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Those Girls: Single Women in Sixties and Seventies Popular Culture

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Long before Carrie Bradshaw in Sex and the City, there was Mary Richards in The Mary Tyler Moore Show. Every week, as Mary flung her beret into the air while the theme song proclaimed, "You're gonna make it after all," it seemed that young, independent women like herself had finally arrived. But as Katherine Lehman reveals, the struggle to create accurate portrayals of suc Long before Carrie Bradshaw in Sex and the City, there was Mary Richards in The Mary Tyler Moore Show. Every week, as Mary flung her beret into the air while the theme song proclaimed, "You're gonna make it after all," it seemed that young, independent women like herself had finally arrived. But as Katherine Lehman reveals, the struggle to create accurate portrayals of successful single women for American TV and cinema during the 1960s and 1970s wasn't as simple as the toss of a hat. Those Girls is the first book to focus exclusively on struggles to define the "single girl" character in TV and film during a transformative period in American society. Lehman has scoured a wide range of source materials-unstudied film and television scripts, magazines, novels, and advertisements-to demonstrate how controversial female characters pitted fears of societal breakdown against the growing momentum of the women's rights movement. Lehman's book focuses on the "single girl"-an unmarried career woman in her 20s or 30s-to show how this character type symbolized sweeping changes in women's roles. Analyzing films and programs against broader conceptions of women's sexual and social roles, she uncovers deep-seated fears in a nation accustomed to depictions of single women yearning for matrimony. Yet, as television began to reflect public acceptance of career women, series such as Police Woman and Wonder Woman proved that heroines could wield both strength and femininity-while movies like Looking for Mr. Goodbar cautioned viewers against carrying new-found freedom too far. Lehman takes us behind the scenes in Hollywood to show us the production decisions and censorship negotiations that shaped these characters before they even made it to the screen. She includes often-overlooked sources such as the TV series Get Christie Love and Ebony magazine to give us a richer understanding of how women of color negotiated urban singles life. And she examines the legacy of the era, revealing how trailblazing characters continue to influence portrayals of single women in shows like Mad Men. This entertaining and insightful study examines familiar characters caught between the competing fears and aspirations of a society rethinking its understanding of social and sexual mores. That Girl reassesses feminine genres that are often marginalized in media scholarship and contributes to a greater valuation of the unmarried, independent woman in America.


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Long before Carrie Bradshaw in Sex and the City, there was Mary Richards in The Mary Tyler Moore Show. Every week, as Mary flung her beret into the air while the theme song proclaimed, "You're gonna make it after all," it seemed that young, independent women like herself had finally arrived. But as Katherine Lehman reveals, the struggle to create accurate portrayals of suc Long before Carrie Bradshaw in Sex and the City, there was Mary Richards in The Mary Tyler Moore Show. Every week, as Mary flung her beret into the air while the theme song proclaimed, "You're gonna make it after all," it seemed that young, independent women like herself had finally arrived. But as Katherine Lehman reveals, the struggle to create accurate portrayals of successful single women for American TV and cinema during the 1960s and 1970s wasn't as simple as the toss of a hat. Those Girls is the first book to focus exclusively on struggles to define the "single girl" character in TV and film during a transformative period in American society. Lehman has scoured a wide range of source materials-unstudied film and television scripts, magazines, novels, and advertisements-to demonstrate how controversial female characters pitted fears of societal breakdown against the growing momentum of the women's rights movement. Lehman's book focuses on the "single girl"-an unmarried career woman in her 20s or 30s-to show how this character type symbolized sweeping changes in women's roles. Analyzing films and programs against broader conceptions of women's sexual and social roles, she uncovers deep-seated fears in a nation accustomed to depictions of single women yearning for matrimony. Yet, as television began to reflect public acceptance of career women, series such as Police Woman and Wonder Woman proved that heroines could wield both strength and femininity-while movies like Looking for Mr. Goodbar cautioned viewers against carrying new-found freedom too far. Lehman takes us behind the scenes in Hollywood to show us the production decisions and censorship negotiations that shaped these characters before they even made it to the screen. She includes often-overlooked sources such as the TV series Get Christie Love and Ebony magazine to give us a richer understanding of how women of color negotiated urban singles life. And she examines the legacy of the era, revealing how trailblazing characters continue to influence portrayals of single women in shows like Mad Men. This entertaining and insightful study examines familiar characters caught between the competing fears and aspirations of a society rethinking its understanding of social and sexual mores. That Girl reassesses feminine genres that are often marginalized in media scholarship and contributes to a greater valuation of the unmarried, independent woman in America.

33 review for Those Girls: Single Women in Sixties and Seventies Popular Culture

  1. 4 out of 5

    Shelley

    Academic look at the single girl (unmarried twenty-thirtysomething on her own) in the 60s and 70s. It was so interesting to see how they pushed, what they could and couldn't do, the changes made from script to filming, etc. Academic look at the single girl (unmarried twenty-thirtysomething on her own) in the 60s and 70s. It was so interesting to see how they pushed, what they could and couldn't do, the changes made from script to filming, etc.

  2. 5 out of 5

    Jennifer Armstrong

    Academic, yes, but surprisingly readable in spite of that, which is no small feat. Fascinating intertwining of sociological history and representations of single girls in movie and TV of the '60s and '70s. Wonderful contextualization of sex comedies, That Girl, Mary Tyler Moore Show, et al. Academic, yes, but surprisingly readable in spite of that, which is no small feat. Fascinating intertwining of sociological history and representations of single girls in movie and TV of the '60s and '70s. Wonderful contextualization of sex comedies, That Girl, Mary Tyler Moore Show, et al.

  3. 4 out of 5

    PottWab Regional Library

    O

  4. 5 out of 5

    Meredith

  5. 4 out of 5

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  6. 5 out of 5

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  9. 5 out of 5

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  13. 4 out of 5

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    Karla

  15. 4 out of 5

    JB Cook Library

  16. 5 out of 5

    Carrie

  17. 5 out of 5

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  19. 4 out of 5

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  20. 4 out of 5

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  21. 5 out of 5

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    M Blankier

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    Matriarchy

  24. 4 out of 5

    Jo

  25. 5 out of 5

    Laura

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  29. 5 out of 5

    Ashley Bergman Carlin

  30. 4 out of 5

    ㋛ ㋡

  31. 4 out of 5

    Katherine

  32. 5 out of 5

    Sean

  33. 4 out of 5

    Adna

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