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Essay / Research Paper Abstract
A 5 page analysis of As The Visual Culture of Everyday Life in the 1950s by Karal Ann Marling. This paper takes the unusual form of answers to five questions that focus on different aspects of the book, which, collectively, offer a comprehensive look at this book. No additional sources cited.
Page Count:
5 pages (~225 words per page)
File: KE9_99asotv.rtf
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Unformatted sample text from the term paper:
...consumer culture was limited to the cultural and/or intellectual elite? At the time, a fairly large cross-section of the country echoed Hesss sentiments. Marling points out that both
"intellectuals and patriots" were disgusted at the way that the United States was represented at the Brussels Worlds Fair, the first post-atomic worlds fair (47). Liberals felt that at
Brussels American culture was shown to be like a "Pompeii among nations" (47). Conservatives were equally appalled that there was no military display at Brussels, showing American might (47).
It should be realized in evaluating this era that leisure was a very recent development. Never before in the nations history had such things as two-day weekends, paid holidays and
daily lunch and coffee breaks been experienced by the majority of the population (50). Moralists pointed to the fact that the Bible only allotted one day of rest (52) and
"capitalist folklore" stated that workers with time on their hands threatened the public order (52). Therefore, there was a "deep-seated" suspicion of consumption, but probably not for the same reasons
voiced by the cultural or intellectual elite (53). 2. Is Michael ODonoghues commentary on paint-by-numbers picture on p. 64 persuasive? ODonoghue, who collects paint-by-numbers pictures,
calls them a "great metaphor for life in rigid MeCarthy America. You stayed in the lines" (64). One can easily see his point as it was a very regimented time
when "social rigidity" was the norm (64). The companies that sold the kits advertised them as the ideal way for anyone to produce a "real" painting and loved to draw
attention to the fact that the kits were created "by real artists" (65). In contrast to the advertising claims of the era, one writer at that time indicated that the
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