Women's Impact On Family Drama

1053 Words5 Pages
Impact of Family drama on Women

Introduction
Television is as an important instrument in today’s world to transmit knowledge and information. Television has great influence on society. The purpose of television is to inform, educate and entertain its viewers. Television, because of its predominance of visual movement has the capacity of bringing the world into the living room with great authenticity and efficacy. As television has great and impact on its viewers, particularly women. Women are treated as “special audience groups”, so that appropriate measures can be taken to cater to their propensities and inclinations. In this context, problems and issues pertaining to women are shown regularly on television in different programs.
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Family dramas appeal to those who value the personal and domestic world. Family dramas influence some women’s attitudes and behavior in certain situation. Its common women discussing about dramas they watch to their family and friends and for them it is pleasurable experience. Sometimes their talk is so serious they discuss some issue happened on drama seriously as something related to them, women get emotionally attached to some shows the reason is that family and its value represents in such a way that they can relate to their own family. The dismissal of the worth of the genre by many commentators, including some feminists critical of gender stereotyping, is open to the charge of cultural elitism. Some feminist theorists have argued that soap operas spring from a feminine aesthetic, in contrast to most prime-time television.
Women are stereotyped in family drama but the image of the modern women has changed. From being a meek, docile, subservient housewife, she has grown and evolved into a strong individual. She not excels in her profession but is also an able homemaker. This change is partially if not fully perceptible in the soap operas shown on Indian
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This serves to promote a polarization of gender roles. With femininity are associated traits such as emotionality, prudence, co-operation, a communal sense, and compliance. Masculinity tends to be associated with such traits as rationality, efficiency, competition, individualism and ruthlessness. Meehan has shown how on TV, 'good ' women are presented as submissive, sensitive and domesticated; 'bad ' women are rebellious, independent and selfish. The 'dream-girl ' stereotype is gentle, demure, sensitive, submissive, non-competitive, sweet-natured and dependent. The male hero tends to be physically strong, aggressive, and assertive, takes the initiative, is independent, competitive and ambitious. Dramas have no beginning or end, no structural closure. (Pingree and Cantor, 1983). They do not build up towards an ending or closure of meaning. Viewers can join a family drama at any point. There are built-in devices to recap on aspects of the plot. There is no single narrative line. In this sense, the plots of family drama are not linear. Narrative lines are interwoven over time. The structure of is complex and involves multiple perspectives and no consensus. Ambivalence and contradiction is characteristic of the genre. This leaves soaps particularly open to individual

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