:
  • 24.34
  • AP 36320
Online resources:
Contents:
Viewing histories and textual difficulties -- What is this thing called soap opera? -- Public exposure: privacy and the construction of the soap opera community -- How things end: the problem of closure -- Plotting paternity: looking for dad on the daytime soaps -- Beyond soap opera: ideology, intertextuality, and the future of a television genre.
Action note:
  • digitized 2010 committed to preserve
Summary: Annotation. "Why do I like soap operas?" Laura Stempel Mumford asks, and her answer emerges in a feminist analysis of soap opera that participates in current debates about popular culture, television, and ideology. She argues that the conventional daytime soap has an implicit and at times explicit political agenda that cooperates in the "teaching" of male dominance and the related oppressions of racism, classism, and heterosexism -- so that they seem inevitable. All My Children, General Hospital, Another World, One Life to Live, Days of Our Lives, The Young and the Restless: a close reading of their texts will also answer some larger questions about television and its place in the broad landscape of popular culture.
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Includes bibliographical references (pages 137-161) and index.

Print version record.

Viewing histories and textual difficulties -- What is this thing called soap opera? -- Public exposure: privacy and the construction of the soap opera community -- How things end: the problem of closure -- Plotting paternity: looking for dad on the daytime soaps -- Beyond soap opera: ideology, intertextuality, and the future of a television genre.

Use copy Restrictions unspecified star MiAaHDL

Electronic reproduction. [S.l.] : HathiTrust Digital Library, 2010. MiAaHDL

Master and use copy. Digital master created according to Benchmark for Faithful Digital Reproductions of Monographs and Serials, Version 1. Digital Library Federation, December 2002. MiAaHDL

http://purl.oclc.org/DLF/benchrepro0212

digitized 2010 HathiTrust Digital Library committed to preserve pda MiAaHDL

Annotation. "Why do I like soap operas?" Laura Stempel Mumford asks, and her answer emerges in a feminist analysis of soap opera that participates in current debates about popular culture, television, and ideology. She argues that the conventional daytime soap has an implicit and at times explicit political agenda that cooperates in the "teaching" of male dominance and the related oppressions of racism, classism, and heterosexism -- so that they seem inevitable. All My Children, General Hospital, Another World, One Life to Live, Days of Our Lives, The Young and the Restless: a close reading of their texts will also answer some larger questions about television and its place in the broad landscape of popular culture.

English.

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