Till Death Us Do Part : Political Satire and Social Realism in the 1960s and 1970s.
This article examines the BBC television sitcomTill Death Us Do Part,a generational comedy programme that slowly evolved into a key site for the presentation of Britain’s prominent social fractures and divisive political culture in the 1960s and 1970s. Its initial series registered the growing separ...
| Publicado en: | Historical Journal of Film, Radio & Television Vol. 34; no. 2; pp. 253 - 275 |
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| Formato: | Artículo |
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Taylor & Francis Ltd
Jun2014
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=96296109&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 96296109 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 01439685 HFT jtl: Historical Journal of Film, Radio & Television issn: 01439685 maglogo: N pubinfo: dt: Jun2014 vid: 34 iid: 2 pid: 377 pub: Taylor & Francis Ltd artinfo: ui: 96296109 10.1080/01439685.2013.847647 ppf: 253 ppct: 22 formats: fmt: – @attributes: type: T – @attributes: type: P size: 167KB tig: atl: Till Death Us Do Part : Political Satire and Social Realism in the 1960s and 1970s. aug: au: Bebber, Brett su: Television situation comedies Television comedies Television broadcasting Till Death Us Do Part (TV program) Social aspects of television programs English political satire Social realism United Kingdom sug: subj: United Kingdom Television situation comedies Television comedies Television broadcasting Till Death Us Do Part (TV program) Social aspects of television programs English political satire Social realism ab: This article examines the BBC television sitcomTill Death Us Do Part,a generational comedy programme that slowly evolved into a key site for the presentation of Britain’s prominent social fractures and divisive political culture in the 1960s and 1970s. Its initial series registered the growing separation between Britons who valued tradition, patriarchy, national supremacy, and the retention of strong British imperialism, and the progressive, permissive Britons of the liberal 1960s. Through debates between the hyperconservative Alf Garnett and his family, the programme explored how members of one working-class family imagined different futures for a nation in decline. The BBC championed the satirical wit of the programme’s writer, Johnny Speight, and his socially realistic depictions of working-class life. I argue that while the programme succeeded in providing connections for working-class audiences, the satirical comedy was not always effective. Instead, many viewers appreciated Alf’s intentionally racist and sexist rejection of the liberalism of the period because they identified with the working-class settings, problems and challenges the programme presented. A review of how the BBC managedTill Death, and the audience research they commissioned, demonstrates that audiences interpreted the divisive comedy in multiple ways, including approving of Alf’s bigotry. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of Historical Journal of Film, Radio & Television is the property of Taylor & Francis Ltd and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: Historical Journal of Film, Radio & Television holder: Taylor & Francis Ltd dt: @attributes: year: 2014 holdings: @attributes: islocal: N |
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