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Arrested Development As Intersectional Cross-Genre

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MOCKING THE DOCUMENTARY: An exploration of aesthetic and production elements in Arrested Development as intersectional cross-genre 1" MA Media Studies Television and Cross-Media Cultures Master Thesis __________________________________________________________________________ MOCKING THE DOCUMENTARY: An exploration of aesthetic and production elements in Arrested Development as intersectional cross-genre __________________________________________________________________________ June 2017 Word Count: 22 538 Thesis Supervisor: 2nd Reader: Dr. Toni Pape Dr. Mark Stewart 2" CONTENT TABLES & FIGURES 4 1. INTRODUCTION 1.1. Genre and Genre Theory 5 1.2. Research Ques7ons 6 1.3. Research Object 6 1.4. Methodology 7 1.5. Chapter Structure 7 2. FROM THE REAL TO THE UNREAL 2.1. Introduc7on 9 2.2. DefinIng Documentary 9 2.2.1. Documentary Modes and CharacterIs7cs 11 2.2.2. The Purpose of Documentary 13 2.3. The Rela7onshIp between fact and fic7on 14 2.3.1. Documentary Transforma7on and Muta7on 15 2.3.2. The Entrance of the Mockumentary 16 2.4. ConclusIon 16 3. THE MOCKING OF DOCUMENTARIES 3.1. Introduc7on 17 3.2. DefinIng Mocumentary 17 3.2.1. Conven7ons of Mockumentary 18 3.2.2. Degrees of Mockumentary 19 3.3. The SItcom and Mockumentary 21 3.3.1. Comedy VérIté 23 3.3.2. Humour 24 3.4. ConclusIon 27 4. ARRESTED DEVELOPMENT AS AN INTERSECTIONAL CROSS-GENRE 4.1. Introduc7on 28 4.2. “ThIs Is the Story…” 28 4.3. Arrested Development Through the Lens of Genre 29 4.3.1. How does Arrested Development Comment on Documentary? 29 4.3.2. How does Arrested Development Transform the SItcom? 35 4.3.3. Arrested Development as an Intersec7onal Cross-Genre 42 4.4. Arrested Development as SocIal CrI7que 44 4.5. ConclusIon 47 5. CONCLUSION 48 REFERENCES 50 3" TABLES & FIGURES 1. TABLES 1.1. Summary of Arrested Development as an Intersec7onal Cross-Genre 43 2. FIGURES 2.1. VIsual Representa7on of Arrested Development as a Cross-Genre 49 4" 1. INTRODUCTION 1.1. Genre and Genre Theory Genre theory dIscusses conven7ons that are found In sImIlar texts and employs those conven7ons to draw connec7ons between the texts and socIety (Mikesell, onlIne). by establIshIng how one text relates to others, the expecta7ons of the reader are shaped. Examples of popular televIsIon genres Include drama, comedy, sItcom, documentary, and serIals. Genre assIsts audIences to guIde theIr decIsIons to consume specIfic medIa. Some medIa texts can be neatly classIfied as one genre, but occasIonally, a “re-Invented” product or text orIgInates that defies the narrow constraints of a specIfic genre and thus almost transcends, or even escapes a narrow restrIc7ve genre categorIsa7on. Such a text would s7ll rest on tradI7onal genres, whIle also posI7onIng fing Into another genre or a new trope of an exIs7ng genre. ThIs dIsserta7on Intends to explore the show, Arrested Development (Fox: 2003–06; NeilIx: 2013–present), by subjec7ng the content and format to an analysIs of narra7ve genres, codes, conven7ons, and style. The technIques used In Arrested Development appear to u7lIse aspects of the orIgInal sItcom, documentary, drama, serIals, and comedy whIle s7ll fallIng Into the broad genre of “comedy”. The show Is clearly Influenced by the concept of postmodernIsm, whIch In essence means that the text Is aware of Itself or meta. Mikesell states that postmodernIsm Is oken used as commentary on establIshed genres and narra7ves (onlIne). ThIs popular show that has alracted a rela7vely small but passIonate communIty, Is typIcal of cult medIa Intersec7ng wIth mainstream culture, resul7ng In a serIes wIth “hIgh-profile, mainstream success” (LeItch, 2013). ThIs has InvIted and challenged me to undertake thIs invesgaon into Arrested Development and Its precIse genre descrIp7on, especIally In lIght of the 5" recent announcement (17 May 2017) on the show’s TwIler and Facebook pages that fans can expect fikh season as Arrested Development return to NeilIx In 2018. 1.2. Research Questions The prImary research ques7on whIch guIded my study Is as follows: How does Arrested Development ar7culate an assemblage of varIous genres In rela7on to technIques, aesthe7cs and produc7on elements assocIated wIth the genres of documentary and sItcom? The followIng sub-research or secondary research ques7ons that I wIll also explore and answer as extensIons of the above ques7on are: I. How has documentary Influenced the fic7onal genre of mockumentary? II. How has the sItcom genre fractured In usIng documentary and mockumentary codes and conven7ons, and how has thIs development changed sItcom aesthe7cs and produc7on? III. How does Arrested Development comment on and crI7que documentary? Iv. How does Arrested Development push the boundarIes of sItcom? v. How does Arrested Development delIver socIal crI7que? 1.3. Research Object I myself am an avId vIewer of serIes lIke The Office (US: 2005 - 2012), Parks and Recrea9on (2009-2015), , Arrested Development and other sImIlar produc7ons. I have oken contemplated whIch genres some of these shows would be categorIsed as and why, as they oken adopt documentary technIques wIthIn the context of a sItcom. Arrested Development applIes certain codes and stylIs7c elements of documentary, but s7ll embraces the fic7onal nature of sItcom. I consequently proceeded to develop my research proposal followIng a lIterature revIew of documentarIes, mockumentarIes, and sItcoms. The research ques7ons that I developed assIsted me to InquIre how mockumentarIes apply aesthe7cs, humour, produc7on and narra7ve InquIry, and If/how mockumentarIes have retained specIfic elements of documentarIes when Is applIed to a fic7onal sItua7on and characters. The conceptualIsed research ques7ons guIded the secondary research part of my lIterature revIew and a prImary research sec7on where I applIed qualIta7ve data analysIs to establIsh what elements, styles, codes, conven7ons I can Iden7fy In Arrested Development, In order to put a fing genre label on the produc7on. FollowIng my research Into documentary and mockumentary, I wIll analyse Arrested Development. I wIll be lookIng at the codes, conven7ons, style and structure used In these texts, I.e. voIce-over narrator, archIval documents, footage or photographs, fly-on-the-wall footage, 6" camera technIques, etc. In addI7on, I wIll also examIne other relevant genres that may be of note when dIscussing Arrested Development, such as sItcoms, drama, and realIty serIes. 1.4 Methodology I wIll apply the methodology of textual analysIs. Textual analysIs has the purpose to Iden7fy and Inves7gate specIfic characterIs7cs of a body of materIal. AccordIng to Leedy and Ormrod (2013), thIs qualIta7ve research methodology focuses “on any verbal, vIsual or behavIoural form of communIca7on”, and It can thus be useful In the analysIs of televIsIon content as well. I wIll use the methods of purposeful data collec7on where I wIll Iden7fy and select relevant examples of the specIfic materIal from Arrested Development to compare how produc7on and aesthe7c aspects of the documentary genre are used In fic7onal televIsIon wIth the prImary purposes of entertainment and humour. I wIll use documentary film theorIes to explore and establIsh genre conven7ons of documentary from whIch mockumentary borrows the handheld camera, fly-on-the-wall footage, the “talkIng head”, archIved materIal and footage, IntervIews, amongst others. I wIll further draw on research on mockumentary from the observa7ons of Jane Roscoe and Craig Hight’s Faking It: Mock-documentary and the subversion of factuality (2001). These authors use NIchols’s descrIp7on that a documentary constructs vIews and arguments In the same veIn that a fic7onal text would. They examIne mockumentary through the specIfic rela7onshIp whIch the form has wIth documentary. TheIr semInal book assumes that there are boundarIes between 'fact' and 'fic7on', and they examIne the specIal nature of mockumentary's rela7onshIp wIth documentary, whIle comparIng these texts to other fact-fic7on forms such as drama-documentary, realIty TV, and docusoaps wIthIn a wIder dIscussIon of the current status of factual aesthe7cs. FInally, I wIll make use of a consIderable body of work on Arrested Development Itself to s7pulate how the show comments on and exposes documentary technIques, and how It challenges the sItcom form. I wIll also comment on the socIal crI7que of Arrested Development. 1.5. Chapter Structure In thIs chapter, I have Introduced my research ques7ons and the research object of Arrested Development. I have also gIven a descrIp7on of my research desIgn and methods of exploraon. In Chapter 2, I wIll commence wIth the lIterature survey on the characterIs7cs and func7ons of documentary, how Its codes and conven7ons have been borrowed by fic7onal medIa texts and also how the lInes of fact and fic7on can oken blur. ThIs chapter wIll construct a rela7onshIp between documentary and mockumentary and contrIve a comprehensIve understandIng of the role of documentary wIthIn mockumentary. In Chapter 3, I wIll examIna7on of the characterIs7cs of mockumentary and how It pertains to the genre of sItcom. The aim Is to present a comprehensIve understandIng of these genres whIle analysIng the scope of mockumentary as well as the form and produc7on codes, and again tes7ng Arrested Development against these crIterIa. 7" The textual analysIs of Arrested Development wIll be dIscussed In Chapter 4. A range of fascIna7ng technIques that comments on documentary and whIch challenge sItcom wIll be dIscussed. I wIll also look at the ImplIca7ons of IntertextualIty, narra7ve complexIty, and socIal crique. Chapter 5 wIll serve as a final summary of answers to my research ques7ons stated In thIs chapter, and I wIll conclude the study wIth some final remarks about genre, the serIes of Arrested Development and possIble recommenda7ons for further study. 8" 2. FROM THE REAL TO THE UNREAL: The Translation of Documentary to Mockumentary 2.1. Introduction In thIs chapter, I wIll dIscuss the basIc tenets of documentary and the varIous technIques used In documentary films. I wIll lInk these technIques to some of the documentary modes whIch have been establIshed by bIll NIchols (2001).
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    576 the contemporary pacific • 27:2 (2015) Wild felt familiar. I had experienced film, disguised as an ordinary road the same feelings in countless other movie. As such, it is a film that is easy mainstream movies. In The Pā Boys, to overlook, even at film festivals however, my emotional responses where it might be possible to discover emanated from the deep recesses of a fearlessly independent voice. my being, which very few films have When you accidentally stumble been able to touch. Rotumans call this on an authentic voice, like I did, you place huga, which literally translates know you’ve finally experienced as “inside of the body, esp. of the the film you have always hoped to abdomen”; Hawaiians call it the na‘au see when you go to the movies but while Māori call it the ngakau. thought the day would never come! It is in one’s gut that the truth of This was how it was with me. the ages resides. This kind of knowing vilsoni hereniko cannot be explained logically or ratio- University of Hawai‘i, nally. It is a knowing that is activated Mānoa when one experiences a universal truth, which in The Pā Boys, is this: *** For these Māori young people to be truly healed, they needed to reconnect Jonah From Tonga. 2014. Televi- with and learn about their ances- sion series, 180 minutes, dvd, color, tral pasts in order to become more in English. Written by Chris Lilley, humane, more compassionate, better produced by Chris Lilley and Laura human beings. This is the universal Waters, and directed by Chris Lilley message, told not through a sermon and Stuart McDonald; distributed but through a musical story about by hbo.