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)