THE SITCOM
In this new Routledge Television Guidebook, Jeremy G. Butler studies our lovehate relationship with the durable sitcom, analyzing the genres position as a major media artefact within American culture and providing a historical overview of its evolution in the USA.
Everyone loves the sitcom genre; and yet, paradoxically, everyone hates the sitcom, too. This book examines themes of gender, race, ethnicity, and the family that are always at the core of humor in our culture, tracking how those discourses are embedded in the sitcoms relatively rigid storytelling structures. Butler pays particular attention to the sitcoms position in todays post-network media landscape and sample analyses of Sex and the City , Black-ish , The Simpsons , and The Andy Griffith Show illuminate how the sitcom is infused with foundational American values.
At once contemporary and reflective, The Sitcom is a must-read for students and scholars of television, comedy, and broader media studies, and a great classroom text.
Jeremy G. Butler is Professor of Creative Media at the University of Alabama. He has published book chapters and articles on the sitcom in Journal of Film and Video and Cinema Journal . He is the author of Television: Visual Storytelling and Screen Culture and Television Style .
Routledge Television Guidebooks
The Routledge Television Guidebooks offer an introduction to and overview of key television genres and formats. Each guidebook contains an introduction, including a brief history; defining characteristics and major series; key debates surrounding themes, formats, genres, and audiences; questions for discussion; and a bibliography of further reading and watching.
Science Fiction TV
J.P. Telotte
Political TV
Chuck Tryon
Lifestyle TV
Laurie Ouellette
Reality TV
Jonathan Kraszewski
The Sitcom
Jeremy G. Butler
THE SITCOM
Jeremy G. Butler
First published 2020
by Routledge
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2020 Taylor & Francis
The right of Jeremy G. Butler to be identified as author of this work has been asserted by him in accordance with sections 77 and 78 of the Copyright, Designs and Patents Act 1988.
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Library of Congress Cataloging-in-Publication Data
A catalog record for this title has been requested
ISBN: 978-1-138-85094-1 (hbk)
ISBN: 978-1-138-85096-5 (pbk)
ISBN: 978-1-315-72445-4 (ebk)
Typeset in Perpetua
by Deanta Global Publishing Services, Chennai, India
Contents
Figures
In Arrested Development , a dejected George Michael walks past a dog and doghouse |
Jerrys living room in Seinfeld is almost as familiar to us as our own |
Director Richard Donner stages a Gilligans Island scene in depth, with the Skipper and Gilligan in hammocks in the foreground and the Professor visible in the back of the set. The next shot |
cuts to a camera positioned inside the set, about where the hammocks were in the previous shot |
Director of The Carmichael Show , Gerry Cohen frames actors Jerrod Carmichael and Amber Stevens West in an eye-level medium shot |
Even when shot alone, West is framed in a medium close-up, which allows the camera operators to keep her in frame when she gestures and dances |
The camera dollies backward, away from AJ Michalka, Hayley Orrantia, and Alex Jennings as they walk confidently through a high school hallway in The Goldbergs |
The single-camera framing of Orrantia is tighter than what we saw in The Carmichael Show and a shallow depth of field blurs the space to either side of her head |
An entire episode of Modern Family was shot as if it were appearing on Claires laptop screen |
Note the bent position of Amber Stevens Wests arms at the end of this shot from The Carmichael Show . At the start of the following shot ... |
her arms are now at her sidea tiny continuity error that indicates that two shots from different takes of the same scene have been spliced together |
Actresses who played mothers on sitcoms appear in a self-reflexive episode of Roseanne : from left, June Lockhart, Isabel Sanford, Roseanne Barr, Barbara Billingsley, Pat Crowley, and Alley Mills |
Andy and Opie Taylor stroll down a country road, while accompanied by a whistled song (The Fishin Hole), during the homespun credits for The Andy Griffith Show |
Jack comments on his healthy waitress in Threes Company , a show that titillated network-era audiences before nudity and franker sexual humor became common on HBO and other premium-cable channels |
On 2 Broke Girls , Max uses her sexuality to dominate men, jokingly calling herself Death Bitch |
Jerry becomes a public spectacle when Samantha, as his publicist, gets him a vodka Times Square billboard in which a bottle serves clearly phallic symbolism |
Jerry, an actor that Samantha is dating on Sex and the City , performs in the nude. The next shot |
shows her gazing lustfully at him |
An episode of Girlfriends raises the issue of colorism within the black community when darker-skinned Toni |
accuses lighter-skinned, mixed-race Maya of not being able to understand the struggles of African Americans with darker skin tones |
While standing outside the set of The George Burns and Gracie Allen Show , George looks in on his wife |
Shattering the fourth wall, Garry Shandling shows his diegetic date around the set of Its Garry Shandlings Show |
As The Simpsons 25th season started, Bart was still in detention |
On the occasion of The Simpsons s parent company being acquired by Disney, Homer cheerfully proclaims, I for one salute our new corporate overlords! |
The Frinkiac service makes it easier to construct memes and GIFs from The Simpsons images |
Tables
Evan S. Smiths list of sitcom predicaments and character mixes |
Multicam vs. single-camera mode of production |
I must first thank Erica Wetter at Routledge for her patient persistence in seeing this book through to completion, despite several delays on my part. One would think a short book would be quicker to write than a long one, but, no, no it is not. I am grateful to Marysia Galbraith, Kristen J. Warner, Robin Means Coleman, and Lang Thompson for reading portions of the manuscript and to Nick Buzzelli for tireless assistance in manuscript preparation. I relied on director/producer/writer Ken Kwapiss copious knowledge of television comedy for an insiders perspective. Tom Cherones and Tom Azzari have also been generous with their time and allowed me to interview them on several occasions. I dedicate this book to my 15-year-old son, Ian, who, as far as I know, has never watched an entire sitcom episodehe being of the YouTubian generation. Nonetheless, he has managed to become a fan of both Monty Python and the songs of Tom Lehrer. This gives me cause to think there is still hope for his generation.