Dana Stevens on the Melancholy Beauty of the Charlie Brown Specials

Posted on November 8, 2008 at 5:47 pm

Slate’s Dana Stevens has a lovely essay on “Why I love the melancholy Peanuts holiday specials,” in honor of a new holiday collection dvd set.

Those specials–at least the big three: the Halloween, Thanksgiving, and Christmas shows that were recently released in a “deluxe holiday collection” by Warner Bros.–have a mood unlike any animated film for children made before or since. For one thing, they’re really, really slow–slow not just by our ADD-addled contemporary standards but also next to the programming of their own time. Just compare the meandering pace of A Charlie Brown Christmas
(in which Charlie tries, and fails, to direct a single rehearsal of a Christmas play) with the generation-spanning epic crammed into Rudolph the Red-Nosed Reindeer
(1964). But what really sets the Peanuts specials apart is their sadness. Even digitally remastered, with the background colors restored to their original vivid crispness, the Peanuts holiday specials have a faded quality, like artifacts from a lost civilization. As Linus observes of the wan, drooping pine sprig Charlie Brown eventually rescues from a huge lot of pink aluminum Christmas trees, “This doesn’t seem to fit the modern spirit.”

My favorite is this beautiful scene with the children skating to the bittersweet music of Vince Guaraldi.

Stevens talks about the insights from the extras on the new DVD set, which reveal that it was Schultz who insisted that there be no laugh track and that real children provide the voices. But the highlight of the piece is her lyrical descriptions of what made those early specials so, well, special.

Here I could write an epic poem detailing the multiple felicities of the Peanuts specials: the van Gogh-esque night sky that dwarfs Linus and Sally as they wait in the pumpkin patch for the Great Pumpkin, Linus’ stirring reading from the Gospel of Luke at the end of A Charlie Brown Christmas, the impossibly hip “Little Birdie” song that plays in the background as Snoopy and Woodstock prep for their Thanksgiving feast.

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Teenagers, Sex, Religion, and Media

Posted on November 8, 2008 at 11:00 am

The Washington Post reports on the first study to link teen pregnancies to sexual content on television. The study is being published today in the journal of the American Academy of Pediatrics. The authors found a “strong association” between teen pregnancy and watching sexual activity in television programs.
Teenagers who watch a lot of television featuring flirting, necking, discussion of sex and sex scenes are much more likely than their peers to get pregnant or get a partner pregnant, according to the first study to directly link steamy programming to teen pregnancy.
The study, which tracked more than 700 12-to-17-year-olds for three years, found that those who viewed the most sexual content on TV were about twice as likely to be involved in a pregnancy as those who saw the least….
Studies have found a link between watching television shows with sexual content and becoming sexually active earlier, and between sexually explicit music videos and an increased risk of sexually transmitted diseases. And many studies have shown that TV violence seems to make children more aggressive. But the new research is the first to show an association between TV watching and pregnancy among teens.
The problem with these studies is always cause and effect. Do teenagers who are already sexually active or considering becoming sexually active tend to watch more of these programs or do these programs promote unprotected sexual activity?
It is stupid to suggest that media does not affect behavior, especially of teenagers who are just beginning to look beyond the home and school for guidance on behavior. There is a billion-dollar industry devoted to the impact of media on behavior — it is called advertising. Television programming may not be selling clothes or toothpaste, but it is always selling a notion of what is — and is not — cool. And that does affect the choices made by viewers.

(more…)

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Commentary Teenagers Understanding Media and Pop Culture

The MPAA rating system turns 40

Posted on November 6, 2008 at 8:00 am

Defamer revisits the first 40 years of MPAA ratings. In the first days of film there were no ratings or limits. After outcries over the spicy content of some of the early talkies, Hollywood adopted the Hays Code in 1930. The studios agreed to its voluntary but highly restrictive terms not just about sex and language (the only proviso for violence was that it had to be in good taste). But it prohibited portrayals of clergy that made them appear corrupt or foolish and depictions of inter-racial relationships. There are legendary stories of battles over whether Rhett Butler would be allowed to say “I don’t give a damn” in “Gone With the Wind” (he was) or whether Bette Davis could get away with murder in “The Letter” (she wasn’t). And writer-directors like Ernst Lubitsch and Preston Sturges prided themselves on getting past the censors with subtle double entendres.
In November of 1968, MPAA head Jack Valenti created the ratings code at a time of cultural upheaval. The studios wanted to be able to tell stories about and for adults. At first, the ratings were G, PG, R, and X. But when X was appropriated by the porn industry, the MPAA switched to NC-17 (no children under the age of 17). And the PG-13 rating was added after objections to some of the grisly images in the second Indiana Jones film, like the eyeball soup.
Defamer lists some of the ratings system’s worst and most absurd moments, including the R rating for the original “Thomas Crown Affair” based only on a sensual (and fully clothed,ending only with a kiss) chess game and the PG rating for “Facing the Giants” for evangelical themes.
The documentary This Film Is Not Yet Rated documented the failures of the rating system but mostly focused on its secrecy and favoritism in applying the ratings to studio films over independents. Under Valenti’s successor, Dan Glickman, there have been some small improvements.
For me, the most frustrating aspects of the rating system have been the inconsistency of the treatment of material based on whether it is in a comedy or a drama (permitting PG-13 ratings for the extremely raunchy “Austin Powers” films when the same material in a drama would get an “R”), the outright stupidity in the treatment of the f-word (permitted once or twice in a PG-13 as long as it does not refer to sex, a rule you’d need a PhD in semiotics to understand and interpret), and the continual ratcheting-down of the ratings so that what would have received a PG-13 a few years ago now gets a PG. Here’s hoping for many more improvements before its next anniversary.

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Commentary Understanding Media and Pop Culture

The FCC, the Supreme Court, and the F- and S-Words

Posted on November 4, 2008 at 8:00 am

As we go to the polls today, honoring our Constitution’s fundamental principles of representative democracy, another key element of Constitutional system of checks and balances is also at work. And it may include consideration of yet another key founding principle of the United States, the right of freedom of speech and the press under the First Amendment of the Bill of Rights.
Today the Supreme Court will hear arguments in the case of Federal Communications Commission v. Fox Television Stations. The FCC, an independent agency of the federal government, will argue that it has the authority to ban “fleeting” expletives after the FCC issued warnings to broadcasters after celebrities used certain terms in live broadcasts.
The case is not strictly speaking a First Amendment case. As legal challenges often do, it relates more specifically to the procedures followed by the FCC in determining their policy on the words at issue. And as always happens with high-profile Supreme Court cases, there have been many filings by “amici” (“friends of the court”) — advocacy groups, television producers, even the pediatrician’s trade association — all expressing their views about who should decide what is appropriate, when they should decide it, and how the decision should be implemented. A group of former FCC Commissioners and staff wrote that while they were “not without sympathy” for the the FCC’s views on obscenity, they were concerned about:
decisions that have transformed a hitherto moderate policy of policing only the most extreme cases of indecent broadcast programming into a campaign of regulatory surveillance that will chill the production of all but the blandest of broadcast programming.
The words at issue raise an interesting problem in the arguments before the Court, where lawsuits are always argued with decorum and formality. According to the Supreme Court blog SCOTUS:
Unless Chief Justice John G. Roberts, Jr., intervenes, some of the argument in the Supreme Court chamber next Tuesday morning may sound at times like a typical conversation in a seventh grade boys’ restroom — the uninhibited use of four-letter words.
And, if Roberts allows it, such a display of blue language will be heard on TV and radio — in the middle part of the day — across America, and may be read the next morning in many newspapers. But, apparently, not in every news outlet.
The Court may very well rule that the FCC may not interfere with the “fleeting” use of these words on the air. And they may do so without using the words themselves, as they did in the famous case where they upheld the use of the f-word in a political protest. They noted that the word could be considered indispensable to make exactly the objection that the protester wanted to without saying what the word was.
According to the book, The Brethren, Burger approached Justice John M. Harlan, the opinion’s author, and said: “John, you’re not going to use ‘that word’ in delivering the opinion are you? It would be the end of the Court if you use it, John.” And Harlan did not. It was included, though, in the Court’s opinion finding that Cohen’s First Amendment rights had been violated. Justice Harlan described Cohen’s message as one involving a “scurrilous epithet,” but he also wrote: “While the particular four-letter word being litigated here is perhaps more distasteful than most others of its genre, it is nevertheless often true that one man’s vulgarity is another’s lyric.”
What should the policy be about the language used on broadcast television? There are no restrictions on the language used on cable programs. The last time the Court ruled on this issue it made a distinction based on the unique availability of broadcast television and radio for children. But in a world of internet, podcasts, and DVDs (not to mention schoolyards, shopping malls, and newspaper articles), that distinction no longer applies. I look forward to reports on the arguments and to the Court’s decision.

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Commentary Television Understanding Media and Pop Culture

Is Hollywood Taking the Oscars Back from the Indies?

Posted on October 28, 2008 at 6:00 pm

For the past few years, independent films have out-performed Hollywood studio productions when it comes to awards like the Oscars so consistently that the studios made very little effort to campaign on behalf of big-budget films. But the New York Times reports that the studios are getting ready to promote some of their blockbuster releases for awards this year.
In theory, any film released this year is eligible for awards, but as a practical matter only the films supported by their studios will get the critical mass of support necessary for a nomination. Each fall, very expensive campaigns — special screenings, distribution of DVDs, some promotional swag, ads in trade publications “for your consideration” — determine which films are prominent in the voters’ minds when it comes time to cast their ballots.
After years of giving plenty of running room to independent film companies or studio art house divisions that set the pace with critic-friendly but limited-audience films like last year’s “No Country for Old Men” and “There Will Be Blood,” this year the major studios are pushing some of their biggest crowd-pleasers into the thick of the awards race.

Their approaching multimillion-dollar campaigns come at a time when the Academy of Motion Picture Arts and Sciences, whose 6,000-plus members award the Oscars, is planning to give its annual show a more commercially popular flavor. In part the academy’s producers will do that by including glimpses of the year’s box office favorites , whether or not they are nominated for prizes….

Shrinkage in the small-film business has left more room for big studios to play the Oscar game. Awaiting awards pushes are films like Universal’s “Frost/Nixon,” directed by Ron Howard; Paramount’s “Curious Case of Benjamin Button,” a David Fincher film starring Brad Pitt; and 20th Century Fox’s “Australia,” a Baz Luhrmann epic starring Hugh Jackman and Nicole Kidman.
The Times says there could be campaigns for such commercial hits as Wall?E and Iron Man. While this could be more about attracting viewers to the Oscar broadcast as it is about the quality of the film candidates for awards, I like the idea of recognizing that just because a movie makes a lot of money does not mean it is without artistic merit. A large part of what made Iron Man successful was the artistry of Robert Downey, Jr., Gwenyth Paltrow, and director Jon Favreau. And what made Wall?E so successful was the way its stories and characters touched the hearts of the audience, thanks to its writers and artists. I like seeing independent films get nominated for awards because it brings them a larger audience. But I’m glad to see blockbusters getting studio support for awards because it reminds us why they are so important to us.

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Commentary Understanding Media and Pop Culture
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