JOURNAL ARTICLE
Constructing the Sony Watchman Pocket Television: Personalization, Spatial Agency, and the Conundrum of the Mobile Idler.
Published In: JCMS: Journal of Cinema & Media Studies, 2024, v. 63, n. 3. P. 30 1 of 3
Database: Academic Search Ultimate 2 of 3
Authored By: Hessler, Jennifer 3 of 3
Abstract
The Sony Watchman, a pocket television device, played a significant role in the development of television technology and the cultural attitudes towards television. It evolved to address the challenges of mobile viewing and set a precedent for screen-based mobile devices. Sony's marketing campaigns for the Watchman incorporated progressive lifestyle tactics while acknowledging the low-brow cultural status of television. The device gained popularity in the 1980s with the release of affordable models, and Sony targeted niche consumer groups with multiple models. The Watchman's design and technological limitations hindered the establishment of a coherent brand identity, but it remains an important artifact in the history of television. The marketing for the Watchman emphasized individual choice, social mobility, and the convergence of technology with the body. However, the ads tended to re-affirm prescribed gender roles, with women depicted using the device in the domestic space and the ads often coupling the agency afforded by the gadgetization of television with a reaffirmation of masculinity. Some ads even used double entendre and phallic imagery to position the Watchman as a symbol of sexual conquest. Despite its short lifespan, the Watchman played a significant role in the evolution of television technology and the negotiation of its cultural identity. [Extracted from the article]
Additional Information
- Source:JCMS: Journal of Cinema & Media Studies. 2024/04, Vol. 63, Issue 3, p30
- Document Type:Article
- Subject Area:Communication and Mass Media
- Publication Date:2024
- ISSN:2578-4900
- DOI:10.1353/cj.2024.a927685
- Accession Number:179082547
- Copyright Statement:Copyright of JCMS: Journal of Cinema & Media Studies is the property of Society of Cinema & Media Studies and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)
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