Viewing Race in the Comfort Zone

Abstract

Prior to the proliferation of 24-hr cable television, DVDs, TiVo, and streaming media content, prime-time television programming served as the primary vehicle for an evening's entertainment in American homes. Since its beginnings in the 1940s, television has taken viewers on a fanciful journey, as they have been invited into the homes of upper-, middle-, and lower-class families, into neighborhood bars and diners, into corporate boardrooms and courts, into junkyards and taxi garages, and into police stations. Audiences visited the mansions of the Ewing family in Dallas (1978Dallas ( -1991, the Chicago ghetto-apartment of the Evans family in Good Times (1974)(1975)(1976)(1977)(1978)(1979), and the New York brownstone of Dr. and Mrs. Heathcliff Huxtable of The Cosby Show (1984)(1985)(1986)(1987)(1988)(1989)(1990)(1991)(1992). Good always triumphed over evil in the television world, week after week, as viewers watched characters such as Mannix, Kojak, and MacGyver nab the bad guys. Captain Stubbing, Julie, Gopher, and Doc took audiences aboard the Love Boat (1977)(1978)(1979)(1980)(1981)(1982)(1983)(1984)(1985)(1986) to tropical island paradises, and everyone wanted to buy tickets to Fantasy Island where all dreams come true.On occasion, the socially constructed world of network television has turned from the scripts of fluff and fancy, to mirror real life through the dramatization of relevant social issues. The scope and breadth of those depictions have encompassed many aspects of the American experience, some more realistically than others. However, as several observers of the world of television have argued, at least one aspect of American life has not found its proper place in the scripted world of network television: the world of Black culture, the world of African American life. It has very rarely received sensitive dramatic portrayal in a regularly appearing network television series. In its 1978 report, Window Dressing on the Set, the U.S. Commission on Civil Rights reminded readers of the absence and its gravity: "It should be taken for granted that the fantasy land of television does not represent reality, occupational or otherwise. So long as television is going to portray fantasy, however, all groups should benefit similarly from fantasy-acquired status" (p. 17).That network television offered very few dramatic series featuring Black actors and Black-centered (BC) experiences at that time and, subsequently, has been well-established. Simple proportionate counts tell that story. Whatever the willingness of network executives to support the development of BC shows, drama or comedy, those shows that did gain access to prime-time scheduling faced the immediate hurdle of television ratings and shares. In his well-known 549151S GOXXX10.

South Korea Strategy in Increasing Exports of Beauty Products to Indonesia in Covid-19 Pandemic

“…The method used in collecting data is library research, namely data collected from various literatures such as journals, books, articles, and other written materials, including news in electronic and print media as well as online media with reliable Sources that are previously In Indonesia, Korean Wave/Hallyu first entered in 2002, which coincided with the broadcast of Kdrama on national private television (Hughes, 2017). The success of K-drama in Indonesia was also immediately followed by success in Korean music or K-Pop.…”