The Shifting Representation of Family: A Discussion of Visual Media - Coursework Example

Section/# The Shifting Representation of Family: A Discussion of Visual Media It is without question that the representation an understanding of the family unit has shifted and evolved drastically; especially as compared to what this representation was in the not-too-distant past. One of the most effective means of understanding this and seeking to draw a level of comparison and contrast the way in which “family” is represented is to utilize film and television, as well as other visual representations, as a means of understanding how and why this shift is represented; and in what ways. Accordingly, the following analysis will be concentric upon analyzing the following: “Leave It to Beaver”, “The Wonder Years”, “Mom”, and Devdas. Through such an examination, the means by which the family has been represented, and is currently represented, within this particular medium will be presented to the reader. It is the further hope of this author that such a level of discussion and analysis will provide the reader with a more informed understanding concerning the manner through which this gradual evolution is represented throughout society. Although it is not the express intent of this ticket paper to discuss whether or not the visual media, and correspondingly television or film, is responsible for shifting societies understandings of social norms or whether or not these social norms are merely represented in the way they are as a result fact that society has already changed; however, the examination and discussion which will be provided will nonetheless allow the reader to create their own understanding concerning this dynamic. The first television series which will be analyzed, in terms of helping to understand the way in which “the family” was represented to the viewer is that of the 1950s television show entitled “Leave It to Beaver”. Although this particular television show has been ridiculed by sociologists and historians, as well as gender studies scholars, the main rationale for this level of ridicule and disdain has to do with the overly idyllic representation that the show engaged. Ultimately, instead of following the activities of a central character, the family unit itself was represented as the main protagonists. Although it is true that the youngest child, Beaver, was a protagonists, each and every member of the family was ultimately what allowed to show to define its own plot. Furthermore, the idyllic representation of the family was one in which no major concerns, cares, or worries were represented within the lighthearted and oftentimes nauseatingly comedic representation of life. At all hours, at all times, the mother, June Cleaver, represented a fastidiously dressed and tirelessly patient woman who devoted her entire life to her family and the satisfaction of her husband. By means of contrast in comparison, an equally fastidiously dressed, patient, and unrealistically kind father, Ward Cleaver, has subsequently endured an equal share of ridicule by individuals, both past and present, as it is patently obvious that the superficial and idyllic representation of this character was equally as impossible as that of the mother (Yang 49). Instead of an older brother that tested spending time with his younger brother or sought to exercise a degree of teenage independence, as one might reasonably expect, Wally Cleaver, was represented as a flawed but ultimately kind and loving older brother that only sought the best for his family and especially for his younger brother. This obscenely idyllic representation was one that avoided any and all conflict that might be understood as challenging the authority of either of the parental figures. Whereas this particular television show was wildly popular during its time on the air, the applicability of the show and the representations a family that existed within it ultimately “date” it to a particular period and understanding of family as it existed within the United States and subsequent within Hollywood. Moving down the timeline of culture, history, and the development of Hollywood, the next television series that will be discussed is that of “The Wonder Years”. Unlike “Leave it to Beaver”, “The Wonder Years” took a much different approach to the representation of the family and the means by which difficult situations were described and represented. For instance, within the opening pilot episode of this particular television series, the viewer was made aware of the fact that the protagonists older brother was in fact a fatality of the Vietnam War. With such a haunting and painful representation, the viewer is indeed engaged with the realization that the lighthearted and idyllic representation that was previously engaged within Hollywood, and indeed within the general culture, was not going to be repeated within this particular television series. Additionally, rather than representing the family unit as a singular entity, this particular show focused upon the love interests, adolescent development, and general independence that the protagonist represented. As such, the main focus was on the individual and not on the family as a cohesive and solitary unit (Booch 16). Whereas it is true that a certain level of similarity can be denoted with respect to “Leave it to Beaver”, this is mainly concentric upon the fact is that both Kevin Arnold and Beaver Cleaver had stay at home mothers that devoted their Lives to their families. Yet, a noted difference is with respect to the level of guidance and “hands on” approach that Kevin Arnold’s father took to the development and early adolescence of his son. In comparison to “Leave it to Beaver”, “The Wonder Years” represented a father that took a much more “hands off” approach as compared to the representation of Ward Cleaver that has been represented earlier. Moving forward into the current era, Hollywood has of course reinterpreted the way in which family is represented. Rather than merely focusing upon the trite and trivial developments of adolescence, as did “Leave it to Beaver”, or rather than focusing upon the adolescent development and sexual maturity, as did “The Wonder Years”, television shows such as “Mom” represent another dynamic entirely. Until this point of the essay, the representations of family have been concentric upon a mother and a father as well as the children that they produce. However, within the modern era, the representation of both a mother and a father is not something that is as commonplace as it was during the 1950s, 60s, 70s, 80s, or indeed early 90s (Wheeler 450). As such, television shows such as “Mom” represent a single mother that finds herself struggling with many of the hardships and difficulties that life has placed upon her. Whereas material need, alcoholism, drug addiction, and teenage pregnancy are not topics that are discussed within either of the television shows that have thus far been mentioned, these are very real and pertinent subthemes/subplots that define the way in which “Mom” is represented to the viewer. Further, as a direct result of these hardships, the plot focuses upon the need to build a new life, create a safe world, and battle many of these dangers that continue to be faced. Whereas both “Leave it to Beaver” and “The Wonder Years” could draw upon the certainty of stability within the family unit, “Mom” illustrates that certainty and security is not something that the new/modern interpretation or representation of family can take for granted. Another interesting development with respect to the way in which family is understood has to do with the fact that a mono-cultural approach is no longer feasible or indeed recognizable within an increasingly multicultural world. For instance, the film Devdas represents the way in which family is culturally understood as both an arbitrator of love and a determination of future happiness. Although this particular role of family has oftentimes been understood in idyllic terms, film itself underscores the reality of the fact that many times only the individual is able to determine which course of action is most amenable to them (Mukherjee 73). As this somewhat typical love story develops, the viewer is led to understand that the predictable nature of resolution is ultimately blocked by the fact that the will of the individual is superseded by the cultural power and write a determination that the family is able to wield. Ultimately, the family, at least within this particular film, acts as a block to a true and happy love story; representing the fact that even a cultural interpretation of love can find itself utterly undone by such an unjust and unrealistic system. From the information that has thus far been conveyed, it is clear and apparent that the representation of family shifted a great deal in the early years of Hollywood and/or the early years of television. Ultimately, it is the belief of this author that even though society and culture have shifted alongside this representation, the current representations that exist within media are in fact more honest and true to life as compared to those that existed in the early era of film and television. Whereas the current “truth” is not as idyllic, happy, or otherwise enjoyable as the way it was represented in the 1950s and 60s, it is however more realistic to the way in which people live in the manner through which the family continues to be defined, redefined, and evolve. Works Cited Booch, Grady. "The Wonder Years." IEEE Software 30.4 (2013): 16-17. Business Source Complete. Web. 13 Apr. 2014. Mukherjee, M. "Remembering Devdas: Travels, Transformations And Persistence Of Images, Bollywood-Style." Topia-Canadian Journal Of Cultural Studies 26 (n.d.): 69-84. Arts & Humanities Citation Index. Web. 13 Apr. 2014. Wheeler, Duncan. "The Representation Of Family in Cinema." Modern Language Review 107.2 (2012): 438-500. Academic Search Complete. Web. 13 Apr. 2014. Yang, Sally. "Move Over; Leave It To Beaver: Planning For Nontraditional Couples And Families." Journal Of Financial Planning 16.11 (2003): 46-53. Business Source Complete. Web. 13 Apr. 2014. Read More