What Women Watched(English, Paperback, Cassidy Marsha F.)

What Women Watched(English, Paperback, Cassidy Marsha F.)

  • Cassidy Marsha F.
Publisher:University of Texas PressISBN 13: 9780292706279ISBN 10: 0292706278

Paperback & Hardcover deals ―

Amazon IndiaGOFlipkart ₹ 3662SnapdealGOSapnaOnlineGOJain Book AgencyGOBooks Wagon₹239Book ChorGOCrosswordGODC BooksGO

e-book & Audiobook deals ―

Amazon India GOGoogle Play Books GOAudible GO

* Price may vary from time to time.

* GO = We're not able to fetch the price (please check manually visiting the website).

Know about the book -

What Women Watched(English, Paperback, Cassidy Marsha F.) is written by Cassidy Marsha F. and published by University of Texas Press. It's available with International Standard Book Number or ISBN identification 0292706278 (ISBN 10) and 9780292706279 (ISBN 13).

In this pathfinding book, based on original archival research, Marsha F. Cassidy offers the first thorough analysis of daytime television's earliest and most significant women's genres, appraising from a feminist perspective what women watched before soap opera rose to prominence. After providing a comprehensive history of the early days of women's programming across the nation, Cassidy offers a critical discussion of the formats, programs, and celebrities that launched daytime TV in America-Kate Smith's variety show and the famed singer's unsuccessful transition from patriotic radio star to 1950s TV idol; the "charm boys" Garry Moore, Arthur Godfrey, and Art Linkletter, whose programs honored women's participation but in the process established the dominance of male hosts on TV; and the "misery shows" Strike It Rich and Glamour Girl and the controversy, both critical and legal, they stirred up. Cassidy then turns to NBC's Home show, starring the urbane Arlene Francis, who infused the homemaking format with Manhattan sophistication, and the ambitious daily anthology drama Matinee Theater, which strove to differentiate itself from soap opera and become a national theater of the air. She concludes with an analysis of four popular audience participation shows of the era-the runaway hit Queen for a Day; Ralph Edwards's daytime show of surprises, It Could Be You; Who Do You Trust?, starring a youthful Johnny Carson; and The Big Payoff, featuring Bess Myerson, the country's first Jewish Miss America. Cassidy's close feminist reading of these shows clearly demonstrates how daytime TV mirrored the cultural pressures, inconsistencies, and ambiguities of the postwar era.