By Scott F. Stoddart

ISBN-10: 0786447389

ISBN-13: 9780786447381

AMC's episodic drama Mad males has turn into a cultural phenomenon, detailing America's preoccupation with commercialism and picture within the Camelot of Sixties Kennedy-era the USA, whereas self-consciously exploring present preoccupations. The 12 serious essays during this assortment supply a wide, interdisciplinary method of this hugely suitable tv express, analyzing Mad males as a cultural barometer for modern issues with consumerism, capitalism and sexism. subject matters comprise New Historicist parallels among the Sixties and the current day, psychoanalytical techniques to the express, the self as commodity, and the "Age of Camelot" as an "Age of Anxiety," between others. an in depth forged record and episode consultant are incorporated.

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Additional info for Analyzing Mad Men: Critical Essays on the Television Series

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This constant struggle between masculine newness and feminine replication plays out, yet again, in the naming of baby Gene after Betty’s recently deceased father. In response to Don’s objection, Betty snarls that this is something people do to keep hold of their memories. Later, after a frightened Sally recognizes the uncanny reemergence of Grandpa Gene through her new baby brother, Don reassures 1. “We’ll start over like Adam and Eve” (Hernandez & Holmberg) 29 her that Gene is just a baby ... one whose identity has yet to be formed (“Guy Walks Into an Advertising Agency” 3:6).

Technically, Don might not be a “killer,” but he unquestionably possesses the frontiersman’s shrewdness and ruthlessness necessary for survival in an inhospitable wilderness. By the Gilded Age, the Protestant underpinnings of these traits later migrate from frontier hero to robber baron — which explains Bert Cooper’s assessment that he and Don are the same type of Ayn Randian captains of industry able to make the difficult choices. Don’s reinvention of himself— a metaphorical “killing” of his past — is not a simple “self-forgetting,” but an active erasure of his history, an attempted regeneration of self.

Kennedy” 1:12), and he is even further infantilized by Trudy’s belief that he is looking at pornography when, in fact, he is merely looking at photos of his boss. But this interpretation of Don as über-masculine and Pete as the stunted child is not meant to simply expose Pete as infantile; in his still-forming face, his embryonic character is, in fact, an opportunity that is not present in Don. Ironically, unlike Don, Pete can still become anything because he is not yet formed, and this shapelessness is, strangely, a virtue because his identity and his future still linger undecided.

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Analyzing Mad Men: Critical Essays on the Television Series by Scott F. Stoddart


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