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Volumn 39, Issue 1, 2005, Pages

From good cheer to "drive-by smiling": A social history of cheerfulness

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EID: 26644444076     PISSN: 00224529     EISSN: None     Source Type: Journal    
DOI: 10.1353/jsh.2005.0108     Document Type: Review
Times cited : (82)

References (228)
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    • As Eliza Duffey, in The Relation of the Sexes (1876), exclaimed: "Is it not possible that there may be a love strong enough and abiding enough, untinged by passion, to hold a husband and wife firm and fast in its bonds, and leave them little to desire? [. . .] I believe in marriage all through - the soul, the mind, the heart, and the body, and I would make the last the weakest and least indispensable tie."
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    • Urbana, IL
    • While it is hard to establish the exact growth in numbers, since the U.S. census classifies magazines under the general heading of " periodicals", the number of monthly periodicals, which is a good barometer of the magazine trend, grew from 3,415 in 1920 to 4,110 in 1930 and dropped back to 3,501 in 1940. Aggregate per-issue circulation was reported at 128,621,000 in 1923 and going up to 202,022,000 in 1929, but dropping to 174,759,000 in 1933. The magazine industry definitely soared in the 1920s. See Theodore Peterson, Magazines in the twentieth century (Urbana, IL, 1956), p. 53-54.
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    • New York
    • These visual media came in response to the needs of flourishing capitalism. A giant billboard could be noticed by great masses of people without any effort on their part. The New York Traffic Audit Bureau, which leased the sites of the city, estimated that a big sign in Times Square attracted more than a million pairs of eyes in twenty-four hours, not to mention the millions who saw it through the cinema and illustrated magazines without ever visiting New York (ErnestTurner, The Shocking History of Advertising [New York, 1953] p. 294-297.)
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    • Visual messages also suited the accelerated pace of life. They were meant to catch the eye of men and women who "[took] their knowledge, like their lunches, on the run" (anonymously quoted in T.J.Jackson-Lears, "The Rise of American Advertising," p. 160).
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    • New York
    • Outdoor signs were a much more democratic information tool than any print media. An advertising textbook of the epoch recommends using street-car cards, billboards and outdoor display because "they are for the eyes of everyone, regardless of wealth and education ... Pictures and color speak a more universal language than words." (Harry Tipper, The Principles of Advertising [New York, 1920], p. 190.)
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    • In 1931 Gallup established that the comic strip was by far the most popular part of newspapers, its readership surpassing the readership of the leading news stories (Roland Marchand, Advertising and the American Dream, p. 110.)
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    • London
    • As the Frankfurt scholars have pointed out, mass culture creates standardized art products to be offered to great masses of people and, therefore, has a standardizing effect on popular taste and our sense of aesthetics. See Theodore Adorno, The Culture Industry: Selected Essays on Mass Culture (London, 1991);
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    • Japan, Russia, Indonesia, Greece and Turkey are among those that do not use laugh tracks in their indigenous programming and American serials are often shown elsewhere with the laugh tracks cut back. For example, Bewitched is aired in Brazil without the laugh track, and in France - with reduced laugh tracks. (Victor Mascaro, http://members.tripod.com/yagazuze/international.html)
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    • The studio audience
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    • As comedy writer Robert Orben said: "Now [. . .] when a TV father comes down to breakfast and says 'good morning', the laugh track has already started to giggle." (Robert Orben, "The Studio Audience," TV Book: The Ultimate Television Book, ed. Judy Fireman (New York, 1977): 43-45
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    • Arlie Hochschild, in The Managed Heart, argues that corporations use human feeling as a commodity since they pay for emotion labor as part of the job.
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    • As she says, "Cheerfulness in the line of duty becomes something different from ordinary good cheer" ( Hochschild, The Managed Heart, p. 189 .)
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    • Hochschild1
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    • Hochschild explains that effective emotion management, just as Stanislavski's theater school, triggers genuine feeling. Arlie Hochschild, Managed Heart, p. 38-48
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    • Some of these cultural trends have been noted by individual American voices, too. For example, Andy Rooney recently said on CBS: "I don't know why we're so evasive. People are not honest about what they say. Part of it passes for good manners, and part of it is wanting to be liked by not being negative about things. Negative does not have a good reputation as compared with affirmative." (Quoted in Warren St. John, "Defending the Right Not to Have a Nice Day," New York Times, 5/25/2003, Style Desk: Section 9, Page 1.)
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    • See, for example, Morton Beiser, "A Study of Depression among Traditional Africans, Urban North Americans and South East Asian Refugees," Culture and Depression: Studies in the Anthropology and Cross-Cultural Psychiatry of Affect and Disorder, eds. Arthur Kleinman and Byron Good (Berkeley, 1985): 272-298
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    • on 11/22
    • In a public talk delivered at New York University's Forum Ambiguities or Intervention: Iraq and Beyond, on 11/22/2002, Todd Gitlin criticized the use of cheerfulness in political propaganda.
    • (2002) Iraq and beyond


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