This is the first major study of the roles of women in prime time soap operas. In a comparative analysis of British and North American television soaps, Christine Geraghty examines the relationship between the narratives on the screen and the women viewers who make up the traditional soap audience. Within the structure of many of the most popular soaps, such as Dallas, Dynasty, Coronation Street and EastEnders, the split between public and personal life, reason and emotion, work and leisure is turned into a lynchpin of the plot. The author argues that these themes are also linked to broader social divisions between men and women, divisions which soap operas both question and develop as a source of pleasure. Geraghty analyses the critical role of women characters in the families and communities of soaps and suggests that the utopian possibilities of soaps can be used not just to maintain the status quo, but to promote change and influence attitudes and prejudices. She examines the way in which soaps have been transformed in the last decade, looking at how issues of class, race, sexual orientation and feminism have been handled in the programmes. She argues that in pursuing new audiences more recent soaps such as Brookside may have put at risk the pleasures they have traditionally offered their women viewers. Women and Soap Opera is a detailed, thoughtful and wide-ranging analysis which will become a central work in women’s studies and media and cultural studies courses.
This is the first major study of the role of women in prime time soap operas.
How can such an apparently trivial or even exploitative genre as soap opera be associated with the notion of empowerment for its viewers? Mary Ellen Brown argues that soap operas...
Santa Barbara General Hospital Days of our lives.
"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.
"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,...
Since the debut of These Are My Children in 1949, the daytime television soap opera has been foundational to the history of the medium as an economic, creative, technological, social, and cultural institution.
The Feminist, the Housewife, and the Soap Opera traces the history of the feminist engagement with soap opera using a wide range of sources from programme publicity to interviews with...
A comprehensive survey of the history, the means of production, the content and the impact on audiences of soap operas. A sociologist and a specialist in women's studies combine to...
In Speaking of Soap Operas, Robert Allen undertakes a reexaminati
The book contains contributions from established soap scholars such as Robert C. Allen, Louise Spence, Nancy Baym, and Horace Newcomb, along with essays and interviews by emerging scholars, fans and Web site moderators, and soap opera ...