LEADER 03967 am 22006973u 450 001 9910256651203321 005 20191221113333.0 010 $a0-8135-9175-9 010 $a0-8135-9173-2 024 7 $a10.36019/9780813591759 035 $a(CKB)4100000001948623 035 $a(MiAaPQ)EBC5265316 035 $a(OCoLC)989811413 035 $a(MdBmJHUP)muse60321 035 $a(DE-B1597)528533 035 $a(DE-B1597)9780813591759 035 $a(ScCtBLL)c1b932fc-c3ba-42b8-ae94-e5901acdfec9 035 $a(EXLCZ)994100000001948623 100 $a20191221d2018 fg 101 0 $aeng 135 $aurcnu|||||||| 181 $2rdacontent 182 $2rdamedia 183 $2rdacarrier 200 14$aThe Queer Fantasies of the American Family Sitcom /$fTison Pugh 210 1$aNew Brunswick, NJ : $cRutgers University Press, $d[2018] 210 4$dİ2018 215 $a1 online resource (248 pages) 311 $a0-8135-9172-4 320 $aIncludes bibliographical references and index. 327 $tFrontmatter -- $tContents -- $tIntroduction: TV's Three Queer Fantasies -- $t1. The Queer Times of Leave It to Beaver: Beaver's Present, Ward's Past, and June's Future -- $t2. Queer Innocence and Kitsch Nostalgia in The Brady Bunch -- $t3. No Sex Please, We're African American: The Cosby Show's Queer Fear of Black Sexuality -- $t4. Feminism, Homosexuality, and Blue-Collar Perversity in Roseanne -- $t5. Allegory, Queer Authenticity, and Marketing Tween Sexuality in Hannah Montana -- $t6. Conservative Narratology, Queer Politics, and the Humor of Gay Stereotypes in Modern Family -- $tConclusion: Tolstoy Was Wrong; or, On the Queer Reception of Television's Happy Families -- $tAcknowledgments -- $tTelevision Programs -- $tNotes -- $tWorks Cited -- $tIndex -- $tAbout the Author 330 $aThe Queer Fantasies of the American Family Sitcom examines the evasive depictions of sexuality in domestic and family-friendly sitcoms. Tison Pugh charts the history of increasing sexual depiction in this genre while also unpacking how sitcoms use sexuality as a source of power, as a kind of camouflage, and as a foundation for family building. The book examines how queerness, at first latent, became a vibrant yet continually conflicted part of the family-sitcom tradition. Taking into account elements such as the casting of child actors, the use of and experimentation with plot traditions, the contradictory interpretive valences of comedy, and the subtle subversions of moral standards by writers and directors, Pugh points out how innocence and sexuality conflict on television. As older sitcoms often sit on a pedestal of nostalgia as representative of the Golden Age of the American Family, television history reveals a deeper, queerer vision of family bonds. 606 $aTelevision programs$xSocial aspects$zUnited States 606 $aSex role on television 606 $aHomosexuality on television 606 $aHomosexuality and television 606 $aSituation comedies (Television programs)$zUnited States$xHistory and criticism 608 $aElectronic books. 610 $aAmerican family. 610 $aAmerican sitcom. 610 $achild actor. 610 $acomedy. 610 $afamily sitcom. 610 $algbtq. 610 $aqueer. 610 $asexuality. 610 $asitcom. 610 $atelevision. 615 0$aTelevision programs$xSocial aspects 615 0$aSex role on television. 615 0$aHomosexuality on television. 615 0$aHomosexuality and television. 615 0$aSituation comedies (Television programs)$xHistory and criticism. 676 $a791.45/617 700 $aPugh$b Tison, $4aut$4http://id.loc.gov/vocabulary/relators/aut.$0856145 801 0$bDE-B1597 801 1$bDE-B1597 906 $aBOOK 912 $a9910256651203321 996 $aThe Queer Fantasies of the American Family Sitcom$92264647 997 $aUNINA