James
Samuel Kizer
Dr.
Judy L. Isaksen
COM.2204
Media and Popular Culture Studies
Tuesday,
13 March 2012
A Modern
Family: ABC’s Hit Comedy Challenges the Traditional Family and Proposes a
21st Century Familial Paradigm
History,
for all intents and purposes, is the narrative of the human race. Cultures
flourish and decline, men and women rise to and fall from prominence, and an
incessant battle over ideologies occurs. Everyone, individually and
collectively, contributes to the construction of this storyline. At any given
point in time, someone, in one of the hundreds of societies inhabiting the
globe, is adding, subtracting, or modifying a thread to the metanarrative of
humanity in accordance with the ideals surrounding him.
In
American history, the narrative is unique in that the cultural norms and
societal processes spawned from a myriad of different peoples who emigrated
from other places on the globe. Certainly, this allows for a nation revolving
around diversity, which is remarkable; however, when one group deems their
ideology to be of greater worth than that of another, conflict is inevitable. Being
in the center of an ideological war has influenced slavery, women’s suffrage,
and racial discrimination to some degree. Now, as the 21st century
begins, views on the definition or marriage and the concept of family have become
pivotal issues, and the entire American public is aligning with a certain
stance.
In
such a technological world, it comes as no surprise that mediated messages are
key in keeping people informed of the progress made in the battle over ideas.
Television shows are no exception, as they create their characters, themes, and
plot progressions based on reality. ABC’s sitcom Modern Family is a brilliant example. Examining this show through
the lenses of narrative theory reveals that it is an argument for cultural
change. Modern
Family challenges
the view of the traditional family and effectively argues for an updated, 21st
century familial paradigm.
Modern Family thrives on a unique
plotline; perhaps this explains why it has been so successful. Each episode
highlights the personalities of the radically different characters as they
function within the extended family, all while showcasing the family’s
postmodern way of living, including everything from the mundane tasks to the
surreal emotion-stirring moments, both of which are necessary for keeping
families together. Of course, Steven Levitan, one of the show’s writers and
executive producers ensures that the viewer gets a handful of laughs;
situations in the Dunphy household, in particular, tend to go awry and create
uproarious scenes (a classic example is when Claire attempted to have a family portrait taken at the end of the first season).
It is, however, Cameron and Mitchell, the homosexual couple on the show who
adopted a beautiful Vietnamese girl, which allowed for the Modern Family to become so popular so rapidly. While none of the
three central households on the show are remotely traditional, Cam and Mitchell
stand out because they are, in fact, gay; this has caused significant controversy seeing that the show is running during
an era in which gay marriage is a hot-button issue. This is not the first show
that features a gay couple as a central element, but it is one of the most
recognized in American primetime television, thus exposing large numbers of
consumers to the issue of gay rights.
Humans
are natural storytellers. Proposed by Walter Fisher, a communication professor
at the University of Southern California in the early 1980s, the narrative
perspective argues that humans experience life through individual stories that
flow into the larger ongoing narrative (Sellnow 37). Stories are either
accepted or rejected based on the believability of the story (coherence) and
its fidelity, or “the degree to which the values offered in a story ring true
with what we regard as truthful and humane;” when combined, these two ideals
create the standards for narrative rationality (Sellnow 38).
It
is important to note that, while rationality is central to Fisher’s
perspective, narration cannot occur without it. Stories cannot be told unless
there is rational framework upon which it can rely; similarly, rationality demands
that a story be present. As Kip Redick and Lori Underwood, faculty in the
Department of Philosophy and Religious Studies at Christopher Newport
University, discuss in their paper “Rationality and Narrative: A Relationship
of Priority,” this fact poses a problem for the theoretical “universal
audience,” since each individual tells and receives stories in their own
contexts, and by extension their own rationalities (394). Narrative theory,
then, is a construct. Stories are told within the confines of the storyteller’s
desire and ability to narrate, and are limited by the narrator’s sense of self
and cultural surroundings. From this, symbolic meaning arises; the same
narrative registers divergent meanings as it passes from person to person.
Modern Family fits well within this
reexamined construct of narration. Mr. Levitan, the aforementioned writer and
producer, creates “half the stories, if not more…from our lives- those are the
best ones” (Hampp). With the plot seeded in reality, viewers can consume a product
that is relatively authentic. As a result, Modern
Family is more likely to parallel the viewers’ own narrative. The show
takes place in suburban America, complete with eco-friendly cars, beautifully
designed homes, friendly neighbors, and numerous trips to Target. The three
central families are each running their own narratives while contributing to
that of the extended family. Jay, a wealthy retiree, marries Gloria, a saucy
Hispanic socialite, who brings with her Manny, her son from a previous marriage.
Jay’s daughter, the ever-neurotic Claire, marries Phil Dunphy, the wannabe
tough-guy father figure. Their three children, Haley, Alex, and Luke, all have
characteristics stereotypical for their age and gender. Mitchell, Jay’s son, and
his partner of five-off years, Cameron, adopted Lilly, a Vietnamese girl.
Notice the complexity and diversity of Jay’s family. Everything one of the three units does
somehow plays a role in the plot of the other two; minor events, such as a
child being grounded or getting hurt, influence the development of the theme of
the episode, perhaps a family vacation. Such causal relations form the basis
for the show, allowing Modern Family
to be full of hilarity, sentiment, and occasionally tension. As an added bonus,
it airs during primetime in the middle of the workweek, enhancing the scope of
its demographic from schoolchildren to retired adults, thereby allowing more
people to receive the moral it advocates.
Modern Family, not surprisingly, takes a
postmodern approach and combines both syntagmatic and paradigmatic approaches
to time evolution. While each episode and each season progresses
chronologically (syntagmatic) throughout the course of the show, there will be
cut-scenes highlighting how different characters see the events that take place
or ones that are anticipated (paradigmatic). Throughout all of this, a
different character will narrate portions of most episodes (most often it is
either Jay or Claire). These temporal relations offer insight into reality. In
the 21st century, things are not simple. Life is mediated and moves
at a mind-blowing pace, and many different people are sending different
messages all at once. It is so easy to lose focus; hence, in the show, just as
things are starting to spiral, the writers implement a time in which the
characters slow down and ponder their lives. Of course, the moral of the show
is quite obvious: it does not matter how different you are, how crazy you seem,
or how hectic life gets; as long as there is love in the family, why does
anything else matter?
Unfortunately,
in current times, an overwhelmingly large portion of society does think many more things matter. Despite
having dozens of bigger social problems to consider, the most controversial
issue of the day revolves around love and homosexuality. Many vocal and
influential folks believe love is not love unless it is between one man and one
woman, who have their own children and remain lifelong spouses. Such is the
life of the traditional family. Typically, this view is rooted in the
Judeo-Christian faiths (even though the concept itself is manmade), but Ben
Voth, Associate Professor of Communication at Miami (OH) University, argues
that "there is some measure of relief to the project of bringing
postmodern ideas into the obedience of Jesus Christ” (3). Rhetorically, the
Bible and postmodern schools of thought can peacefully coexist as long as there
is no lingering presupposition that they cannot. By extension, this leaves room
for concepts deemed by conservatives as “unbiblical” to be reevaluated, and gay
marriage is currently in that process.
One
of the goals Modern Family has
accomplished, intentionally, is portraying how non-traditional families’
function and, frankly, they operate on par with the traditional nuclear family.
Cam and Mitchell arguably show the most genuine love towards each other, and
parents are surely envious of how well they are raising Lilly, despite their
steep leaning curve. They follow the patterns of normal working-class adults,
such as working, visiting with family, and hanging out on the weekends. They
blend it quite peacefully with the surrounding community and, despite Cam’s
occasional flamboyance, do not exhibit homosexual stereotypes. A handful of
states have legalized gay marriage, but if the whole union allowed it, the marriage statistics would certainly look less gloomy, since
the thousands of gay couples desiring to marry, would. A postmodern, 21st
century paradigm of family would be a huge benefit for America.
“
‘It’s easy to
dismiss the gay community or it's easy to dismiss homosexuals, but when you
introduce them and see that they're caring parents and lovable individuals, you
can't dismiss them as much,’ Mr. Levitan said” (Hampp). Modern Family certainly
advocates that marriage equality will not cause an uprising or bring God’s
wrath. Cam and Mitchell are the pop culture faces of the thousands of gay
couples already living lives parallel to theirs, with thousands more craving to
start. There is nothing to fear. The Christian institution of marriage, the
traditional method, will not disintegrate simply because a nontraditional way
is introduced. It is important that the American public is educated about the
issue, that pastors and lawmakers alike understand that biblical statements are
fluid and up to interpretation, and that using the Bible as evidence supporting
marriage discrimination is proclaimed rhetorically unsound. Most importantly,
like the three distinct character sets in Modern
Family manage to do, it is crucial that differences are accepted so that
the society at-large may be a cohesive whole. Different ways of thinking are by
no means acceptable as terms for intolerance or hate. Cam and Mitchell have the
support of the rest of the family. It is time for all American homosexuals to
receive the same.
Works Cited
"ABC.com - Modern
Family - Family Tree." ABC. Web. 11 Mar. 2012.
<http://abc.go.com/shows/modern-family/family-tree>.
"About the Show -
Modern Family - ABC.com." ABC. Web. 6 Mar. 2012. <http://abc.go.com/shows/modern-family/about-the-show>.
Bowman, Donna.
""Family Portrait" S1 / E24." A.V. Club. Web. 9 Mar.
2012. <http://www.avclub.com/articles/family-portrait,41347/>.
Hampp, Andrew. "Why
Viewers and Marketers Are Loving 'Modern Family'" Advertising Age
18 Apr. 2011. Communication and Mass Media Complete. Web. 1 Mar. 2012.
<http://libproxy.highpoint.edu/login?url=http://search.ebscohost.com/login.aspx?direct=true&db=ufh&AN=60076906&site=ehost-live>.
"Kiss Controversy Lost
on Modern Family." Advocate.com. 29 Aug. 2010. Web. 2 Mar. 2012.
<http://www.advocate.com/Arts_and_Entertainment/Entertainment_News/Kiss_Controversy_Lost_on_Modern_Family/>.
Redick, Kip, and Lori
Underwood. "Rationality and Narrative: A Relationship of Priority." Philosophy
& Rhetoric 40.4 (2007): 394-405. Communication and Mass Media
Complete. Web. 1 Mar. 2012.
<http://libproxy.highpoint.edu/login?url=http://search.ebscohost.com/login.aspx?direct=true&db=ufh&AN=27653363&site=ehost-live>.
Sellnow, Deanna D.
"Chapter 3. A Narrative Perspective." The Rhetorical Power of
Popular Culture: Considering Mediated Texts. Los Angeles: SAGE, 2010.
37-50. Print.
"Traditional Values
Coalition - Traditional Values Defined." Traditional Values Coalition.
Web. 10 Mar. 2012. <http://www.traditionalvalues.org/content/defined>.
"United States Divorce
Rate: 2009 Census Report Reveals Startling Marriage Trends." The
Huffington Post. TheHuffingtonPost.com, 25 Aug. 2011. Web. 7 Mar. 2012.
<http://www.huffingtonpost.com/2011/08/25/united-states-divorce-rat_n_935938.html>.
Voth, Ben. "Towards A
Critical Christian Rhetoric." Conference Papers--International
Communication Association. Proc. of 2007 Annual Meeting, Chicago, Illinois.
1-12. Communication and Mass Media Complete. Web. 5 Mar. 2012. <http://libproxy.highpoint.edu/login?url=http://search.ebscohost.com/login.aspx?direct=true&db=ufh&AN=35505921&site=ehost-live>.
