Johnson, Race, and Mad Men

Group Attendance: Charlie DeWitt, Marshall Kerns, Lauren Solomon, Candace Barbour, Catherine Muller, Clay Prietsch
Episode Watched: Season 1, Episode 12: "Nixon vs. Kennedy"

Johnson, Race, and Mad Men
By Lauren Solomon

Johnson explains the idea of representation in the article “Keeping Race in Place.” He notes that representation functions as an edited “re-issue” or “repeated version of the real thing.” He emphasizes the fact that the object of representation highlights some features and diminishes others in order to intentionally alter what is being represented. In this aspect, representations can either adhere to ideology or operate outside of ideology depending on who is constructing the image. Johnson is concerned specifically with the representation of race in advertisements, and how they depict minority races (blacks, Asians) in narrow roles while allowing the hegemonic representation of whites to persist.

In “Nixon vs. Kennedy”, the entire Sterling Cooper agency is following the presidential debate hoping that their client, Nixon, will come out on top. Ironically enough, the debate is framed in the same way that it has been historically framed in the minds of Americans. The episode begins by representing Nixon as the clear-cut forerunner in the race, and then as the plot unwinds, the characters realize that the race is a lot tighter than anticipated. The producers inserted clips of the televised debates and state-by-state victories in order to capture the “reality” of the historical event. The television becomes the center of the plot, as characters gather around waiting to hear the news from the small, black-white screen. The symbol of television also resonates with the audience who recognizes the historical significance of the epic televised debate, which supposedly resulted in Nixon’s loss. The depiction of the Nixon vs. Kennedy election in the episode shows the power of representation to capture some moments in history, while excluding others. For example, when Draper enters Mr. Cooper’s office to speak about the race, Sterling focuses on the fact that the race is so close. He says that “Kennedy might be willing to buy an election and that there might need to be a recount.” This reference to the fairness of the race and the need for a recount reminds the audience of the more recent 2000 election between Bush and Gore. The producers’ intentional inclusion of these snapshots in history is used to bridge the gap between the past and present.

The other representation that is shown in this episode is of the Korean War. Don Draper enters a dark tent and speaks to his supervisor, who asks him a series of questions. “What are you doing here?” “What misconception made you want to travel here?” “A movie?” This idea of Don Draper, another young, inexperienced soldier coming over to fight in a pointless war ties in with conceptions about the Korean War, Vietnam War, and more recently the Iraqi War. The producers’ deliberate decision to include certain features of war while excluding others reflects the power of representation in creating, perpetuating, or challenging ideology.

Masculinity and Mad Men

Group Attendance: Charlie DeWitt, Marshall Kerns, Lauren Solomon, Candace Barbour, Catherine Muller, Clay Prietsch
Episode Watched: Season 1, Episode 11: "Indian Summer"

Meeting Date: 11/17/2010

Masculinity and Mad Men
By Charlie DeWitt

This particular episode of Mad Men dealt with a number of issues regarding the overwhelming assertion of masculinity that occurs throughout the series. As a result of featuring this degree masculinity, this episode also depicts the oppression of females as a prominent theme. This post will talk about some of the instances from this specific episode in order to identify this issue and provide a critical perspective.

One specific instance that sparked my interest occurred when the male characters who work at Sterling Cooper were all sitting around in Don Draper's office discussing a new product they needed to test out that was an electric muscle stimulant. The actual product itself, which consisted of a belt that fit around the torso and sent shock waves to the muscles in order to supposedly simulate exercise, appeared both awkward and foreign to all of them. After having some confusion as to what to do, they immediately assume that they will use Peggy to test the product. The fact that they chose an inferior feminine employee to test the product reflects not only an affirmation of masculinity, but also an oppression of femininity. This kind of action on behalf of the male characters is quite typical, as we often see them all banded together, often in closed door settings, asserting their own masculinity.

Another example of masculinity from this episode that presents a hegemonic view of traditional gender roles occurs when Don becomes upset at Betty for having an air conditioner salesman into the house. Don raises his voice to Betty and thus communicates his role as the dominant male figure in the household. This kind of behavior from Don allows for the audience to see that not only does he do as he pleases on is own time (i.e. sleep with other women), but he strongly condemns the possibility of Betty socializig with other men at all. This situation reminded me of a previous moment in the season when Roger Sterling came over for dinner and made several comments at the dinner table that upset Don. Thus, as can be seen on multiple occasions, Don reaffirms traditional masculinity within the household.

The specific instances that reflect masculinity in the show reminded me of some of the points that were made in Simon Lindgren and Maxime Lelievre's article about masculinity in the MTV show jackass. In particular, one quote from their conclusion helps to summarize a way of thinking about and interpreting the kinds of masculine tendencies displayed on Mad Men. "Instead of seeing the simultaneous occurrence of reaffirmation and contestation as perplexing, we maintain that it must rather be construed in dialectical terms. Instead of focusing on the 'thesis' of hegemonic masculinity versus the 'anti-thesis' of its subversion we want to focus upon the 'synthesis' of renegotiation" (Lindgren and Lelievre 407).

This quote makes sense when attempting to try to interpret the masculinity that exists on Mad Men. Although we as critics are tempted to view these forms of masculinity and subsequent female oppression for what they are, we need to try to think more so about what their repercussions are. In many ways, the masculine domination on Mad Men serves as a way of providing a historical insight with regards to societal views on gender at that specific time period. As a result of watching the show, someone who does not know much about early 60's America would immediately associate it with the actions displayed on the show. Likewise, the interaction of both the male and female characters, particularly in a corporate setting, seems to suggest that gender roles played a crucial role in office behavior during that time period. Likewise, behavior within the household, as can be seen through the relationship between Don and Betty, was heavily influenced by masculine dominance.

Post-Racism and Post-Feminism from “Tyra Banks if Fat” by Ralina L. Joseph in the Context of Mad Men

Group Attendance: Charlie DeWitt, Marshall Kerns, Lauren Solomon, Candace Barbour, Catherine Muller, Clay Prietsch
Episode Watched: Season 1, Episode 8: "The Hobo Code"

Post-Racism and Post-Feminism from “Tyra Banks if Fat” by Ralina L. Joseph in the Context of Mad Men

By Catherine Muller

Post-Feminism and Post-Racism share the notion that social inequality is at an end. Both push the idea that race and gender are no longer significant divisions in society. That is not to say, however, that these ideologies deny the existence of sexism and racism. Rather, they hold that society has merely overcome the influence of such prejudices. I argue that the sexism displayed in season 1, episode 8 of Mad Men actually reaffirms Post-Feminist ideals. This same trend can be applied to the show’s depiction of race to a lesser extent.The episode opens on two white characters, Pete Campbell and Peggy Olsen, as they enter an office elevator operated by a black operator. Before Pete and Peggy make it to their floor, the elevator stops to admit a black janitor. It is at this point that Pete comments “…we really took the local this morning,” to which the operator replies, “sorry.” This exchange demonstrates the type of derogatory language and racial submission present in most Mad Men episodes. If we jump ahead a scene, Pete and Peggy are engaging in an adulterous tryst while hidden behind an office door. There is, however, a single witness to the sin being committed by Pete and Peggy: the janitor from the elevator. With a condescending smile, this black character surveys the action and then continues vacuuming.

The entirety of this racial exchange appears to give the janitor the last laugh, and in doing so, places both races on equal footing. Here, the Post-Racial perspective comes into play. Race, as it is depicted in the entirety of this scene, is not truly a significant division in the Mad Men society. Likewise, the way in which sexism is presented within the context of Mad Men reflects a Post-Feminist ideal. The clearest example of this is possibly through the work of female character Peggy Olsen. In this episode, Peggy’s marketing idea from earlier in the season is presented to a client. The success of her “Basket Full of Kisses” marketing slogan stands in stark opposition to the sexism she encounters everyday. Comments regarding the lesser intelligence of females abound in a typical Mad Men episode. Lines like Pete Campbell’s, “so simple even a woman could understand it,” for example, directly follow successful presentation of Peggy’s idea.

Peggy’s success directly contradicts the verbal sexism depicted in Mad Men. Again, if viewed from a Post-Feminist perspective, we can see why the extremely sexist dialog in this episode fails to bother the average viewer. In Post-Feminist theory, sexism happened. It’s part of our social past. Sexism is therefore expected, even acceptable, for a show set in the 1960’s like Mad Men. In addition, Post-Feminist theory also poses that today’s society has overcome sexism; that gender is not a valid social division. The positive reception of Peggy’s marketing idea places her on equal ground with businessmen in the episode. Her gender does not appear to have hindered her ability to produce a product of worth. The phrase, “actions speak louder than words,” comes to mind. The verbal sexism in the episode is negated by the successful and intelligent actions of Peggy.

At first glance, it’s hard to imagine how a show like Mad Men even remotely exemplifies Post-Feminist and Post-Racist ideals. Every other line of dialog seems to sexualize women and affirm racial inequality. Set in the 1960’s, Mad Men’s depictions of blatant sexism and racial prejudice are to be expected. Yet, I believe few viewers would consider the show outright prejudicial. By presenting racist and sexist content through the lens of Post-Racism and Post-Feminism, the writers of Mad Men (7/9 of them women) can depict prejudice without having a prejudice show.

Ideology and Material Institutions

Group Attendance: Charlie DeWitt, Marshall Kerns, Lauren Solomon, Candace Barbour, Catherine Muller, Clay Prietsch
Episode Watched: Season 1, Episode 6: "Babylon"

Ideology and Material Institutions
By Lauren Solomon

Ideology are sets of “social values, ideas, beliefs, feelings, and representations by which people collectively make sense of the world they live in, thus constituting a world view” (O’Shaunnessy, Stadler 176). Althusser extends the definition to emphasize the “unconscious” aspect of ideologies, and how they become naturalized to the point that large groups of people accept them without questioning their existence. In Episode 6 “Babylon” material institutions such as the office and the home function as ideologies, and impose strict standards of behaviour upon the characters. The episode begins with Roger Sterling and Joan having a romantic rendezvous in an upscale hotel room. Typically, Joan refers to her boss as Mr. Sterling, but once they are alone together in the hotel room, they both refer to each other as “Joanie” and “Sterling”. Mr. Sterling abandons his stern, professional demeanor, and coyly professes his love for Joan and his desire to run away with her. When they step out of the hotel, this behavior quickly comes to an end. Mr. Sterling tips his black cap and parts to the left, while Joan quickly veers in the opposite direction and hails a cab. The safety of the hotel room allows both characters to step out of their professional personas and expose their vulnerability, if only for a short period of time.

The Sterling Cooper office plan is strategically organized to reiterate the roles of each of the employees. The female secretaries and lower ranking employees all are lumped into a maze of desks in the center of the office. They each have their own desk, but have no dividers or privacy to mark their territory. This area is designated for casual chatting between employees, making lunch plans, and answering calls from other clients. Employees with larger roles such as Pete Campbell have their own private offices, but other co-workers casually barge in without notice, prop themselves on top of the desks, and help themselves to a drink. In fact, the “boys” enter Freddy Rumsen’s room unexpectedly, make a drink using his vodka, and offer advice about a new deal while casually resting on the edge of his desk. This would never happen in Don Draper’s office because of his high rank and the design of his office. Mr. Draper’s office is marked off with large silver letters and situated in the corner of the building. Clients and other employees must pass through Peggy or make an appointment in order to speak with Draper. Everyone except Mr. Sterling and Mr. Cooper knock before entering, and sit on the opposite side of his lofty leather desk in smaller chairs. The black leather couch, pictures on the walls, plants, and fully stocked bar are all signs of his Draper’s authority in the Sterling Cooper office.

Although Draper has significant influence in the office, whenever he enters the territory of the “60s beatniks” he suddenly loses his authority. In this episode, he goes with his lover, Midge Daniel, to an artsy speak-easy performance to listen to one of Midge’s friends recite a poem. The performance takes place in an underground shabby room with a piano, a small stage, and a few round tables with wooden chairs for the audience members. The close proximity between the audience and the performer makes the environment more intimate and unites the two crowds. When Don asks Midge’s Beatnik friends to switch seats, he quickly replies “No way man.” Don’s charm and authority is undermined by the environment, which is Beatnik territory and requires different behaviors. This episode serves as a testament to the ideological power of material institutions, and their function set norms of behavior. Without noticing, the characters adapt their behavior to the physical environment, taking on different roles depending on the physical environment.

Sex Lives in Second Life and No Network is An Island in relation to MadMen

Meeting date: 11/10/10

Group Attendance: Charlie DeWitt, Marshall Kerns, Lauren Solomon, Candace Barbour, Catherine Muller, Clay Prietsch,

Episodes Watched: Season 1 Episode 9: Shoot

Sex Lives in Second Life and No Network is An Island in relation to Mad Men

In class this week we discussed Robert Alan Brookely’s and Kristopher L. Cannon’s article Sex Lives in Second Life and Sharon Ross’s article No Network is An Island: Lost’s Tele-Participation and ABC’s return to Industry Legitamacy.

Sex Lives in Second Life explores the negative effects of the objectification of women and the marginalization of homosexuals in the online game Second Life. The authors claim that the objectification of females and marginalization of homosexuals in the game leads to objectification in real life as well. Although Mad Men does not correlate with the gaming experience of Second Life, the show certainly objectifies women and marginalizes homosexuals just as the gaming experience of Second Life does. One thread in the narrative of episode 9 of Mad Men focuses on Betty’s quest to resume her modeling career. Don’s potential employer, Jim Hobart, tells Betty that she looks similar to Grace Kelly and thus could be used for the new Coke campaign. Betty is only considered for the campaign because her appearance is somewhat similar to that of an already proven household name. Furthermore, later in the episode we discover Jim Hobart only offers the modeling position to Betty as a way to woo Don to work for him. Don is quite wary of Betty’s decision to accept the modeling job because he fears the kids won’t be looked after well. Looking after the kids and preparing meals is an innate part of Betty’s duties. However, throughout the first season, viewers witness Betty’s struggle to break free from the housewife stereotype. Betty desperately wants a more fulfilling life, but at the same time she is terrified of being different. She abhors the notion of being a single mother, as evidenced by her claim that she could never do what Helen Bishop is doing. When the Draper’s neighbor threatens to kill their dog if it comes onto his property again, Don is the only one who asserts he should talk to the neighbor. Betty again plays the quiet, docile housewife. However, at the end of episode 9, Betty does break the weak, docile housewife stereotype by shooting her neighbors prized birds. Betty’s strange actions here relate to Fuco’s docile body idea present in the Sex Lives article. When you create the idea of normalcy, you inevitably create oddity. Betty adheres to the idea of normalcy for the vast majority of her life, until she allows her conflicted emotions to manifest into odd actions, according the stereotype of the docile, subservient housewife.

The marginalization of homosexuals, while not dealt with in this episode of Mad Men is brought up in episode 8: The Hobo Code. In that episode, another homosexual man takes out the Italian art director of Sterling Cooper, Salvatore Romano, to dinner. However, because homosexuals were so marginalized in the 1960s, Salvatore does not know how to express his feelings. The other man tries to be friendly, but Salvatore spurns his advances, saying “he wouldn’t know what to do”. Similar to Second Life, the characters/culture in Mad Men marginalize homosexuals so much that Salvatore is forced to hide his true emotions.

Unlike Brookley’s and Cannon’s claims about how the objectification of women and the marginalization of homosexuals in Second Life transcends to people’s attitudes in real life, I do not believe that any objectification/marginalization in Mad Men would carry over to real life for two reasons. The first reason is that viewers do not interact with Mad Men as they do with Second Life where they actively reinforce stereotypes/marginalization/objectification by clicking buttons to make choices to affirm the stereotypes. Furthermore, if Steve Johnson’s arguments are considered, Second Life does not marginalize or objectify anyone because form trumps content. The act of clicking the mouse and deciphering the sphere of the game is more important than what the stereotypes the person reinforces when he clicks on a button.

Sharon Ross’ article explores the notion of producers linking television programs to online content. Ross believes the websites established by producers, then fueled by fans are important to our society because they form connections whereas before people were more isolated in watching/discussing television. Ross chronicles how ABC’s handling of LOST shifted the television industry to television intermingled with online components. Looking at Mad Men’s website on AMCtv.com, one can see that the Mad Men producers clearly value the interactive online experience of Mad Men as well as the television experience. I was astounded at how comprehensive the Mad Men site was. One could spend hours ciphering through the entire site, and still want to go back the next day because the discussion boards/contests are constantly updated. Viewers can browse through episode guides that thoroughly recap all narrative threads of each episode in about 1,300 words per episode. The producers also set up a “Discuss this episode” section where viewers can discuss what they liked about each episode. Reading through the discussion boards it seems that viewers don’t find themselves restricted to only discussing episodes, as one of the threads had about 15 posts of which leading male they found more attractive and why. Also viewers discussed how Jon Hamm’s spot on Conan went. Additionally, the website contained “trivia” sections where viewers can test themselves on knowledge of the program, and a “cocktail guide” section where viewers can emulate the drinks the characters of Mad Men enjoy. A “fashion guide” (sponsored by banana republic) points out how viewers can achieve the early 60’s look that the show replicates so well. The site also offers a downloadable Mad Men application to an Iphone. Visitors can use the “madmenyourself” link to create a cartoon version of themselves dressed in 60’s attire and posed with 60’s props.

I found the most intriguing link on the site to be the casting call contest. Here, visitors submit photos of themselves in 60’s attire to win a guest appearance on the show. Additionally, visitors can vote on the results. This is the most interactive feature of any television drama that I can think of. Similar to the reality show American Idol, Mad Men viewers not only immerse themselves in the nuances of the show on the website, but they can also become part of the production of the show by either choosing the next guest character or becoming the character themselves. While LOST might have begun the television shift towards interactivity on the internet, MadMen’s website certainly surpasses LOST’s in terms of a drama establishing an online community and providing an sense of fluidness between the viewer and the producer. One of the points we mentioned in class was that in this new multimedia era of TV, viewers have more power over the shows. Discussion boards can lead to changes, contests lead to viewers becoming part of the show. Madmen epitomizes the drastic shift in the production/consumption spectrum that online components of television programs created

Johnson's theories present in MadMen

Meeting date: 9/26/10

Group Attendance: Charlie DeWitt, Marshall Kerns, Lauren Solomon, Candace Barbour, Catherine Muller, Clay Prietsch, Tim McNulty

Episodes Watched: Season 1 Episode 4: New Amsterdam

Johnson's theories present in MadMen

by Clay Prietsch

In class this past week we studied the Flynn effect and other theories from Steve Johnson’s novel Everything Bad is Good for You. We can investigate Johnson’s theories in an informal setting by using episode four from season one of Mad Men as a referential text.

Steven Johnson argues that over the past 40 years the increasing complexity in media texts, such as dramatic television shows, has engendered the increase in people’s IQ and G (a test of fluid intellect, which some claim is more comprehensive that IQ). Mad Men can be used as an example of the increasing complexity of television shows. Until episode 4, the narrative of Mad Men primarily focused on Don Draper, his wife Betty Draper, their children, Betty’s gossipy friends, the divorced neighbor Helen Bishop and her children, Don’s mistress Midge Daniels, Don’s other love interest Rachel Menken, Sterling Cooper, Peggy Olson, Joan Harris, Salvatore Romano and Pete Campbell. There are a few other minor characters who interact with these prominent figures as well. For being only three episodes into the program this is a dizzying number of characters to keep up with, certainly proving Johnson’s point that Television shows have become exponentially more complex than they were 40 years ago. In episode four, the narrative delves into Pete Campbell’s parents, his wife, and her parents. Pete’s insecurities over the control he has in his life, particularly his emasculation – as demonstrated by his concern with his wife’s parents purchasing an apartment for him and his wife – and the lack of respect he receives – demonstrated by his parents ignoring his request for a loan. The narrative is able to delve into other characters because, as Johnson points out, television consumers desire programming that challenges their intellectual capabilities. Even though television is a one-way medium, consumers want to interact with it, and producers allow them to do so by making the programming intellectually challenging so that the text requires mental scrutiny from the consumer to keep up with the information being supplied to them.

Besides the expansive character list that the narrative of Mad Men keeps up with, the program is also complex because seemingly perfunctory moments in each episode are revealed to be significant in later episodes. A subplot of episode 4 occurs when Betty Ross baby sits for Helen Bishop’s children. This subplot illuminates Betty’s discomfort with the idea of being a single mother, which she professes to her psychiatrist. In an odd scene Glenn spies on Betty while she uses the restroom and then begs her for a strand of her hair. Betty later explains to her psychiatrist that she felt sorry for the boy being raised by a single mother so she obliged his request. This subplot was important to illuminate Betty’s character traits in this episode; however, in episode seven this minor scene becomes important again when Helen Bishop discovers the hair in her son’s room and rebukes Betty in public for giving it to Glenn, which leads to Betty slapping Helen. Now that brief scene in episode four becomes important to the overall narrative to the show becauseit divides the women in the neighborhood. I suspect it will become important again as the season continues.

Johnson would claim that the depictions of characters incessantly enjoying cigarettes and alcohol does not influence people because form is more important than content in a text. Johnson believes that viewers will not emulate Don Draper’s unhealthy habits because they watch the program. Rather, viewers will expand their mental capacities by following the nuanced plot. Form trumps content, Johnson would say, and I agree.

I would like to believe Johnson’s point that the increasingly complex television shows engender increasing intelligence, but I believe that as consumers understand the medium of television more and more, the producers of television are able to augment their programming to satisfy the intellectual curiosity of consumers. So the increase in the nuanced programming is a result of increased familiarity rather than a result of an increased mental capacity because of the medium. It was only a century ago when consumers of films could not comprehend a cut in a scene, now consumers almost take for granted films like the Bourne Ultimatum where over 100 cuts are employed in less than two minutes.

"Whatever You Want" - A Moment of Marginalization in Mad Men

Meeting date: 11/7
Attendees: Charlie, Catherine, Marshall, Lauren, Charlie, Candace, Clay, Tim
Episode 10: “The Long Weekend”

Episode 10 of the first season of Mad Men reminds the mass media critic of Robert Brookey and Kristopher Cannon’s assertions and ideas regarding sexual marginalization and docility they discuss in their article “Sex Lives in Second Life.” While this article deals primarily with these topics as they play out in online and interactive media formats (they use the popular MMORPG Second Life as their example), a discussion of gender and sexuality marginalizations certainly can be distilled from more traditional forms of popular texts. While many examples emerge from the Mad Men canon, I wish to highlight several poignant moments found in Season 1, Episode 11, entitled “The Long Weekend,” that represent a less saturated and traditional exercising of marginalization that the type found in Second Life. However, given the time and cultural setting of Mad Men and the more widely accessed form in which it is mediated, one may argue for an inherent equality of the degrees of sexual deviation and, hence, marginalization found in these two texts. Despite the obvious difference between Mad Men’s representative nature and that of Second Life’s expressive, an exploration of the relative levels of extremity of the practice in these texts might still evince considerable insight into the status of “queer” sexuality and gender performance in today’s reality and the manner in which it is represented in popular, mass mediated fictions.


In the Mad Men vein, episode 11 provides the audience with an instance of timid, uncertain lesbian sexuality that the show’s creators tactfully build-up to throughout the episode. The moment occurs when Joan’s friend and former college roommate, Carol McCardy, confesses her love for Joan and asks Joan to “just think of [her] as a boy.” While minute plot details have suggested only one other instance of homosexuality in a character, this scene constitutes the first outright admittance of a form of queer sexuality in the entirety of Mad Men. On the other hand, within the world of Second Life, there exists a plethora of openly queer (or faux-queer) individuals, who openly and willingly engage in sexual activity and have established societies and meeting places centered around this sexual activity. Marginalization enters the picture, however, when the ingredient of bestiality is added into the mixture. Characters known as “furries” are not only non-human appearing characters, but are often transgender and homosexually-oriented. For the represented 1960s world of Mad Men, the most extreme form of marginalization occurs when a sexual “deviant,” Carol, submits herself to Joan’s and the bachelor’s marginalization by accepting both Joan’s diversion of the initial conversation and giving in to the bachelors sexual advances, i.e. “Whatever you want.” The secretive nature of the queer sexuality in these two texts is where they diverge. In the interactive, expressive Second Life, both blatant marginalization (“Personal Nullification”) and group self-marginalization occur (“Gay Yiffy Club); but, because in Mad Men, queer sexuality has not been developed in the fabula’s societal setting, only reluctant self-marginalization occurs.


Although Cannon and Brookey argue that the interactive text Second Life only serves to reinforce the heteronormative case for restricting sexual liberation, the very existence of room for performative choice – ie, choosing a male, female, or Furry avatar – in determining one’s sexuality, in Second Life. Meanwhile, the creators of Mad Men can only provide a moment of rupture, to refer to Ralina Joseph, in the ideology of sexuality. Therefore, cited in the example of sexual marginalization, interactive texts allow more room for expression, but do not progress the cause of sexual liberation.