W6.1 April 7 (Mon) - Kim Gyuri 김규리

1. Summary: Pleasantville as a Stage for Social Change

Pleasantville (1998), directed by Gary Ross, begins with two modern-day teenagers, David and Jennifer, being magically transported into a 1950s black-and-white sitcom world. David, an introverted fan of the show Pleasantville, becomes “Bud,” the son in a perfectly ordered, idealized suburban family. Jennifer, his more rebellious sister, becomes “Mary Sue,” the daughter.

At first, the Pleasantville world is strictly black-and-white—not just visually, but morally and culturally. Everyone follows clear routines, gender roles are rigid, and any deviation is unwelcome. But as characters begin expressing desire, curiosity, and individuality, color literally begins to appear in their world—starting with a red rose, then people’s faces, books, and eventually the entire town. These transformations reflect a deeper social upheaval: the town is changing from a controlled, performative society to one that allows complexity, emotion, and real identity.

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2. New Insights: Goffman Comes to Life in Technicolor

One of the most fascinating takeaways was seeing Goffman’s dramaturgical theory unfold in such a vivid, visual way. Goffman’s theory from The Presentation of Self in Everyday Life suggests that social life is a performance. We all act in certain ways depending on the social “stage” we’re on, the “audience” watching us, and the “roles” we’re playing.

In Pleasantville, the townspeople are initially stuck in their “front stage” personas. Their interactions are perfectly rehearsed, predictable, and polite—just like a sitcom. Everyone knows their lines, smiles at the right moments, and avoids deeper emotional conflict. This mirrors Goffman’s idea of the “front stage,” where we present ourselves in idealized ways to fit social expectations.

As characters begin to feel real emotions (lust, anger, confusion, love), their behaviors shift into “back stage” moments—private or raw interactions that break the town’s rigid norms. These moments lead to literal color changes, symbolizing deeper transformation and a move toward authenticity. For example:

• Betty (the mother) learns to explore her own desires and paints her face to hide the color that emerges—an act of managing impressions, very Goffman-esque.

• Mr. Johnson, the soda shop owner, begins to paint and express creativity, rejecting his previously mechanical “role.”

• Jennifer, initially uninterested in anything intellectual, discovers reading and study, changing from a flirtatious stereotype to a thoughtful individual—showing that identity is not fixed.

The use of color as a metaphor for realness and individuality is powerful. It shows how social “performances” can suppress deeper identities, and how breaking the script allows for personal and cultural growth.

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3. Discussion Point: Who Controls the Stage?

One interesting question I had while watching Pleasantville was: Who gets to decide what the “performance” should look like? In Goffman’s theory, performance is shaped by the individual and their audience—but in Pleasantville, it’s clear that there are larger structures (tradition, authority, media) enforcing the roles.

For instance, the town council tries to stop the changes by banning colored books, art, and interracial socializing. This mirrors real-life institutions that control norms and resist change. It raises questions like:

• Is it possible to escape performance entirely, or do we just switch from one role to another?

• Does individuality always lead to conflict in collective societies?

• What happens when “back stage” selves become public—can society adapt, or does it collapse?

In the real world, especially in online spaces, we’re constantly managing our image for different audiences—just like the characters in Pleasantville. But unlike the movie, we don’t always get to see the world turn to color when we break free. That made me reflect on how hard it can be to be “authentic” in environments where expectations are rigid or invisible.