Situational Comedies and the Changing Narrative
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The Musical Number and the Sitcom
ECHO: a music-centered journal www.echo.ucla.edu Volume 5 Issue 1 (Spring 2003) It May Look Like a Living Room…: The Musical Number and the Sitcom By Robin Stilwell Georgetown University 1. They are images firmly established in the common television consciousness of most Americans: Lucy and Ethel stuffing chocolates in their mouths and clothing as they fall hopelessly behind at a confectionary conveyor belt, a sunburned Lucy trying to model a tweed suit, Lucy getting soused on Vitameatavegemin on live television—classic slapstick moments. But what was I Love Lucy about? It was about Lucy trying to “get in the show,” meaning her husband’s nightclub act in the first instance, and, in a pinch, anything else even remotely resembling show business. In The Dick Van Dyke Show, Rob Petrie is also in show business, and though his wife, Laura, shows no real desire to “get in the show,” Mary Tyler Moore is given ample opportunity to display her not-insignificant talent for singing and dancing—as are the other cast members—usually in the Petries’ living room. The idealized family home is transformed into, or rather revealed to be, a space of display and performance. 2. These shows, two of the most enduring situation comedies (“sitcoms”) in American television history, feature musical numbers in many episodes. The musical number in television situation comedy is a perhaps surprisingly prevalent phenomenon. In her introduction to genre studies, Jane Feuer uses the example of Indians in Westerns as the sort of surface element that might belong to a genre, even though not every example of the genre might exhibit that element: not every Western has Indians, but Indians are still paradigmatic of the genre (Feuer, “Genre Study” 139). -
Birth and Evolution of Korean Reality Show Formats
Georgia State University ScholarWorks @ Georgia State University Film, Media & Theatre Dissertations School of Film, Media & Theatre Spring 5-6-2019 Dynamics of a Periphery TV Industry: Birth and Evolution of Korean Reality Show Formats Soo keung Jung [email protected] Follow this and additional works at: https://scholarworks.gsu.edu/fmt_dissertations Recommended Citation Jung, Soo keung, "Dynamics of a Periphery TV Industry: Birth and Evolution of Korean Reality Show Formats." Dissertation, Georgia State University, 2019. https://scholarworks.gsu.edu/fmt_dissertations/7 This Dissertation is brought to you for free and open access by the School of Film, Media & Theatre at ScholarWorks @ Georgia State University. It has been accepted for inclusion in Film, Media & Theatre Dissertations by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. DYNAMICS OF A PERIPHERY TV INDUSTRY: BIRTH AND EVOLUTION OF KOREAN REALITY SHOW FORMATS by SOOKEUNG JUNG Under the Direction of Ethan Tussey and Sharon Shahaf, PhD ABSTRACT Television format, a tradable program package, has allowed Korean television the new opportunity to be recognized globally. The booming transnational production of Korean reality formats have transformed the production culture, aesthetics and structure of the local television. This study, using a historical and practical approach to the evolution of the Korean reality formats, examines the dynamic relations between producer, industry and text in the -
Television Satire and Discursive Integration in the Post-Stewart/Colbert Era
University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Masters Theses Graduate School 5-2017 On with the Motley: Television Satire and Discursive Integration in the Post-Stewart/Colbert Era Amanda Kay Martin University of Tennessee, Knoxville, [email protected] Follow this and additional works at: https://trace.tennessee.edu/utk_gradthes Part of the Journalism Studies Commons Recommended Citation Martin, Amanda Kay, "On with the Motley: Television Satire and Discursive Integration in the Post-Stewart/ Colbert Era. " Master's Thesis, University of Tennessee, 2017. https://trace.tennessee.edu/utk_gradthes/4759 This Thesis is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Masters Theses by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a thesis written by Amanda Kay Martin entitled "On with the Motley: Television Satire and Discursive Integration in the Post-Stewart/Colbert Era." I have examined the final electronic copy of this thesis for form and content and recommend that it be accepted in partial fulfillment of the equirr ements for the degree of Master of Science, with a major in Communication and Information. Barbara Kaye, Major Professor We have read this thesis and recommend its acceptance: Mark Harmon, Amber Roessner Accepted for the Council: Dixie L. Thompson Vice Provost and Dean of the Graduate School (Original signatures are on file with official studentecor r ds.) On with the Motley: Television Satire and Discursive Integration in the Post-Stewart/Colbert Era A Thesis Presented for the Master of Science Degree The University of Tennessee, Knoxville Amanda Kay Martin May 2017 Copyright © 2017 by Amanda Kay Martin All rights reserved. -
Student Profile 2018-2019
VISITMUSICCITY.COM NASHVILLE WAS NAMED ONE OF THE TOP TEN STUDENT DESTINATIONS IN 2018 BY SYTA. LEARN (Student Youth and Travel Organization, April 2018) Adventure Science Center Experience Nashville Tours The Parthenon adventuresci.org experiencenashvilletours.com parthenon.org Andrew Jackson’s Hermitage Echoes of Nashville Walking Tours The Upper Room Chapel & Museum thehermitage.com echoesofnashville.com upperroom.org Belle Meade Plantation Frist Art Museum United Street Tours bellemeadeplantation.com fristartmuseum.org unitedstreettours.com Belmont Mansion Hatch Show Print belmontmansion.com hatchshowprint.org Group recording with Meghan Linsey on Nashville Studio Tour Bicentennial Capitol Mall State Park Historic Travellers Rest tnstateparks.com travellersrestplantation.org Chaffin’s Barn Theatre Lane Motor Museum dinnertheatre.com lanemotormuseum.org Cheekwood Estate and Gardens Plaza Mariachi Music City cheekwood.org plazamariachi.com NEW Frist Art Museum Chocolate classes at the Goo Goo Cluster Shop and Dessert Bar googoo.com Student group recordings at historic Sound Stage Studios with Imagine Recordings PLAY imaginerecordings.com Adventureworks Live variety show featuring 60 years of Nashville music at The Music of Nashville adventureworks.com themusicofnashville.com Amazing Scavenger Hunt Adventure Interactive workshop with The Voice runner-up Meghan Linsey on the new Nashville Studio Tour urbanadventurequest.com nashvillestudiotour.com Dave & Buster’s daveandbusters.com/Nashville New two-floor, 137,000 square foot Tennessee -
Politics of Parody
Bryant University Bryant Digital Repository English and Cultural Studies Faculty English and Cultural Studies Journal Articles Publications and Research Winter 2012 Live From New York, It's the Fake News! Saturday Night Live and the (Non)Politics of Parody Amber Day Bryant University Ethan Thompson Texas A & M University - Corpus Christi, [email protected] Follow this and additional works at: https://digitalcommons.bryant.edu/eng_jou Part of the Other Arts and Humanities Commons, Other Film and Media Studies Commons, and the Television Commons Recommended Citation Day, Amber and Thompson, Ethan, "Live From New York, It's the Fake News! Saturday Night Live and the (Non)Politics of Parody" (2012). English and Cultural Studies Journal Articles. Paper 44. https://digitalcommons.bryant.edu/eng_jou/44 This Article is brought to you for free and open access by the English and Cultural Studies Faculty Publications and Research at Bryant Digital Repository. It has been accepted for inclusion in English and Cultural Studies Journal Articles by an authorized administrator of Bryant Digital Repository. For more information, please contact [email protected]. 1 Live from New York, It’s the Fake News! Saturday Night Live and the (Non)Politics of Parody Amber Day Assistant Professor English and Cultural Studies Bryant University 401-952-3933 [email protected] Ethan Thompson Associate Professor Department of Communication Texas A&M University - Corpus Christi 361-876-5200 [email protected] 2 Abstract Though Saturday Night Live’s “Weekend Update” has become one of the most iconic of fake news programs, it is remarkably unfocused on either satiric critique or parody of particular news conventions. -
Journal of British Studies
Journal of British Studies 'The show is not about race': Custom, Screen Culture, and The Black and White Minstrel Show --Manuscript Draft-- Manuscript Number: 4811R2 Full Title: 'The show is not about race': Custom, Screen Culture, and The Black and White Minstrel Show Article Type: Original Manuscript Corresponding Author: Christine Grandy, Ph.D. University of Lincoln Lincoln, Lincolnshire UNITED KINGDOM Corresponding Author Secondary Information: Corresponding Author's Institution: University of Lincoln Corresponding Author's Secondary Institution: First Author: Christine Grandy, Ph.D. First Author Secondary Information: Order of Authors: Christine Grandy, Ph.D. Order of Authors Secondary Information: Abstract: In 1967, when the BBC was faced with a petition by the Campaign Against Racial Discrimination (CARD) requesting an end to the televised variety programme, The Black and White Minstrel Show (1958-1978), producers at the BBC, the press, and audience members collectively argued that the historic presence of minstrelsy in Britain rendered the practice of blacking up harmless. This article uses Critical Race Theory as a useful framework for unpacking defences that hinged both on the colour-blindness of white British audiences, and the simultaneous existence of wider customs of blacking up within British television and film. I examine a range of 'screen culture' from the 1920s to the 1970s, including feature films, home movies, newsreels, and television, that provide evidence of the existence of blackface as a type of racialised custom in British entertainment throughout this period. Efforts by organisations such as CARD, black-press publications like Flamingo, and audiences of colour, to name blacking up and minstrelsy as racist in the late 1960s were met by fierce resistance from majority white audiences and producers, who denied their authority to do so. -
Chapter Outline I. Minstrelsy A. the Minstrel Show
CHAPTER TWO: “AFTER THE BALL”: POPULAR MUSIC OF THE NINETEENTH AND EARLY TWENTIETH CENTURIES Chapter Outline I. Minstrelsy A. The minstrel show 1. The first form of musical and theatrical entertainment to be regarded by European audiences as distinctively American in character 2. Featured mainly white performers who artificially blackened their skin and carried out parodies of African American music, dance, dress, and dialect 3. Emerged from rough-and-tumble, predominantly working-class neighborhoods such as New York City’s Seventh Ward, commercial urban zones where interracial interaction was common 4. Early blackface performers were the first expression of a distinctively American popular culture. B. George Washington Dixon 1. The first white performer to establish a wide reputation as a “blackface” entertainer 2. Made his New York debut in 1828 CHAPTER TWO: “AFTER THE BALL”: POPULAR MUSIC OF THE NINETEENTH AND EARLY TWENTIETH CENTURIES 3. His act featured two of the earliest “Ethiopian” songs, “Long Tail Blue” and “Coal Black Rose.” a) Simple melodies from European tradition C. Thomas Dartmouth Rice (1808–60) 1. White actor born into a poor family in New York’s Seventh Ward 2. Demonstrated the potential popularity and profitability of minstrelsy with the song “Jim Crow” (1829), which became the first international American song hit 3. Sang this song in blackface while imitating a dance step called the “cakewalk,” an Africanized version of the European quadrille (a kind of square dance) 4. The cakewalk was developed by slaves as a parody of the “refined” dance movements of the white slave owners. a) The rhythms of the music used to accompany the cakewalk exemplify the principle of syncopation. -
Camp TV: Trans Gender Queer Sitcom History by Quinlan Miller
Reviewed by Ken Feil Camp TV: Trans Gender Queer Sitcom History by Quinlan Miller. Duke University Press. 2019. 232 pages. $99.95 hardcover; $25.95 paper; also available in e-book. In Camp TV: Trans Gender Queer Sitcom History, Quinlan Miller presents a revelatory historical reassessment of the US network sitcom of the 1950s and 1960s in addition to rethinking camp, an ironic performance and reception sensibility usually associated with white, gay male culture. Arguing that non- binary gender is a constitutive element of both camp and situation comedy formulas, Miller disputes the assumptions of both television history and camp studies with meticulous research spanning institutional procedures, social- historical context, and textual features. The subject of camp remains marginal in television studies, as W. D. Phillips and Isabel Pinedo recently observed, despite holding a pivotal position in television history.1 Genealogies of cult TV, furthermore, have rendered camp either invisible or hovering in the fringes.2 Miller confirms the centrality of camp to television aesthetics at the same time as they challenge the typical historical narrative of camp TV, which begins in the 1960s with the iconic network series Batman (ABC, 1966– 1968) and the burgeoning mainstream currency of “camp” sensibility generated by 1 W. D. Phillips and Isabel Pinedo, “Gilligan and Captain Kirk Have More in Common Than You Think: 1960s Camp TV as an Alternative Genealogy for Cult TV,” Journal of Popular Television 6, no. 1 (2018): 23– 27, https://doi.org/10.1386/jptv.6.1.19_1. 2 Phillips and Pinedo, “Gilligan and Captain Kirk,” 21– 23; Philippe Le Guern, “Toward a Constructivist Approach to Media Cults,” in Cult Television, ed. -
The Poetics of Sketch Comedy
UNLV Retrospective Theses & Dissertations 1-1-1994 The poetics of sketch comedy Michael Douglas Upchurch University of Nevada, Las Vegas Follow this and additional works at: https://digitalscholarship.unlv.edu/rtds Repository Citation Upchurch, Michael Douglas, "The poetics of sketch comedy" (1994). UNLV Retrospective Theses & Dissertations. 368. http://dx.doi.org/10.25669/8oh8-bt66 This Thesis is protected by copyright and/or related rights. It has been brought to you by Digital Scholarship@UNLV with permission from the rights-holder(s). You are free to use this Thesis in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Thesis has been accepted for inclusion in UNLV Retrospective Theses & Dissertations by an authorized administrator of Digital Scholarship@UNLV. For more information, please contact [email protected]. INFORMATION TO USERS TTiis manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. -
Origins of the Genre in Search of the Radio Sitcom
1 Origins of the Genre In Search of the Radio Sitcom DAVID MARC The introduction of a mass communication medium normally occurs when an economically viable commercial application is found for a new technol- ogy. A third element necessary to the launch, content (i.e., something to communicate), is often treated as something of an afterthought in this process. As a result, adaptations of popular works and of entire genres from previous media tend to dominate the introductory period, even as they mutate under the developing conditions of the new medium. Such was the case in the rise of the television sitcom from the ashes of network radio. While a dozen or more long-running network radio series served as sources for early television situation comedies, it is in some ways misleading to describe these radio programs (e.g., Father Knows Best, Amos ’n’ Andy, or The Life of Riley) as “radio sitcoms.” According to the Oxford English Dic- tionary, neither the term “situation comedy” nor “sitcom” achieved common usage until the 1950s, the point at which this type of entertainment had become completely absent from American radio. TV Guide appears to be among the first general circulation publica- tions to use the term “situation comedy” in print with the following passage cited by the Oxford English Dictionary from a 1953 article: “Ever since I Love Lucy zoomed to the top rung on the rating ladder, it seems the networks have been filling every available half-hour with another situation comedy” (TV Guide). The abbreviated form, “sitcom,” which probably enjoys greater usage today, has an even shorter history. -
The History of CBS New York Television Studios: 1937-1965
1 The History of CBS New York Television Studios: 1937-1965 By Bobby Ellerbee and Eyes of a Generation.com Preface and Acknowledgements This is the first known chronological listing that details the CBS television studios in New York City. Included in this exclusive presentation by and for Eyes of a Generation, are the outside performance theaters and their conversion dates to CBS Television theaters. This compilation gives us the clearest and most concise guide yet to the production and technical operations of television’s early days and the efforts at CBS to pioneer the new medium. This story is told to the best of our abilities, as a great deal of the information on these facilities is now gone…like so many of the men and women who worked there. I’ve told this as concisely as possible, but some elements are dependent on the memories of those who were there many years ago, and from conclusions drawn from research. If you can add to this with facts or photos, please contact me, as this is an ongoing project. (First Revision: August 6, 2018). Eyes of a Generation would like to offer a huge thanks to the many past and present CBS people that helped, but most especially to television historian and author David Schwartz (GSN), and Gady Reinhold (CBS 1966 to present), for their first-hand knowledge, photos and help. Among the distinguished CBS veterans providing background information are Dr. Joe Flaherty, George Sunga, Dave Dorsett, Allan Brown, Locke Wallace, Rick Scheckman, Jim Hergenrather, Craig Wilson and Bruce Martin. -
Television Programs Filmed in Hawaii ______High-Lighting Just Some of the Many Shows Shot in Hawaii
FilmHawaii HAWAII FILM OFFICE | State of Hawaii, Department of Business, Economic Development and Tourism| 250 South Hotel St., 5th Floor | Honolulu, HI 96813 Mailing Address: P.O. Box 2359 | Honolulu, HI 96804 | Phone (808) 586-2570 | Fax (808) 586-2572 | [email protected] Television Programs Filmed in Hawaii ______________________________________________ High-lighting just some of the many shows shot in Hawaii 2011 The River (ABC) TV Series - A riveting new thriller starring Bruce Greenwood as Dr. Emmet Cole, Executive producers: Michael Green, Oren Peli, Zack Estrin, Jason Blum and Steven Schneider. Oahu HAWAII FIVE-0 (CBS TV Studios) TV Series - one of the most iconic shows in television history. Executive Producer/Writer Peter Lenkov, Executive Producers Alex Kurtzman and Robert Orci. Currently filming Season 2. Oahu DOG: THE BOUNTY HUNTER (A&E) Reality TV series featuring the colorful adventures of a local bounty hunter. Oahu. OFF THE MAP (Touchstone Television / ABC) TV Series - Executive producers Shonda Rhimes and Betsy Beers: 2011 on ABC network television. Oahu ROSEANNE’S NUTS (A&E) – Realty TV on Roseanne Barr’s life on her Macadamia nut farm. Big Island FLY FISHING THE WORLD (Outdoor Channel) is a weekly program featuring a celebrity guest who, with the show's creator and host, John Barrett, fly-fishes and enjoys some of the most beautiful and unique waters this world has to offer. Oahu and Molokai WEDDING WARS (MTV Networks) Twelve engaged couples touch down at the luxurious Turtle Bay resort in Hawaii, ready to battle it out for a $100,000 dream destination wedding and a $25,000 nest egg.