By Scott F. Stoddart
AMC's episodic drama Mad males has turn into a cultural phenomenon, detailing America's preoccupation with commercialism and photograph within the Camelot of Nineteen Sixties Kennedy-era the USA, whereas self-consciously exploring present preoccupations. The 12 serious essays during this assortment supply a large, interdisciplinary method of this hugely suitable tv exhibit, reading Mad males as a cultural barometer for modern matters with consumerism, capitalism and sexism. subject matters comprise New Historicist parallels among the Nineteen Sixties and the current day, psychoanalytical methods to the convey, the self as commodity, and the "Age of Camelot" as an "Age of Anxiety," between others. a close forged checklist and episode advisor are integrated.
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Extra resources for Analyzing Mad Men: Critical Essays on the Television Series
9 As the aforementioned cast of characters indicates, fallen women narratives come in a variety of plots including the seduction plot, the extramarital affair, the destitute prostitute, the sexually liberated woman, and, at the opposite extreme, the innocent girl who technically remains “intact,” but who is nevertheless the victim of social innuendo to the point that her social respectability is irretrievably compromised. Consequently, most of the women of Mad Men are “fallen” if held to a Victorian standard, and, if not, are at least sexually loose if held to the acknowledged sexual standard of their day.
It is a man’s world — untamed, violent, antithetical to high civilization and, hence, inhospitable to genteel ladies. By necessity, the frontier hero is isolate. He might swoop in to rescue the wayward damsel in distress — he might even steal a kiss or two — but he always rides off into the sunset free of domestic entanglements. These conceptions of the American landscape, however, are highly romanticized and problematic. Although they are consistent with the Biblical mythology, they rely heavily on Adam as an innocent, or a natural man, out of time and free from the history that had come before him.
Is it the anti-establishment woman who thinks she is free from these trappings but ﬁnds herself so over-socialized in the opposite extreme that she is in a self-imposed prison of her own making, both inadmissible by “good” society and self-isolated because of her fear of appearing at all inﬂuenced by bourgeois convention? One appears to be a complete acceptance of the status quo and the other a complete rejection, and Don has to decide which of these models offers the greatest promise of happiness.
Analyzing Mad Men: Critical Essays on the Television Series by Scott F. Stoddart