Black-ish (ABC: 2014- ): el sueño (afro) americano
Television series have become a recurring object of study in academia. In this sense, it has been found that television narratives function as social fables and contain morals about the functioning of society. This study articulates an analysis of the Black-ish series around ideological discourse; that is, what we are, what we do and for what purpose (van Dijk, 2009). From a qualitative perspective, a textual analysis has been carried out (McKee, 2002) that has revealed that neoliberal values prevail in the series. In this regard, in the discussion the results have been contrasted with other series of the genre and the prevalence of conservatism in sitcoms has been corroborated.
2012 The epic of America, Boston, Routledge.
Becker, Danna y Marecek, Jeanne
2008 “Dreaming the American Dream: Individualism and Positive Psychology. Social and Personality” in Psychology Compass n. 2, pp. 1767-1780. doi:10.1111/j.1751-9004.2008.00139.x
2017 “Criminalization of Blackness: Systemic Racism and the Reproduction of Racial Inequality in the US Criminal Justice System” in Systemic Racism: Making Liberty, Justice, and Democracy Real, Ruth Thompson&MillerKimberley Ducey, ed, Springer, Londres, pp. 163-183.
2013 “Archiving the Digital Transition in the Boomer TV Sitcom Remake” in Adaptation, vol. 6 n. 3, pp. 305–319, https://doi.org/10.1093/adaptation/apt007
Bonaut Iriarte, Joseba y Grandío Pérez, María del Mar
2009 “Los nuevos horizontes de la comedia televisiva en el siglo XXI” in Revista Latina de Comunicación Social, vol. 64 n.3, pp. 753-765, DOI: 10.4185/RLCS-64-2009-859-753-765
2013 “Black Sitcoms: a Black Perspective” in Cercles, vol. 8, n. 1, pp. 45-68.
1999 “Assessing the Disconnect between Television Audiences: The Race, Class, and Gender Politics of Married… With Children” in Journal of Popular Film and Television, vol. 27, n. 1, pp. 12-20, DOI: 10.1080/01956059909602793
1998 African American Viewers and the Black situation comedy: situating racial humor, New York, Garland.
Conover, Pamela J. y Stanley Feldman.
1987 “Memo to NES Board of Overseers Regarding ‘Measuring Patriotism and Nationalism.’” Available at http://www.icpsr.umich.edu.
De Tocqueville, Alexis
1994 Democracy in America, Volume II, New York, Alfred A. Knopf.
2018 Racism and Justice: The Case for Affirmative Action, New York, Cornell University Press.
Frazer, June M. y Frazer, Timothy C.
1993 “Father Knows Best and The Cosby Show: Nostalgia and the Sitcom Tradition” in The Journal of Popular Culture, vol. 27, n. 1, pp. 163-172. doi:10.1111/j.0022-3840.1993.00163.x
Días Branco, Sergio
2013 “Situating comedy: inhabitation and duration in classical american sitcoms”. in Television Aesthetics and Style, Steven Peacock y Jason Jacobs, Eds, Bloomsbury, Londres, pp. 93-103.
1986 “Television and the new black man: black male images in prime-time situation comedy” in Media, Culture & Society, vol. 8, n. 2, 223–242. https://doi.org/10.1177/016344386008002007
1995 Watching Race: television and the struggle for blackness, London, University Minneapolis Press.
2001 “Subtitling Rap: Appropriating The Fresh Prince of Bel-Air for Youthful Identity Formation in Kuwait” in Gazette (Leiden, Netherlands), vol. 63, n. 1, pp. 57–72. https://doi.org/10.1177/0016549201063001005
2008 Masculinity and Popular Television, Scotland, Edinburgh University Press Books.
1995 Facing up to the American dream: Race, class, and the soul of the nation, Princeton, Princeton University Press.
2016 “Rewriting the How-To of Parenting: What Is Really Modern about ABC’s Modern Family” in Journal of Interdisciplinary Feminist Thought, vol 9, n. 1, pp. 1-38.
Iborra Mallent, Juan Vicente
2018 “Black Lives Matter a través de las series de televisión estadunidenses” in Norteamérica, vol. 13, n. 2, pp. 279-297. https://doi.org/10.22201/cisan.24487228e.2018.2.346
Jhally, Sut y Lewis, Justin
2019 The Cosby Show, Audiences, and the Myth of the American Dream. London, Routledge.
Kosterman, Rick, y Seymour Feshbach.
1989 “Toward a Measure of Patriotic and Nationalistic Attitudes” in Political Psychology, vol. 10 n. 2, pp. 257– 74.
1973 Individualism New York, Harper & Row.
2017 “Conservative Narrativity, Queer Politics, and the Humor of Gay Stereotypes in Modern Family”, in Camera Obscura, vol. 32, n. 3, pp. 1–31. https://doi.org/10.1215/02705346-
2012 “Racism: The Crime in Criminal Justice” in Loyola Journal of Public Interest Law, vol. 13, n. 2, pp. 417-426.
2005 Television sitcom, London, BFI.
2005 Masculinity and male intimacy in nineties sitcoms: Seinfeld and the ironic dismissal, in The New Queer Aesthetic on Television: Essays on Recent Programming, in James R. Keller y Leslie Stratyner, eds., London, McFarland, pp. 147-159.
Novoa Jaso, Maria Fernanda
2018 “La feminidad en la sitcom doméstica: representación y estereotipos. El caso de Modern Family” Revista Dígitos, vol. 4, n. 1, pp. 67-93.
2013. “What Are You?: Negotiating Racial Authenticity And Imagining The Black Experience Through The Prism Of Passing In The Fresh Prince Of Bel-Air” in ¡Plop! Revista de Pop, vol. 1, n. 2, pp. 45-67.
Romero López, Alicia
2016 “Raza y género: violencia en The Bluest Eye (1970) de Toni Morrison” in Oceánide, n. 8. http://oceanide.netne.net/articulos/art8-1.pdf
Schatz, Robert T. y Ervin Staub
1997 “Manifestations of Blind and Constructive Patriotism: Personality Correlates and Individual‐Group Relations.” in Patriotism: In the Lives of Individuals and Nations, Daniel Bar‐Tal y Ervin Staub, eds, Chicago, Nelson‐Hall, pp. 229– 45.
Schatz, Robert T., Ervin Staub, y Howard Lavine.
1999 “On the Varieties of National Attachment: Blind versus Constructive Patriotism” in Political Psychology, vol.20, n. 1, pp. 151– 74.
2000. Blockbuster TV: Must-See Sitcoms in the Network Era, New York, New York University Press.
2017, The Brady Bunch: a thoroughly modern family? in The 25 Sitcoms that Changed Television: Turning Points in American Culture, Aaron Barlow y Laura Westengard, Eds, United States of America, Praeger, pp. 71-81.
1999 Color by fox: the fox Network and the revolution in black television New York, Oxford University Press.
Copyright (c) 2020 Mayte Donstrup
This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.
Authors who publish with this journal agree to the following terms:
Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution License that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.
Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.
Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work.