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Increased competition from cable, VCRs and other outlets prompted a search for what Caldwell refers to as ‘televisuality’: ‘In several important programming and institutional areas, television moved from a framework that approached broadcasting primarily as a form of word-based rhetoric and transmission, with all the issues that such terms suggest, to a visually based mythology, framework and aesthetic based on an extreme self-consciousness of style’ (1995:4). According to Caldwell, such stylistic devices include slick, ever-changing typefaces, graphic effects and clever promotional materials.
13 Throughout the rest of the decade, series ranging from I Dream of Jeannie and The Munsters to The Odd Couple and Welcome Back, Kotter to Newhart and WKRP In Cincinnati were aired, extending the historical dimensions throughout the entire television era. By 1999, the 1950s, which had been the initial focus of the whole endeavour, had vanished almost completely from both Nick At Nite and TV Land, with the notable exceptions of perennial favourites I Love Lucy and The Honeymooners. Even without ‘Fifties’ programming, however, the shadow of the decade (or at least, its 1980s-retro version) remains across the channels’ sensibility.
CHAPTER 1 I’VE SEEN THIS ONE BEFORE THE CONSTRUCTION OF ‘CLASSIC TV’ ON CABLE TELEVISION Derek Kompare Time in the everyday lifeworld is not undifferentiated and unhierarchical – it is textual, lending itself to the formation of boundaries and to a process of interpretation delimited by our experience with those boundaries. (Susan Stewart 1984:13) A s our consumption-centred, media-drenched and ostensibly ‘fast forward’ societies career into an arbitrary new millennium, the passage of time has become one of the central concerns – and commodities – of the age.