Dr. Angela M. S. Nelson, Department of Popular Culture, Bowling Green State University, Bowling Green, Ohio 43403-0226, (419) 372-0284; e-mail: anelson@bgnet.bgsu.edu
Course Description:
This course is an introduction to the (1) history of the American
television situation comedy (a history closely tied to radio programming)
and to (2) critical approaches to the study of it. While this course will
involve an examination of the role of sitcoms in American popular culture
(contexts), the primary focus, however, will be determining the social and
cultural meanings of specific American television situation comedy
artifacts from the past and present (textures and texts). In addition, the
role and meaning of African Americans in American television situation
comedy will be examined.
Required Books:
Brooks, Tim and Earle Marsh. The Complete Directory to Prime Time
Network TV Shows, 1946-Present. 5th ed. CDPT
Grote, David. The End of Comedy. EOC
Marc, David and Robert J. Thompson. Prime Time, Prime Movers. PTPM
Marc, David. Comic Visions. CV
MacDonald, J. Fred. Blacks and White TV. 2nd ed. BWTV
MacDonald, J. Fred. Don't Touch That Dial! DTTD
Newcomb, Horace, ed. Television: The Critical View. 5th ed. TTCV
Course Assignments and Projects:
Exam (20%)
The exam will include material from audiovisual presentations, class
discussions, lectures, and required and supplemental texts.
Paper #1 (20%)
1. Read the Introduction to David Marc and Robert Thompson's book
Prime Time, Prime Movers. In addition, read "From Performer Authorship
to Producer's Genre" as well as one other essay from "Part One: Comedy."
2. Watch three (or two at the very least) different episodes of one
situation comedy corresponding to one of the producers in "Part One:
Comedy."
3. As you watch each episode, determine what Americans probably
"liked," "disliked," or "tolerated" about the sitcom as a whole. Compare
the three episodes and comment on their overall continuity and
commonalities from episode to episode, and their differences from
episode to episode. How is this sitcom an expression born of the
producer's experiences? How does America's cultural, economic,
political, and social climate contribute to or detract from the
formulation and perpetuation of the sitcom examined?
Paper #2 (20%)
1. Watch two episodes of one black situation comedy. Black situation
comedies (or black sitcoms) may be defined as those situation comedies
created for television network broadcasting that have a black producer,
director, and writer, or black performers; that speak to black or
white audiences; and that emerge from self-conscious intentions, whether
artistic, economic, or political, to illuminate African American
experiences.
2. Select one sitcom to research from below.
a. The Fresh Prince of Bel-Air
b. Me and the Boys
c. Martin
d. Living Single
e. Family Matters
f. Hangin' With Mr. Cooper
3. Write a paper that categorizes the central characters according to
Frye's modes of fiction. Use James Chesebro's methodology to
determine the character types. Discuss those characters who exhibit
stereotypical behaviors. Identify the appropriate stereotypes, if
applicable, whether they be absolute, transformed, or transmuted
stereotypes.
4. Discuss the significance of the categories and stereotypes found.
What do these findings mean in American cultural history and American
television history in general and what do they mean in terms of
African American cultural history and television history? Document the
rationale for your selections of categories and stereotypes by
referring to examples from the two episodes you viewed.
Research Project Paper (30%)
1. Research one television situation comedy originating from ABC, CBS,
or NBC only. Debut date must be during or between Fall 1950 and Fall
1993.
2. The overall objective is to develop a thorough and detailed
analysis of your series within American social and cultural history
in general and within American television history in particular. Address
the following general question: What are the series' textures
(technical characteristics, "timbre"), texts (the reading of the
series; its symbols and meanings), and contexts (the social,
cultural, political environment or situation)?
3. Length/Style: 12-to-24 typewritten, doublespaced pages (exclusive
of title page, appendices, endnotes, and bibliography).
Research Project Oral Presentation (10%)
Oral presentations will be based upon the research paper. In addition, each
student must construct a 1-to-2 page handout that outlines and illustrates
the major findings of your series research. The presentations will be
evaluated in five categories for a maximum total of 10 points: clarity and
coherence of goals and objectives, relevance of research and summary, use of
clips, vocal delivery, and timing.
Class Agenda and Reading Assignment Schedule:
August 30 Introduction to course
Viewing
TV Sitcom Development and Critical Approaches
September 6 EOC (1, 2)
September 13 EOC (3, 4)
September 20 CV (1, 2, 3)
September 27 CV (4, 5, 6)
October 4 DTTD (1; 1-61)
Paper #1 due (PTPM; Part One: Comedy)
October 11 DTTD (1; 61-90)
CDPT (Introduction)
October 18 DTTD (2)
African Americans in American TV Situation Comedy
October 25 DTTD (7)
Color Adjustment
November 1 BWTV (Introduction, 1, 2)
November 8 BWTV (10, 15)
Paper #2 due (African Americans in Sitcoms)
Research Projects
November 15 Presentations
November 22 No Class
Exam due (TTCV: Newcomb, Mayerle, Rowe,
Kervin, Morley, Gray, Newcomb and Hirsch)
November 29 Presentations
December 6 Presentations
December 12-16 Final Examination Week
Summary of course, findings, etc.
Research Project paper due (TBA)