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Contentious Comedy
1 Contentious Comedy: Negotiating Issues of Form, Content, and Representation in American Sitcoms of the Post-Network Era Thesis by Lisa E. Williamson Submitted for the Degree of Doctor of Philosophy The University of Glasgow Department of Theatre, Film and Television Studies 2008 (Submitted May 2008) © Lisa E. Williamson 2008 2 Abstract Contentious Comedy: Negotiating Issues of Form, Content, and Representation in American Sitcoms of the Post-Network Era This thesis explores the way in which the institutional changes that have occurred within the post-network era of American television have impacted on the situation comedy in terms of form, content, and representation. This thesis argues that as one of television’s most durable genres, the sitcom must be understood as a dynamic form that develops over time in response to changing social, cultural, and institutional circumstances. By providing detailed case studies of the sitcom output of competing broadcast, pay-cable, and niche networks, this research provides an examination of the form that takes into account both the historical context in which it is situated as well as the processes and practices that are unique to television. In addition to drawing on existing academic theory, the primary sources utilised within this thesis include journalistic articles, interviews, and critical reviews, as well as supplementary materials such as DVD commentaries and programme websites. This is presented in conjunction with a comprehensive analysis of the textual features of a number of individual programmes. By providing an examination of the various production and scheduling strategies that have been implemented within the post-network era, this research considers how differentiation has become key within the multichannel marketplace. -
Presentation Counts
Presentation Counts By Peter Taylor The following is an extract from ‘The Lazy Project Manager and The Project from Hell’ – Peter Taylor’s new book, currently free as an eBook from Amazon Presentation Counts I was recently in a restaurant in a foreign land (well foreign to me of course but less so to the locals). The location was good, the décor and ambience very acceptable, the company most enjoyable, and the snow fell softly outside providing a winter wonderland visual delight through the large windows. But sadly all of that positive build-up for a great evening’s dining was almost outweighed by the food and ser- vice. After an initial ordering experience the diners elected to eat the same main course but each agreed that the chef’s vegetable of choice for the evening was not to their personal liking. It was the humble Brussels sprout, a member of the brassica family that enjoys a somewhat tarnished image which, considering its status as a nu- tritional powerhouse, is perhaps a little unfair. Its reputation is perhaps mostly due to the great British Christ- mas Day cooking technique: take sprouts, cut, trim, boil until at least twice dead and then for five minutes more. Then, finally, pile into a large dish and leave – because nobody actually likes Brussels sprouts (at least not cooked this way). Anyway the request was made to replace said evil vegetable with an alternative, and asparagus tips were re- quested. And so the meal continued through a mediocre appetizer and on until the main course finally ar- rived… without Brussels sprouts (the good news) but also without anything in their place as requested (the bad news). -
Take the IT Crowd and Yes, Prime Minister As Examples
ISSN 1712-8358[Print] Cross-Cultural Communication ISSN 1923-6700[Online] Vol. 11, No. 6, 2015, pp. 103-106 www.cscanada.net DOI: 10.3968/7174 www.cscanada.org On the Narrative Features of British Sitcoms: Take The IT Crowd and Yes, Prime Minister as Examples MAO Chun[a]; HU Xiao[b],*; ZHENG Yuhua[a] [a]Southwest University, Chongqing, China. second only following national news.” (liu, 2014) [b] Chongqing Youth Vocational and Technical College, Chongqing, Downton Abbey, Doctor Who, The IT Crowd, Coupling, China. *Corresponding author. Merlin and other popular British dramas have not only been recognized by Emmy Awards, but also have swept Supported by the Research Project of Higher Education Reform in the globe with unprecedented momentum. In this “British Chongqing “Construction and Practice of the evaluation Mode of style”, sitcom which advocates black humor, “cold joke” Computer Graphic Design Courses”. *Corresponding author. from ordinary life and memory, absurd and exaggerated nonsense craziness are also very popular. The IT Crowd, Received 22 March 2015; accepted 13 May 2015 as The Big Bang Theory which takes the life of high IQ Published online 26 June 2015 and low EQ life Frankenstein as the theme, attracts a group of loyal fans by virtue of the British “cold jokes”; Abstract Yes, Prime Minister’s ridicule on British politicians and In recent years, British TV dramas have been a glaring its political satire often arouses people’s admiration; phenomenon and the “new favorite” of fans who love London Girl, Miranda and other TV plays make people watching overseas TV plays. This paper takes two TV laugh and recollect the old days with their joking dramas of The IT Crowd and Yes, Prime Minister for thinking of youth. -
©2013 Tal Zalmanovich ALL RIGHTS RESERVED
©2013 Tal Zalmanovich ALL RIGHTS RESERVED SHARING A LAUGH: SITCOMS AND THE PRODUCTION OF POST-IMPERIAL BRITAIN, 1945-1980 by TAL ZALMANOVICH A dissertation submitted to the Graduate School-New Brunswick Rutgers, The State University of New Jersey In partial fulfillment of the requirements For the degree of Doctor of Philosophy Graduate Program in History Written under the direction of Prof. Bonnie Smith And Approved by ---------------------------------------- ---------------------------------------- ---------------------------------------- ---------------------------------------- New Brunswick, New Jersey May, 2013 ABSTRACT OF THE DISSERTATION Sharing a Laugh: Sitcoms and the Production of Post-Imperial Britain, 1945-1980 By Tal Zalmanovich Dissertation Director: Bonnie Smith Sharing a Laugh examines the social and cultural roles of television situation comedy in Britain between 1945 and 1980. It argues that an exploration of sitcoms reveals the mindset of postwar Britons and highlights how television developed both as an industry and as a public institution. This research demonstrates how Britain metamorphosed in this period from a welfare state with an implicit promise to establish a meritocratic and expert-based society, into a multiracial, consumer society ruled by the market. It illustrates how this turnabout of British society was formulated, debated, and shaped in British sitcoms. This dissertation argues that both democratization (resulting from the expansion of the franchise after World War I) and decolonization in the post-World War II era, established culture as a prominent political space in which interaction and interconnection between state and society took place. Therefore, this work focuses on culture and on previously less noticed parties to the negotiation over power in society such as, media institutions, media practitioners, and their audiences. -
Masaryk University Brno
Masaryk University Brno FacultyofEducation Department of English Language and Literature Contemporary British Humour Bachelor thesis Brno 2007 Supervisor: Written by: Mgr. Lucie Podroužková, PhD. Kateřina Matrasová Declaration: I declare that I have written this bachelor thesis myself and used only the sources listed in the enclosed bibliography. I agree with this bachelor thesis being deposited in the Library of the Faculty of Education at the Masaryk University and with its being made available for academic purposes. ................................................ Kateřina Matrasová 2 Acknowledgements I would like to thank to Mgr. Lucie Podroužková, PhD. I am grateful for her guidance and professional advice on writing the thesis. 3 Contensts Introduction…………………………………………………………………………………...5 PartOne……………………………………………………………………………………….7 1.Humour …………………………………………………………………………………….7 2.Laughter …………………………………………………………………………………..11 3.Comedy,VerbalHumourandGenres…………………………………………………….14 4.VerbalHumouronTelevisionandRadio……………………...........................................15 5.Britishness……………………………………………………...........................................17 PartTwo……………………………………………………………………………………..22 6.ContemporaryBritishComedians……………………………...........................................22 7.1.SachaCohenandhisalteregos …………………………………………………………22 7.2.AliG…………………………………………………………………………………….23 7.3.Bruno……………………………………………………………………………………25 7.4.Borat …………………………………………………………………………………….27 8.ChristopherMorrisandhiscomedyworks……………………………………………….30 8.1.BrassEye………………………………………………………………………………..31 -
The Linguistic Analysis of Television Form of the TV Serial Miranda Jazyková Analýza Televizní Formy Seriálu Miranda
Jihočeská univerzita v Českých Budějovicích Pedagogická fakulta Katedra anglistiky Bakalářská práce The Linguistic Analysis of Television Form of the TV Serial Miranda Jazyková analýza televizní formy seriálu Miranda Vypracoval a : Kateřina Skřečková , AJu - SVu, 3. ročník Vedoucí práce: Mgr. Ludmila Zemková, Ph.D České Budějovice 20 17 Prohlášení Prohlašuji, že svoji bakalářskou práci jsem vypracovala samostatně pouze s použitím pramenů a literatury uvedených v seznamu citované literatury. Prohlašuji, že v souladu s § 47b zákona č. 111/1998 Sb. v platném znění souhlasím se zveřejněním své bakalářské práce, a to v nezkrácené podobě elektroni ckou cestou ve veřejně přístupné části databáze STAG provozované Jihočeskou univerzitou v Českých Budějovicích na jejích internetových stránkách, a to se zachováním mého autorského práva k odevzdanému textu této kvalifikační práce. Souhlasím dále s tím, ab y toutéž elektronickou cestou byly v souladu s uvedeným ustanovením zákona č. 111/1998 Sb. zveřejněny posudky školitele a oponentů práce i záznam o průběhu a výsledku obhajoby kvalifikační práce. Rovněž souhlasím s porovnáním textu mé kvalifikační práce s databází kvalifikačních prací Theses.cz provozovanou Národním registrem vysokoškolských kvalifikačních prací a systémem na odhalování plagiátů. V Českých Budějovicích dne 13. 7 . 2017 …………………………………… Kateřina Skřečková Poděkování Ráda bych touto cestou poděkovala vedoucí mé bakalářské práce Mgr. Ludmile Zemková, Ph.D. za profesionální vedení a pomoc, a za podporu a čas , který mi věnovala. Acknowledgement I would like to express many thank s to the supervisor of my bachelor thesis Mgr. Ludmila Zemková , Ph.D . for her professional attitude and help, and for support and time she gave me . Anotace Tato bakalářská práce se zaměřuje na lingvistickou analýzu televizní formy seriálu Miranda v rozsahu vybraných episod z let 2009 – 2015. -
Comedy and Distinction: the Cultural Currency of a ‘Good’ Sense of Humour
Sam Friedman Comedy and distinction: the cultural currency of a ‘good’ sense of humour Book (Accepted Version) Original citation: Comedy and distinction: the cultural currency of a ‘good’ sense of humour, Abingdon, Oxon: Routledge, 2014, 228 pages. © 2017 The Author This version available at: http://eprints.lse.ac.uk/59932/ Available in LSE Research Online: September 2017 LSE has developed LSE Research Online so that users may access research output of the School. Copyright © and Moral Rights for the papers on this site are retained by the individual authors and/or other copyright owners. Users may download and/or print one copy of any article(s) in LSE Research Online to facilitate their private study or for non-commercial research. You may not engage in further distribution of the material or use it for any profit-making activities or any commercial gain. You may freely distribute the URL (http://eprints.lse.ac.uk) of the LSE Research Online website. This document is the author’s submitted version of the book section. There may be differences between this version and the published version. You are advised to consult the publisher’s version if you wish to cite from it. Introduction: Funny to Whom? In January 2011, the scheduling plans of Britain’s biggest TV station, BBC 1, were leaked to the press. After the recent success of BBC comedies such as Outnumbered and My Family, BBC1 Controller Danny Cohen apparently told his team of producers that BBC Comedy was becoming ‘too middle class’, and failing in its responsibility to appeal to working class viewers (Gammell, 2011; Revoir, 2011; Leith, 2011). -
British TV Comedies
Copyrighted material – 978–1–137–55294–5 Introduction, editorial matter and selection © Jürgen Kamm and Birgit Neumann 2016 Individual chapters © Contributors 2016 All rights reserved. No reproduction, copy or transmission of this publication may be made without written permission. No portion of this publication may be reproduced, copied or transmitted save with written permission or in accordance with the provisions of the Copyright, Designs and Patents Act 1988, or under the terms of any licence permitting limited copying issued by the Copyright Licensing Agency, Saffron House, 6–10 Kirby Street, London EC1N 8TS. Any person who does any unauthorized act in relation to this publication may be liable to criminal prosecution and civil claims for damages. The authors have asserted their rights to be identifi ed as the authors of this work in accordance with the Copyright, Designs and Patents Act 1988. First published 2016 by PALGRAVE MACMILLAN Palgrave Macmillan in the UK is an imprint of Macmillan Publishers Limited, registered in England, company number 785998, of Houndmills, Basingstoke, Hampshire RG21 6XS. Palgrave Macmillan in the US is a division of St Martin’s Press LLC, 175 Fifth Avenue, New York, NY 10010. Palgrave Macmillan is the global academic imprint of the above companies and has companies and representatives throughout the world. Palgrave® and Macmillan® are registered trademarks in the United States, the United Kingdom, Europe and other countries. ISBN 978–1–137–55294–5 This book is printed on paper suitable for recycling and made from fully managed and sustained forest sources. Logging, pulping and manufacturing processes are expected to conform to the environmental regulations of the country of origin. -
Northumbria Research Link
Northumbria Research Link Citation: Irwin, Mary (2015) "That’s the Last Time I Play the Tart for You, Jerry!": Penelope Keith and British Television Situation Comedy. Critical Studies in Television, 10 (2). pp. 87- 101. ISSN 1749-6020 Published by: SAGE URL: http://dx.doi.org/10.7227/CST.10.2.7 <http://dx.doi.org/10.7227/CST.10.2.7> This version was downloaded from Northumbria Research Link: http://nrl.northumbria.ac.uk/id/eprint/27992/ Northumbria University has developed Northumbria Research Link (NRL) to enable users to access the University’s research output. Copyright © and moral rights for items on NRL are retained by the individual author(s) and/or other copyright owners. Single copies of full items can be reproduced, displayed or performed, and given to third parties in any format or medium for personal research or study, educational, or not-for-profit purposes without prior permission or charge, provided the authors, title and full bibliographic details are given, as well as a hyperlink and/or URL to the original metadata page. The content must not be changed in any way. Full items must not be sold commercially in any format or medium without formal permission of the copyright holder. The full policy is available online: http://nrl.northumbria.ac.uk/policies.html This document may differ from the final, published version of the research and has been made available online in accordance with publisher policies. To read and/or cite from the published version of the research, please visit the publisher’s website (a subscription may be required.) ‘That’s the Last Time I Play the Tart for You, Jerry!’: Penelope Keith and British Television Situation Comedy1 Mary Irwin Abstract Women’s historical role in British sitcom has been critically and popularly regarded as both limited and limiting, conforming to a predictable handful of well-worn stereotypes generally comprising dutiful supportive wives and mothers, dizzy dollybirds, and unappealing, ageing harridans. -
Contentious Comedy
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by OpenGrey Repository 1 Contentious Comedy: Negotiating Issues of Form, Content, and Representation in American Sitcoms of the Post-Network Era Thesis by Lisa E. Williamson Submitted for the Degree of Doctor of Philosophy The University of Glasgow Department of Theatre, Film and Television Studies 2008 (Submitted May 2008) © Lisa E. Williamson 2008 2 Abstract Contentious Comedy: Negotiating Issues of Form, Content, and Representation in American Sitcoms of the Post-Network Era This thesis explores the way in which the institutional changes that have occurred within the post-network era of American television have impacted on the situation comedy in terms of form, content, and representation. This thesis argues that as one of television’s most durable genres, the sitcom must be understood as a dynamic form that develops over time in response to changing social, cultural, and institutional circumstances. By providing detailed case studies of the sitcom output of competing broadcast, pay-cable, and niche networks, this research provides an examination of the form that takes into account both the historical context in which it is situated as well as the processes and practices that are unique to television. In addition to drawing on existing academic theory, the primary sources utilised within this thesis include journalistic articles, interviews, and critical reviews, as well as supplementary materials such as DVD commentaries and programme websites. This is presented in conjunction with a comprehensive analysis of the textual features of a number of individual programmes. By providing an examination of the various production and scheduling strategies that have been implemented within the post-network era, this research considers how differentiation has become key within the multichannel marketplace. -
Little Britain’S Fictional Teenage Single Mother, Vicky Pollard
Dynamics of Social Class Contempt in Contemporary British Television Comedy Sharon Lockyer School of Social Sciences Brunel University Uxbridge Middlesex UB8 3PH, UK Tel: +44(0)1895 267373 Email: [email protected] Dynamics of Social Class Contempt in Contemporary British Television Comedy Dynamics of Social Class Contempt in Contemporary British Television Comedy Abstract British television comedy has often ridiculed the complexities and characteristics of social class structures and identities. In recent years poor white socially marginalised groups, now popularly referred to as “chavs”, have become a prevalent comedy target. One of the most popular and controversial television “comedy chavs” is Little Britain’s fictional teenage single mother, Vicky Pollard. This paper examines the representation of Vicky Pollard in light of contemporary widespread abuse of the white working class. Highlighting the polysemic and ambivalent nature of Vicky Pollard’s representation, the paper argues that whilst Little Britain’s characterisation of Vicky Pollard largely contributes to contemporary widespread demonization of the working class, there are moments within Little Britain when a more sympathetic tone towards the poor working class may be read, and where chav identities are used to ridicule the pretensions, superficiality, and falsity of middle-class identities. The paper concludes that television comedy has been, and continues to be, a significant vehicle through which serious concerns, anxieties, and questions about social class and class identities are discursively constructed and contested. Keywords: chavs; social class; television comedy; Little Britain; Vicky Pollard; interpretive diversity; representation 2 Dynamics of Social Class Contempt in Contemporary British Television Comedy Introduction Sending up the dynamics and intricacies of the British class system has been a central ingredient of British television comedy since the 1950s. -
Inmedia, 1 | 2012 Sharing the Joke? ‘Britcom’ Remakes in the United States: a Historical and So
InMedia The French Journal of Media Studies 1 | 2012 Global Film and Television Industries Today Sharing the Joke? ‘Britcom’ Remakes in the United States: A Historical and Socio-Cultural Perspective Amandine Ducray Electronic version URL: http://journals.openedition.org/inmedia/132 DOI: 10.4000/inmedia.132 ISSN: 2259-4728 Publisher Center for Research on the English-Speaking World (CREW) Electronic reference Amandine Ducray, « Sharing the Joke? ‘Britcom’ Remakes in the United States: A Historical and Socio- Cultural Perspective », InMedia [Online], 1 | 2012, Online since 23 March 2012, connection on 07 September 2020. URL : http://journals.openedition.org/inmedia/132 ; DOI : https://doi.org/10.4000/ inmedia.132 This text was automatically generated on 7 September 2020. © InMedia Sharing the Joke? ‘Britcom’ Remakes in the United States: A Historical and So... 1 Sharing the Joke? ‘Britcom’ Remakes in the United States: A Historical and Socio-Cultural Perspective Amandine Ducray 1 Since the publication of Herbert Schiller’s Mass Communications and American Empire in 1969, theories of North American ‘cultural imperialism’ have been seminal in the fields of transnational broadcasting and cultural studies. As Jeffrey Miller underlines, however: “At the very moment Schiller was identifying […] the role of American media in creating ‘its emergent imperial society,’ the domestic producers and consumers of those media were themselves experiencing a new flow of messages and texts from Britain.”1 In 1964, NBC blazed a trail when it remade the BBC satirical show That Was the Week That Was (1962-63).2 This was soon followed by another ‘entertainment’ transfer, the Bond-inspired series The Avengers (ITV, 1961-69), broadcast on ABC (1965-69) in its original version, and, a few years later, by All in the Family (CBS, 1971-79), adapted from Till Death Us Do Part, launched on BBC1 in 1966.