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I Lys Av Perspektiver På Postmodernisme Og Kvalitet I

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I Lys Av Perspektiver På Postmodernisme Og Kvalitet I Postmoderne sitcom? Linn Cathrin Lorgen Masteroppgave, Institutt for informasjons- og medievitenskap Universitetet i Bergen Vår 2009 Innhold TAKK ........................................................................................................................................................... IV INNLEDNING ................................................................................................................................................. 1 KAPITTEL 1, PERSPEKTIVER PÅ POSTMODERNISME OG TV-FIKSJON ................................................................ 6 MODERNITET OG POSTMODERNITET ............................................................................................................................ 6 Modernisme og postmodernisme .................................................................................................................. 7 Postmodernisme og tv ................................................................................................................................... 9 KONVERGENS-TV: FLIGHT OF THE CONCHORDS I ET PRODUKSJONSPERSPEKTIV ................................................................... 14 Endringer i tv-industrien på 80-tallet ........................................................................................................... 14 Merkevaren HBO ......................................................................................................................................... 16 Konvergens-tv og strategier på nett ............................................................................................................ 19 KAPITTEL 2, REARTIKULERING AV SITCOM - FORMEN ................................................................................... 24 HVA ER SITCOM? ................................................................................................................................................... 24 SITCOM - FORTELLINGEN ......................................................................................................................................... 26 Flight of the Conchords ironiske sitcom-struktur ......................................................................................... 29 MUSIKALSKE DIGRESJONER ...................................................................................................................................... 33 UTRADISJONELLE FORTELLEMÅTER ............................................................................................................................ 38 FREMHEVING AV KREATIVITET OG INNOVASJON ........................................................................................................... 41 KAPITTEL 3 – INTERTEKSTUALITET: PARODI ELLER PASTISJ I FLIGHT OF THE CONCHORDS MUSIKKINNSLAG? . 43 INTERTEKSTUALITET, PARODI OG PASTISJ .................................................................................................................... 43 Parodi og pastisj .......................................................................................................................................... 44 ANALYSE AV FLIGHT OF THE CONCHORDS MUSIKKVIDEOER ............................................................................................. 46 Mutha Uckas ................................................................................................................................................ 47 Bowie’s in Space .......................................................................................................................................... 51 INTERTEKSTUALITET I TERTIÆRTEKSTENE SOM IDENTITETSMARKØR ................................................................................... 54 KAPITTEL 4 – HUMOR I FLIGHT OF THE CONCHORDS .................................................................................... 57 HVA ER HUMOR? .................................................................................................................................................. 57 SITCOM UTEN LATTER ............................................................................................................................................. 59 PINLIGE SITUASJONER OG SOSIAL INKOMPETANSE ......................................................................................................... 60 KJØNN OG SEKSUALITET .......................................................................................................................................... 62 INNSLAG AV SATIRE ................................................................................................................................................ 65 DISTANSERT SPILLESTIL ........................................................................................................................................... 67 Deadpan – arven fra Buster Keaton ............................................................................................................ 70 IRONI SOM GJENNOMSYRENDE TREKK ........................................................................................................................ 72 POSTMODERNE MORO – MENINGEN MED FLIGHT OF THE CONCHORDS ....................................................... 76 II ANALYSEMATERIALE ................................................................................................................................... 81 LITTERATUR ................................................................................................................................................. 81 INTERNETT .................................................................................................................................................. 87 ILLUSTRASJONSKILDER: ............................................................................................................................... 91 ILLUSTRASJONER ......................................................................................................................................... 93 APPENDIKS 1, EPISODENES NARRATIVE STRUKTUR. ..................................................................................... 96 APPENDIKS 2, OVERGANG MELLOM FORTELLING OG MUSIKKINNSLAG ........................................................ 99 APPENDIKS 3, BESKRIVELSE AV REFERANSER I MUSIKKINNSLAG ................................................................. 103 III Takk Tusen takk til Leif Ove Larsen for gode og inspirerende veiledninger gjennom hele prosessen, og takk til Peter Dahlén for et veldig nyttig litteraturtips. Takk til gode medstudenter på instituttet som har gjort skriveprosessen lettere: Lucy, Terese, Joachim, Bernt, og en spesiell takk til Guro og Unni som har lest og kommet med konstruktive innspill til oppgaven. Til slutt vil jeg takke Said for oppmuntring og støtte i innspurten. IV Innledning I 2007 begynte den amerikanske betalkanalen HBO å sende Flight of the Conchords, en komiserie med halvtimelange episoder om et tomanns “digi-folk”- band fra New Zealand som søker lykken som musikere i New York1. Komikerne Bret McKenzie og Jemaine Clement, som i flere år har reist rundt sammen med en opptreden preget av musikalsk komedie, spiller fiktive versjoner av seg selv i serien. Karakterene Bret og Jemaine har nylig flyttet til storbyen New York ved seriens start. De har fått seg en manager: Murray Hewitt, som egentlig jobber ved det new zealandske konsulatet, men bestemmer seg for å prøve seg i manageryrket. Bandet har også fått én overdedikert fan, Mel, som forfølger guttene overalt hvor de går, og vier hele livet og alle tankene sine til dem, på bekosting av ektemannen Doug. De har også fått en venn i indisk-amerikanske Dave, en kynisk new yorker som bidrar med (ofte misledende) tips og råd om livet i storbyen, og om kvinner. Seriens fortellinger beskriver på komisk vis bandets karriere som aldri helt tar av, guttenes stadig mislykkede søken etter kjærlighet, og vennskapet mellom Bret og Jemaine som stadig blir satt på prøve. På grunnlag av denne beskrivelsen av en serie bestående av halvtimelange episoder som skildrer et knippe faste karakterer som havner i komiske situasjoner, kan Flight of the Conchords (også kalt FOTC) virke som en ganske standard sitcom. Men serien har enkelte trekk som får den til å virke innovativ og frisk. Det kanskje mest tydelige er de mange musikkinnslagene som preger serien. I hver episode er det mellom ett til tre musikkinnslag. Bret og Jemaine, som er de som vanligvis står for disse innslagene, går plutselig fra å være uttrykksløse og tilbakeholdne karakterer med minimal mimikk, til å synge og ofte danse med stor innlevelse. I innslagene brukes trekk og konvensjoner fra ulike populærkulturelle sanger, artister, musikkvideoer eller sjangre, samtidig som det er gjort en eller annen vri, som skaper et komisk resultat. Serien har fått positive kritikker, for både serien generelt og kanskje spesielt den musikalske komedien, og ble blant annet nominert til fire Emmy - priser i 2008, der to av dem var for ”outstanding original music and lyrics” (Emmy 2008). Serien preges i tillegg av en gjennomført ironisk tone, og av stadige referanser til andre medietekster, gjennom blant annet musikkinnslagene. Flere av trekkene jeg har nevnt hittil; sjangerblanding, intertekstualitet og ironi, er trekk ofte nevnt i forbindelse med postmodernisme i tv. Det er spesielt serier fra 1990-tallet og utover, som Twin Peaks, Pee 1 Serien har også blitt sendt på Canal+ og NRK3 her i Norge, og blir distribuert i DVD-format. 1 Wee’s Playhouse, The Simpsons med flere som
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