AMBIENTUM BIOETHICA BIOLOGIA CHEMIA DIGITALIA DRAMATICA EDUCATIO ARTIS GYMNAST. ENGINEERING EPHEMERIDES EUROPAEA GEOGRAPHIA GEOLOGIA HISTORIA HISTORIA ARTIUM INFORMATICA IURISPRUDENTIA MATHEMATICA MUSICA NEGOTIA OECONOMICA PHILOLOGIA PHILOSOPHIA PHYSICA POLITICA PSYCHOLOGIA-PAEDAGOGIA SOCIOLOGIA THEOLOGIA CATHOLICA THEOLOGIA CATHOLICA LATIN THEOLOGIA GR.-CATH. VARAD THEOLOGIA ORTHODOXA THEOLOGIA REF. TRANSYLVAN
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Authors: ALEX MCCANN.
DOI: 10.24193/subbdrama.2020.1.12
Published Online: 2020-03-30
Published Print: 2020-03-30
pp. 245-259
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It is not inconsequential that the first broadcast of Bewitched coincides almost perfectly with the publication of Betty Friedan’s preeminent work The Feminine Mystique, often considered the starting point of Second wave feminism. The book and the series have a common goal: enabling housewives to become aware of their alienation and gradually bring them towards emancipation. It is therefore by using the portrait of the American housewife of the 1950s discussed by Betty Friedan as a framework for analysis that we propose to show how Bewitched, through Samantha’s character as a housewife, renews the portrait of the typical housewife, but by being a witch, allows a whole generation of women to become aware of the bonds which imprison them and thus to tend towards a release.
Keywords: bewitched, witch, feminism, feminine mystique, emancipation, housewives.
