[wikfwikf]

I think this phenomenon is actually something else: in the 1950s people who were commonly depicted as being part of society tended to have a house with a garden and a nuclear family structure where the husband, but not the wife, worked.

There were plenty of people who couldn't afford a house with a garden, or who didn't have one for other reasons, or who were not married or had a different type of family structure, or men who didn't work, or women who did work. But they were made invisible by the lack of portrayal, both in that society's image of itself, and in our image of that society.

(Or by a different mechanism: when people outside of that structure were portrayed, it was as outsiders and aberrations, whereas married couples with children who lived in houses were portrayed as the norm. For example, the protagonist of 'On the Road', commonly associated with that era, does not have a fixed address or a job, nor a wife, nor children. The protagonist of 'Invisible Man', a book central to the discourse of who does and does not get represented in media, lives in a basement apartment alone without a wife or family. The protagonist of 'The Bell Jar' is a woman who lives alone in an apartment in New York while working at a job, then in her mother's house, then in a mental asylum.)