Primetime TelevisionAfrican Americans on TV (1940s-1960s) Early TV images reflect socio-political ideals of White America depicting the American Dream a world nearly void of racial/ethnic diversity Depictions of the American FamilyThe Social/Political Context of the 1950s Post WWII return from war military desegrated 1948 cautious optimism  Optimism and infusion of TV Would TV be up to the challenge? Reality: continued segregation in real world and on TV Percent of homes with TV 1950: 9% 1955: 65% clichés & stereotypes continuedAmos ‘n’ Andy(1951) 1st primetime Black cast controversial reflected persistent stereotypes of Blacks: comical and amusing ill-equipped intellectually, socially, & politically NAACP sued to block its premiere: “Every character is either a clown or a crook. Millions of White Americans see this Amos ‘n’ Andy picture and think the entire race is the same.” Show cancelled after 2 seasons (1951-1953) In syndication until 1966The Beulah Show(1950-1952) In the idealized American Dream Family: Blacks have no families of their own and are content simply serving the White household  Beulah: domestic servant no kids of her own no social networks happy because she knows her placeNat King Cole Show (1956-1957) 1st Black hosted variety show At a time of beginning socialunrest, interracial interaction was perceived as threatening Failed to obtain national sponsor and ended after one season “For 13 months I was the Jackie Robinson of television… And what happened? I found myself standing there with the bat on my shoulder. The men who dictate what Americans see and hear didn't want to play ball." - Nat “King” ColeThe Civil Rights Era Percent of homes with TV in 1960: 87% FCC (1961) responds to the lack of diversity Networks slow to adhere primetime entertainment programming reflected a world much different than that on the news But, to what extent does TV have social responsibility? Airwaves are the public’s and should be used for the good of the public East Side/West Side (1963-64) Very provocative tackled issues head-on challenged the “American Dream” imagery Canceled after 1 season The New Image of the mid/late1960sUltra-perfect Blacks designed to make amends for past  that is, without being challenging or pushing an agenda  overly-endowed with White, middle class sensibilities the “White Negro” void of anything reflective of Black cultureThe American Dream & Black Life on TV  Julia (1968) Diahann Carroll educated (nurse), single mother integrated lifestyle one dimensional Seen as both a refreshing change from the past and a sell-out I Spy (1968) Bill Cosby ultra-educated, squeaky-clean Black man not just acceptable, perfect well-liked by everyone New agenda: Blacks just like Whites …. maybe even better These roles criticized for normalizing a particular (and false/largely unattainable) universeThe Late 1960s-1970s Social turmoil in America All in the Family (1971-1979) No more perfect families Addressing realities of society, like prejudice the problem with satire is…..The Late 1960s-1970s Percent of homes with TV in 1970: 95% Good Times (1974) Black “All in the family” first primetime sitcom witha complete Black family Pros: complete and competent Black family; discussed real-world issues Cons: JJ’s role fell back on same old minstrel, buffoon character/stereotype of Blacks “Ghetto Sitcoms” Pros: urban, inner-city life represented Cons: depicted as a viable way of life social programs coming to an endThe Late 1970s How to entertain & reflect reality? Roots (1977) power of the underdog strength of a family not indicting U.S. society but, selective re-framing of history What’s the next step? The Cosby Show (1984-1992) Make amends for previousdepictions Success in-tune withmorals of the era Pros: mass appeal to Blacks and Whites, successful, hard-working, complete family, void of stereotypes Cons: Is the American Dream attainable for everyone?  Will hard-work get you everything? Enlightened racism Shows failing to show this dream, failed Frank’s Place (1987-1988)The Post-Cosby 90s So called ‘ghettoization’ of Blacks on TV Often clustered on certain nights Confined to certain genres Sitcoms Fresh Prince of Bell Air (1990-1996), Wayans Brothers (1995-1999), Moesha (1995-2001), Family Matters (1989-1997), Living Single (1993-1998), OR, seen in multiethnic casts Law & Order (1990-2010), ER (1994-2009) Greater variety of prominent, respected roles, alongside lingering, stereotypical roles Dramas primarily/exclusively depicting Blacks absentThe 2000+(remember, we’re talking about primetime TV…more to come on news) Continued Numeric Parity with Real World Quality remains a relevant issue…more on this in a moment Greater Diversity Multiethnic casts, Sitcoms, All-Black Cast Programming Grey’s Anatomy (2005- ) to Tyler Perry’s House of Payne (2006-2012) to Real Housewives of Atlanta (2008- )to Girlfriends (2000-2008) Often, but not entirely, devoid of discussions of raceBut, re-emergence of some old themes  Sapphire/Angry Black Woman Sapphire Name comes from Amos ‘n’ Andy character (Sapphire Stevens) who embodied these traits black women as loud, angry, aggressive, malicious, overbearing, emasculate Black men Today, assumes part of Jezebel stereotype Black women as oversexed and lustful Arguably most common stereotype of Black women on TV today?On the other hand Scandal (2012- ) Kerry Washington First female lead in a TV drama since 1974 Multidimensional, complex lead character Still criticized: sex object? Shonda Rhimes Writer, producer, director Time (2007), 100 most influential people in the world (#20) Grey’s Anatomy (2005- ) Private Practice (2007-2013) Introducing Dorothy Dandridge (1999 HBO film starting Halle Berry) Crossroads (2002 film starting Britney Spears) The Princess Diaries 2 (2004 film starring Anne Hathaway, Julie Andrews)Summing it up 1950s rarely shown when seen, comedic not dramatic most common roles: maids, servants, valets, buffoons 1960s & 1970s 6% of primetime Mixed bag