By Julie D'Acci
Defining ladies explores the social and cultural development of gender and the meanings of girl, ladies, and femininity as they have been negotiated within the pioneering tv sequence Cagney and Lacey, starring ladies as big apple urban police detectives. Julie D'Acci illuminates the tensions among the tv undefined, the sequence construction staff, the mainstream and feminist press, a number of curiosity teams, and tv audience over competing notions of what ladies may well or couldn't be—not in simple terms on tv yet in society at large.Cagney and Lacey, which aired from 1981 to 1988, used to be widely known as an cutting edge therapy of operating girls and constructed a wide and constant following. whereas studying this ebook, D'Acci had remarkable entry to the set, to construction conferences, and to the whole construction records, together with correspondence from community executives, exposure enterprises, and hundreds of thousands of audience. She lines the usually heated debates surrounding the improvement of ladies characters and the illustration of feminism on prime-time tv, exhibits how the sequence was once reconfigured as a 'woman's program,' and investigates questions of girl spectatorship and feminist readings. even if she specializes in Cagney and Lacey, D'Acci discusses many different examples from the historical past of yankee tv.
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Additional resources for Defining Women: Television and the Case of Cagney & Lacey
They include Helen Baehr, Cathy Shaker Breit, Robert Breit, Juliet Brodie, Maxine Fleckner Ducey, Gillian Dyer, Elizabeth Ellsworth, Lisa Freeman, Todd Gitlin, Timothy Haight, Teri Hall, Debbie Hanson, Henry Jenkins, Kathleen Levenick, Denise Mann, Elaine Marks, Biddy Martin, Tamar Mayer, Patricia Mellencamp, Carol Miller, Laura Stempel Mumford, Mary Beth Rhiel, Susan Searing, Lynn Spigel, Gabriele Strauch, Kristin Thompson, Sasha Torres, Marianne Whatley, Kathleen Woodward, and Nancy Worcester.
S. network television. I have used many aspects of Cagney and Lacey's history to illustrate my points, and I have focused primarily on the early period of the series's history, when the conflicts over its representations of women were most volatile, the pursuit of a working women's audience most ardent, and the response by women viewers most overwhelming. These chapters demonstrate the actual workings of the overall TV enterprisethe multifold aspects of its production, publicity, reception, and social contextand the ways in which its many players actively negotiated and vied for discursive power over defining woman, women, and femininity.
The copy read, "It's their first week as undercover cops! Cagney likes the excitement. Lacey cares about the people she protects. "25 Various conceptions of femininity were set into play here, and it seems evident that CBS, in dealing with a movie about women in nontraditional roles, was careful to invoke not only connotations regarding the "new woman," but also more traditional notions as well. Cagney was shown as a cop with an aimed revolver, but also as a conventionally beautiful woman with eye makeup, lipstick, and long blond hair.