TV Homes: Scenes from the Family Photo Album
Barra lateral del artículo
Publicado:
dic 25, 2020
Palabras clave:
Snapshot, Television set
Home theater
Portal space
Uncanny space
Sección
Dossier translations
Contenido principal del artículo
Resumen
Drawing on my collection of over 5,000 snapshots featuring TV sets, this essay explores how people (mostly in the US) visualized their TV homes in the 1950s–1970s. It explores the use of TV as a posing place for the presentation of self and family. Rather than simply watch TV, people performed in front of the set, and turned the TV set as setting. The text considers a variety of spatial settings from empty spaces to theatrical spaces to uncanny spaces in TV homes. It suggests that vernacular photography provides new clues into the way people lived with TV and made their homes into TV ‘home theaters.’
Detalles del artículo
Spigel, L. (2020). TV Homes: Scenes from the Family Photo Album. Materia Arquitectura, (20), 136–141. https://doi.org/10.56255/ma.v0i20.492
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Citas
AHMED, S. (2006). Queer Phenomenology: Orientations,
Objects, Others. Duke University Press.
ALLEN, D. (1951). Cyclops...the Nature of a Net Household
Pet. Interiors, 110(12), 62–63.
BARTHES, R. (1981). Camera Lucida: Reflections on
Photography (R. Howard, Trans.). Hill & Wang.
BAZIN, A. (1967). What Is Cinema? (H. Gray, Trans.).
University of California Press.
BENJAMIN, W. (1938/2006). Berlin Childhood Around 1900 (H. Eiland, Trans.). Harvard University Press.
City of Single Women. (1959). Ebony, (February), 19–24.
CVETKOVICH, A. (2003). An Archive of Feelings: Trauma, Sexuality, and Lesbian Public Cultures. Duke University Press. https://doi.org/10.1215/9780822384434
DE CERTEAU, M. (1984). The Practice of Everyday Life (S. Rendall, Trans.). University of California Press.
FACHEL LEAL, O. (1990). Popular Taste and Erudite Repertoire: The Place and Space of Television in Brazil. Cultural Studies, 4(1), 19–29. https://doi. org/10.1080/09502389000490021
FOOTE, N. (1955). Family Living as Play. Marriage and Family Living, 17(4), 296–301. https://doi.org/10.2307/346935
FOUCAULT, M. (1967/1999). Of Other Spaces: Utopias and Heterotopias. In N. Leach (Ed.), Rethinking Architecture: A Reader in Cultural Theory (pp. 350–56). Routledge.
FRIEDAN, B. (1964, January 24). "Television and the Feminine Mystique," Part 1. TV Guide, 6–11.
GILLIAN, S. F. (1912, October 17). The Future Home Theater. The Independent, 836–891.
GOFFMAN, E. (1959). The Presentation of Self in Everyday Life. Doubleday.
GUNNING, T. (2010). Photography and Spirit (review). Magic, Ritual, and Witchcraft, 5(1), 127–129.
GURLEY BROWN, H. (1962). Sex and the Single Girl. Bernard Geis Associates.
HIRSCH, M. (1997). Family Frames: Photography, Narrative and Postmemory. Harvard University Press.
LEFEBVRE, H. (1991). The Production of Space (D. Nicholson-Smith, Trans.). Blackwell.
MCCARTHY, A. (2001). From Screen to Site: Television’s Material Culture, and Its Place. October, 98, 93–111. https://doi.org/10.2307/779064
MILLER, D. (2010). Stuff. Polity.
OLIN, M. (2012). Touching Photographs. The University of
Chicago Press.
ROSE, G. (2010). Doing Family Photography: The Domestic,
the Public and the Politics of Sentiment. Ashgate. SONTAG, S. (1973). On Photography. Farrar, Straus, and
Giroux.
SPIGEL, L. (1992). Make Room for TV: Television and the Family Ideal in Postwar America. The University of Chicago Press.
TICHI, C. (1991). Electronic Hearth: Creating an American Television Culture. Oxford University Press.
and TV’s ethereal transmissions. But
in all cases, the photos return to us as memory spaces of a time once lived. Now, at a moment when television
has morphed into digital and mobile platforms, these snapshots speak to the ‘that has been’ of an older mode of TV and everyday life when television was still a thing in the living room.
I will end by sharing my own TV photo that was the inspiration for in this essay and the larger archive I’ve obsessively amassed. The picture tells an ordinary story, but one that seems to have been repeated time and time again. It is now a memory space, a text full of the affective sensibilities that childhood photos have for their poser. But as just one of many, it also indicates a history shared by myriad people in their first TV homes. m
REFERENCES
AHMED, S. (2006). Queer Phenomenology: Orientations,
Objects, Others. Duke University Press.
ALLEN, D. (1951). Cyclops...the Nature of a Net Household
Pet. Interiors, 110(12), 62–63.
BARTHES, R. (1981). Camera Lucida: Reflections on
Photography (R. Howard, Trans.). Hill & Wang.
BAZIN, A. (1967). What Is Cinema? (H. Gray, Trans.).
University of California Press.
BENJAMIN, W. (1938/2006). Berlin Childhood Around 1900 (H. Eiland, Trans.). Harvard University Press.
City of Single Women. (1959). Ebony, (February), 19–24.
CVETKOVICH, A. (2003). An Archive of Feelings: Trauma, Sexuality, and Lesbian Public Cultures. Duke University Press. https://doi.org/10.1215/9780822384434
Objects, Others. Duke University Press.
ALLEN, D. (1951). Cyclops...the Nature of a Net Household
Pet. Interiors, 110(12), 62–63.
BARTHES, R. (1981). Camera Lucida: Reflections on
Photography (R. Howard, Trans.). Hill & Wang.
BAZIN, A. (1967). What Is Cinema? (H. Gray, Trans.).
University of California Press.
BENJAMIN, W. (1938/2006). Berlin Childhood Around 1900 (H. Eiland, Trans.). Harvard University Press.
City of Single Women. (1959). Ebony, (February), 19–24.
CVETKOVICH, A. (2003). An Archive of Feelings: Trauma, Sexuality, and Lesbian Public Cultures. Duke University Press. https://doi.org/10.1215/9780822384434
DE CERTEAU, M. (1984). The Practice of Everyday Life (S. Rendall, Trans.). University of California Press.
FACHEL LEAL, O. (1990). Popular Taste and Erudite Repertoire: The Place and Space of Television in Brazil. Cultural Studies, 4(1), 19–29. https://doi. org/10.1080/09502389000490021
FOOTE, N. (1955). Family Living as Play. Marriage and Family Living, 17(4), 296–301. https://doi.org/10.2307/346935
FOUCAULT, M. (1967/1999). Of Other Spaces: Utopias and Heterotopias. In N. Leach (Ed.), Rethinking Architecture: A Reader in Cultural Theory (pp. 350–56). Routledge.
FRIEDAN, B. (1964, January 24). "Television and the Feminine Mystique," Part 1. TV Guide, 6–11.
GILLIAN, S. F. (1912, October 17). The Future Home Theater. The Independent, 836–891.
GOFFMAN, E. (1959). The Presentation of Self in Everyday Life. Doubleday.
GUNNING, T. (2010). Photography and Spirit (review). Magic, Ritual, and Witchcraft, 5(1), 127–129.
GURLEY BROWN, H. (1962). Sex and the Single Girl. Bernard Geis Associates.
HIRSCH, M. (1997). Family Frames: Photography, Narrative and Postmemory. Harvard University Press.
LEFEBVRE, H. (1991). The Production of Space (D. Nicholson-Smith, Trans.). Blackwell.
MCCARTHY, A. (2001). From Screen to Site: Television’s Material Culture, and Its Place. October, 98, 93–111. https://doi.org/10.2307/779064
MILLER, D. (2010). Stuff. Polity.
OLIN, M. (2012). Touching Photographs. The University of
Chicago Press.
ROSE, G. (2010). Doing Family Photography: The Domestic,
the Public and the Politics of Sentiment. Ashgate. SONTAG, S. (1973). On Photography. Farrar, Straus, and
Giroux.
SPIGEL, L. (1992). Make Room for TV: Television and the Family Ideal in Postwar America. The University of Chicago Press.
TICHI, C. (1991). Electronic Hearth: Creating an American Television Culture. Oxford University Press.
and TV’s ethereal transmissions. But
in all cases, the photos return to us as memory spaces of a time once lived. Now, at a moment when television
has morphed into digital and mobile platforms, these snapshots speak to the ‘that has been’ of an older mode of TV and everyday life when television was still a thing in the living room.
I will end by sharing my own TV photo that was the inspiration for in this essay and the larger archive I’ve obsessively amassed. The picture tells an ordinary story, but one that seems to have been repeated time and time again. It is now a memory space, a text full of the affective sensibilities that childhood photos have for their poser. But as just one of many, it also indicates a history shared by myriad people in their first TV homes. m
REFERENCES
AHMED, S. (2006). Queer Phenomenology: Orientations,
Objects, Others. Duke University Press.
ALLEN, D. (1951). Cyclops...the Nature of a Net Household
Pet. Interiors, 110(12), 62–63.
BARTHES, R. (1981). Camera Lucida: Reflections on
Photography (R. Howard, Trans.). Hill & Wang.
BAZIN, A. (1967). What Is Cinema? (H. Gray, Trans.).
University of California Press.
BENJAMIN, W. (1938/2006). Berlin Childhood Around 1900 (H. Eiland, Trans.). Harvard University Press.
City of Single Women. (1959). Ebony, (February), 19–24.
CVETKOVICH, A. (2003). An Archive of Feelings: Trauma, Sexuality, and Lesbian Public Cultures. Duke University Press. https://doi.org/10.1215/9780822384434
Artículos más leídos del mismo autor/a
- Lynn Spigel, HOGARES CON TV: ESCENAS DEL ÁLBUM DE FOTOS FAMILIAR , Materia Arquitectura: Núm. 20 (2020): Materia Arquitectura 20 (Diciembre/December 2020)