Soap Operas LM13 1937


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Soap Operas LM13 1937

  1. 3. <ul><li>In late 1930s, consumerist population was on the rise </li></ul><ul><li>People were able to buy leisure commodities – i.e. radios </li></ul>
  2. 4. <ul><li>Women were able to stay at home and became the predominant demographic soap operas catered to </li></ul><ul><li>Soap opera families were created to reflect this comfortable living class of the suburban housewife </li></ul>
  3. 5.
  4. 6. <ul><li>Radio was heavily dependent on the money that its sponsors provided and advertising was its main source of income </li></ul><ul><li>To attract listeners to bring in money, broadcasters turned to programming </li></ul><ul><li>Serials were a form of story that whose plot continued indefinitely, a daily basis in order to form a loyal audience base </li></ul>
  5. 7. <ul><li>Soap manufacturers helped sponsor the first radio serials in exchange for advertising time </li></ul><ul><li>As the popularity of soap operas grew, soap companies began buying whole shows to increase revenues </li></ul>
  6. 8. A Radio Advertisement
  7. 9. <ul><li>Soap operas formed from serials as serials became increasingly complex, with multiple and overlapping plot lines </li></ul><ul><li>When one story line ended, another continued </li></ul><ul><li>Plot was moved forward primarily through the conversation between characters </li></ul>
  8. 11. <ul><li>Writers maintained the conversational aspect of the radio format and drew in more aesthetic aspects </li></ul><ul><li>Soap opera began to visually stress the importance on material goods, as part of latent commercial advertising </li></ul>
  9. 12.
  10. 13. <ul><li>Introduction of primetime soap operas changed some of their production aspects </li></ul><ul><li>Networks and the shows’ producers required the flexibility to make soap operas appealing to wider audiences of television viewers </li></ul>
  11. 14. <ul><li>Soaps shifted to taped broadcasts from live shoots </li></ul><ul><li>Taped products were better revenue generators because it allowed for easier distribution to foreign markets as well as reruns in syndication on televisions across the nation </li></ul>
  12. 16. <ul><li>Originally, soap operas used everyday locations such as a doctor’s office, law firm, or living room </li></ul><ul><li>In the last few decades, there was an introduction of more interesting and often- exotic locations . </li></ul><ul><ul><li>1978 – All my Children, St. Croix </li></ul></ul>
  13. 17.
  14. 18. <ul><li>In the 1980s, plotlines began to focus on then-appealing motifs like business and romance </li></ul><ul><li>Paralleled society: tough economic times </li></ul><ul><li>Romance as escape from business/economic problems </li></ul>
  15. 19.
  16. 20. <ul><li>1990s: Focus on Social Issues (Mental Health, Drug and Alcohol Abuse, Physical Illness, Sex and Relationships) </li></ul><ul><li>Paralleled society: better economic times , issues of the 1980s no longer held sway </li></ul><ul><li>Focus on the barebones of soap operas </li></ul>
  17. 21.
  18. 23. <ul><li>Early Days of Soap Operas: domesticity , motherhood, maintaining the household </li></ul><ul><li>1970s and on: Professional Roles for women, mirrored changing role of women in society post WWII </li></ul>
  19. 24. <ul><li>Soap operas manage to mirror daily life as well as dramatize it </li></ul><ul><li>“ [Soap opera] offers itself to its audience as the representation of lives that are separate from but continuous with their own ” (Porter 782) </li></ul>
  20. 25. <ul><li>Soap operas break free from banality of everyday lives, yet still remain realistic </li></ul><ul><li>Viewers can “identify with the anonymity of [these soap opera] location[s] ” (Hobson 32). </li></ul>
  21. 26. <ul><li>Soap opera families usually consist of upper middle-class professionals and wealthy business people </li></ul><ul><li>They are careful in choosing which parts of everyday life they portray </li></ul><ul><ul><li>The soap opera world lacks politics, war, international relations or economic and commercial influences </li></ul></ul>
  22. 27. <ul><li>The prominence of soaps have in culture helped shape their audience’s understanding of culture and reality </li></ul><ul><li>Though viewers know that soap operas do not always accurately parallel their own lives, the do draw concepts of social norm from them </li></ul>
  23. 28.
  24. 29. <ul><li>Most audiences understand that the situations and circumstances of their characters, while relatable, are not generally an accurate portrayal of life, but a dramatization. As the next clip aptly demonstrates- </li></ul>
  25. 30.
  26. 31. <ul><li>In that they are generally watched on a daily basis, soap operas are fixtures in the lives of much of their audiences, and thus, bear a considerable amount of weight in molding their perception of social norm. </li></ul><ul><li>Soaps are thus both reflectors and creators of culture . </li></ul>
  27. 33. <ul><li>Hobson, Dorothy.  Soap Opera . Cambridge: Polity, 2003. Print. </li></ul><ul><li>Porter, Dennis. &quot;Soap Time: Thoughts On a Commodity Art Form.&quot;  College English  38.8 (1977): 782-88. Print. </li></ul>