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This book offers an overview of the debates surrounding the sitcom genre.
Describes the writing method called premise-driven comedy, examines how comedy affects character development and story structure, discusses guidelines on script layouts, and offers advice on establishing a career
This is the first anthology that examines the TV sitcom in terms of its treatment of gender, family, class, race, and ethnic issues. The selections range from early shows such as I Remember Mama (George Lipsitz’s “Why Remember Mama? The Changing Face of a Woman’s Narrative”) to the more recent Roseanne (Kathleen Rowe Karlyn’s “Roseanne: Unruly Woman as a Domestic Goddess”). The volume also looks unflinchingly at major controversies; for example, the NAACP boycott of the stereotypical yet wildly popular Amos ‘n’ Andy and the queer reading of Laverne and Shirley. These diverse essays constitute a veritable history of postwar American mores. Some are classic, some forgotten, but all indicate the importance of considering text and subtext (social, historic, industrial) in the critical study of television. A final chapter by Joanne Morreale bids sitcoms adieu with the “cultural spectacle of Seinfeld’s last episode.”
This book explores the mechanisms that have driven the evolution of televisual comedy from the classic sitcom, a genre deeply rooted in its theatrical origins, toward a more mature stage of television's history. It analyzes four comic series--Scrubs, The Office, The Comeback, and Ugly Betty--revealing how each separates itself from the traditional sitcom archetype and shows increased awareness of the comic genre. Throughout the author focuses on two cardinal themes: the relationship between comedy and euphoria; and the relationship between comic texts and reality.
The Queer Fantasies of the American Family Sitcom examines the evasive depictions of sexuality in domestic and family-friendly sitcoms. Tison Pugh charts the history of increasing sexual depiction in this genre while also unpacking how sitcoms use sexuality as a source of power, as a kind of camouflage, and as a foundation for family building. The book examines how queerness, at first latent, became a vibrant yet continually conflicted part of the family-sitcom tradition. Taking into account elements such as the casting of child actors, the use of and experimentation with plot traditions, the contradictory interpretive valences of comedy, and the subtle subversions of moral standards by writers and directors, Pugh points out how innocence and sexuality conflict on television. As older sitcoms often sit on a pedestal of nostalgia as representative of the Golden Age of the American Family, television history reveals a deeper, queerer vision of family bonds.
A laugh-a-minute guidebook to achieving the ideal lifestyle -- using classic television personalities as role models.
This book offers a long overdue, extensive study of one of the most beloved television shows: Friends. Why has this sitcom become the seminal success that it is? And how does it continue to engage viewers around the world a quarter century after its first broadcast? Featuring original interviews with key creative personnel (including co-creator Marta Kauffman and executive producer Kevin S. Bright), the book provides answers by identifying a strategy of intimacy that informs Friends’ use of humour, performance, style and set design. The authors provide fascinating analyses of some of the most well-remembered scenes—the one where Ross can’t get his leather pants back on, and Ross and Rachel’s break-up, to name just a couple—and reflect on how and why A-list guest performances sometimes fell short of the standards set by the ensemble cast. Also considered are the iconic look of Monica’s apartment as well as the programme’s much discussed politics of representation and the critical backlash it has received in recent years. An exploration of Joey, the infamous spin-off, and several attempts to adapt Friends’ successful formula across the globe, round out the discussion, with insights into mistranslated jokes and much more. For students, scholars, creative industry practitioners and fans alike, this is a compelling read that lets us glimpse behind the scenes of what has become a cultural phenomenon and semi-permanent fixture in many of our homes.
The form is so elemental, so basic, that we have difficulty imagining a time before it existed: a single set, fixed cameras, canned laughter, zany sidekicks, quirky family antics. Obsessively watched and critically ignored, sitcoms were a distraction, a gentle lullaby of a kinder, gentler America—until suddenly the artificial boundary between the world and television entertainment collapsed. In this book we can watch the growth of the sitcom, following the path that leads from Lucy to The Phil Silvers Show; from The Dick Van Dyke Show to The Mary Tyler Moore Show; from M*A*S*H to Taxi; from Cheers to Roseanne; from Seinfeld to Curb Your Enthusiasm; and from The Larry Sanders Show to 30 Rock. Each sitcom episode is a self-enclosed world, a brief overturning of the established order of its universe before returning to the precise spot from which it had begun. In twenty-four episodes, Sitcom surveys the history of the form, and functions as both a TV mixtape of fondly remembered shows that will guide us to notable series and larger trends, and a carefully curated guided tour through the history of one of our most treasured art forms. Saul Austerlitz is the author of Another Fine Mess: A History of the American Film Comedy, named by Booklist as one of the ten best arts books of 2010, and Money for Nothing: A History of the Music Video from the Beatles to the White Stripes. His work has been published in the New York Times, Los Angeles Times, Boston Globe, Slate, and elsewhere.
This book finally casts a spotlight on some short-lived and almost forgotten sitcoms--those which aired for only one single season. Many books have already been written about situation comedies that enjoyed long and storied runs on television but this volume focuses upon the others. Overflowing with fresh facts, interviews, photographs, and stories, nearly 300 short-lived sitcoms over a 32 year span are presented A-to-Z, whether network or syndicated, prime time or Saturday morning.