This project investigates the concept of the suburban spatial imaginary with regard to multi-camera sitcoms from the 1990s. I contend that the physical flatness of the multi-camera set construction is tied to the ideological presentation of suburban life. Through a textual analysis of moments in these sitcoms, I explore how they (through their representation and production design) flatten or distort real-world spaces to reinforce them as distinctly suburban. This investigation is interested in understanding the ways the materiality of architectural space in multi-camera sitcoms is related to real-world spaces. That certain moments—cars crashing, mothers spending their free time in bathrooms, adult characters learning to ride bicycles—occur in a similar manner across these shows indicates that they are part of a larger tableau of the American domestic spatial imaginary. These moments provide the richest sites to discuss the anxieties and tensions of the domestic space. They also demonstrate how the filming style reinforces an ideological view which is predominately suburban, regardless of where the shows are narratively set. To understand how the multi-camera shooting style “flattens” the representational space, I move through the various settings, focusing on moments and objects that highlight those spaces. I start my investigation into the suburban spatial imaginary with the most immobile of places, the living room. Turning to the representation of the bathroom creates a bridge between the private and the public. The following chapters embrace that mobility to focus on bikes and cars. Throughout, I use these moments to understand the ways in which the filming style flattens the representational space and reinforces a suburban spatial imaginary. Using these moments, I argue that these spaces cultivate an idealized vision of living that is distinctly suburban and that this vision serves as a nostalgic motor that helps fuel a suburban spatial imaginary.

<p>Syftet med undersökningen är att genomföra en jämförande klass- och genusanalys av två stycken situationskomedier: <em>Two and a Half Men </em>och<em> The new Adventures of Old Christine</em>.</p><p>Vi undersöker vad som genererar status i de två serierna och om detta skiljer sig något serierna emellan. Vi kommer bland annat fram till att egenskaper som ett lyckat äktenskap och god ekonomi är statusbringande medan ett misslyckat äktenskap istället lätt genererar låg status.</p>

Syftet med undersökningen är att genomföra en jämförande klass- och genusanalys av två stycken situationskomedier: Two and a Half Men och The new Adventures of Old Christine. Vi undersöker vad som genererar status i de två serierna och om detta skiljer sig något serierna emellan. Vi kommer bland annat fram till att egenskaper som ett lyckat äktenskap och god ekonomi är statusbringande medan ett misslyckat äktenskap istället lätt genererar låg status.

Representations of Blacks have had its limitations on television. The Black sitcom has proven to be a fruitful place of analysis as it relates to the presence of Black bodies and the portrayal of Black culture. The lack of accurate depictions and the portrayal of a diverse Black culture has been a challenge for many years. The Cosby Show (1984-92) however, has been hailed for representations of Blacks as upper class, educated, and portraying a two-parent house hold. With this, an overwhelming amount of scholarly research on Black sitcoms surrounds The Cosby Show. Other shows that have a fair amount of scholarship include Amos and Andy (1951-53-) and The Fresh Prince of Bel-Air (1990-96). As I am constantly reminded through song lyrics and social networks that my peers are still reflecting about the sitcom Martin, I am also intrigued by its lack of exploration by scholars in the field. As Martin does not portray status and wealth, or educated professionals it is my assumption that this lack of research is reflection of the presumed low significance of the show. There appears to be an obvious divergence between academic and Hollywood's coverage of the show and viewers engagement with the show. 15 years after the show has aired new episodes, many of my peers indulge as if it never left. This paper seeks to further explore the sitcom and its critiques. Through a survey I poll viewers to explore how viewer's opinions can inform future discussions about the show. My exploration of the show through song lyrics, social network posts and survey results will reveal valuable components and complicate discourse of the shows reception, ultimately contributing to the scholarship on Black sitcoms. / text

Les chaînes de télévision en langue celtique TG4 (Irlande), S4C (Pays de Galles), BBC ALBA (Ecosse), FRANCE 3 Bretagne (pour ses émissions en breton) et BREZHOWEB (France, Bretagne) reposent sur des langues dont la démographie linguistique reste préoccupante. Ces langues s’appuient sur des lois, des stratégies et sur la Charte européenne des langues régionales et minoritaires. Dans un environnement bilingue, elles dépendent d’une opinion publique positive et de l’enseignement des langues. Les chaînes celtiques favorisent ainsi leur expression et leur promotion. Dans un contexte de très forte concurrence et dans un mediascape hyper-fragmenté, elles constituent des pôles de résistance implantés dans l’espace des lieux (Manuel Castells), émettant pour des communautés linguistiques « imaginées » (Benedict Anderson). Dans la mesure où elles dépendent des flux financiers (Arjun Appadurai), elles sont l'objet d'une tension permanente entre économie et médias. La récente crise financière et économique a provoqué la diminution ou la stagnation de leurs budgets, entraînant des répercussions sociales et économiques pour les producteurs indépendants. La majorité des chaînes déterritorialisent désormais certaines de leurs émissions grâce à internet et augmentent ainsi leur audience auprès de leurs diasporas et du grand public, grâce au sous-titrage optionnel et à l’adaptation de formats internationaux comme lesoap opera ou la sitcom. Vecteurs de convergence, les chaînes sont disponibles sur de nombreux supports numériques. Leur avenir va, par conséquent, dépendre des décisions de l’après-Brexit au Royaume Uni, de la mise en oeuvre du grand marché numérique européen et surtout, de l’attitude des jeunes générations envers les langues, leur apprentissage et l’utilisation qu’elles vont en faire sur les multiples plateformes numériques. / The television channels broadcasting in a Celtic language (TG4, Ireland), S4C (Wales), BBC ALBA (Scotland), FRANCE 3 Bretagne’s programmes in Breton and BREZHOWEB (France/Bretagne) rest on languages whose linguistic demographics is worrying. These languages are supported by laws and strategies and by the European Charter on Regional and Minority Languages. In a bilingual environment, they depend on favourable public opinions and on language education. Their expression and promotion is boosted by the Celtic television channels. Faced with a very strong competition in a hyper-fragmented mediascape, they are centers of resistance against globalization, located .in the “space of places” (Manuel Castells), broadcasting for “imagined” language communities (Benedict Anderson). Their dependence on financial flows (Arjun Appadurai) creates a permanent tension between economy and media. The financial and economic crisis has triggered a reduction or a stagnation of these channels’ budgets, resulting in social and economic difficulties for them and their independent producers. Most of the channels are now deterritorializing some of their programmes through internet. They increase their audience rates among their diasporas and the public at large by resorting to optional subtitles andadapting international formats such as soap operas or sitcoms. Part and parcel of convergence, these channels are available on numerous digital platforms. Therefore, their future will depend on a post-Brexit agreement, on the implementation of the European Digital Single Market, but above all on the younger generation’s approach towards learning Celtic languages and their use on the many audio-visual digital platforms

No description available.

« Plus ça change et plus c’est la même chose » tel est le proverbe qui nous vient à l’esprit lorsque l’on procède à l’étude de la représentation de la famille dans les family sitcoms depuis 1950. Cette expression illustre les tensions que soulève notre thèse, à savoir d’une part la volonté du médium télévisuel en tant que vecteur de l’immédiateté de retranscrire à l’écran l’évolution sociopolitique de la société, et d’autre part la stagnation du support télévisuel engendrée par une norme structurelle et thématique du genre de par l’hégémonie de la famille patriarcale traditionnelle couplée à la circularité de la structure qui en empêche l’évolution. Nous nous proposons ici de mettre en lumière le lien qui unit le modèle de la famille traditionnelle au genre de la sitcom et d’en analyser les évolutions, soit de l’un en fonction de l’autre dans un contexte sociopolitique en pleine mutation.Aussi, dans une perspective sémio-socioculturelle, nous examinerons la famille en tant qu’identité sociale dans un contexte donné, la société américaine de 1950 à 2004, mais également en tant que représentation télévisuelle, la construction de la famille au cœur de la sitcom étant avant tout une mise en scène. / « Plus ça change et plus c’est la même chose ». This French phrase could epitomize the study of the representation of the family in American family sitcoms from the 1950s.In fact, it shows the tensions between the function of television as the medium of immediacy, broadcasting images of the social and political evolution of society, and the stagnation of the sitcom as a genre caused by the norm of its circular structure and its overrepresentation of the traditional nuclear family. In this study, we will analyze the binding connection between the traditionnal family pattern and the sitcom, and we will show their mutual evolutions into a changing society.Thus, in a semiotic and sociocultural perspective, we’ll see the family as a social identity into the American society from 1950 to 2004, and also as a TV representation since the family pattern in the sitcom is a production above all.

This thesis examines the expression of anger and aggression in interactions of 6 black and 4 white female siblings on family sitcoms from the 1980s, 1990s and the 2010s. The interactions were examined to determine whether black girls on TV sitcoms were depicted as more conflictual than their white counterparts, whether the content of the portrayals of black girls differed from white girls based on racialized gender stereotypes related to female anger and aggression, whether these depictions changed over three eras of television ranging from the 1980s-2010s, and finally, whether birth order and relationship to the girl (family vs. non family) determined whether relationship context influenced conflict. The findings revealed that by race and across time black girls are less conflictual than their white counterparts. This contradicts the acceptance of solely black girls as representations of the violent and aggressive “bad girl.” / Includes bibliography. / Thesis (M.A.)--Florida Atlantic University, 2018. / FAU Electronic Theses and Dissertations Collection

Thesis (M.S.)--Miami University, Dept. of Family Studies and Social Work, 2005. / Title from first page of PDF document. Document formatted into pages; contains [1], viii, 90 p. Includes bibliographical references (p. 80-86).

Este trabalho visa a estudar a construção e a representação da identidade norte-americana na mídia televisiva. Neste contexto, buscamos também observar os mecanismos utilizados por este veículo de comunicação em massa para que venda o seu produto - o American way of life. Nossa hipótese norteadora é a de que a representação do povo americano na mídia televisiva camufla diferenças e conflitos para construir uma narrativa histórica que justifique a realidade vivenciada e reforce valores considerados essenciais na constituição da identidade nacional e na preservação do American way of life. O ponto de partida desta pesquisa é uma leitura discursiva do documento que marca o início da narrativa da nação americana - a Declaração de Independência - na qual são instaurados três princípios fundamentais na constituição da identidade do sujeito norte-americano, a saber: a liberdade, a igualdade e a busca da felicidade. No estudo de nosso corpus, composto de diversas seqüências discursivas que mostram práticas sociais em episódios selecionados da série norte-americana Anos Incríveis (título original em inglês: The Wonder Years), verificamos como os três ideais instituídos como discurso fundador na Declaração funcionam e afloram no cotidiano da sociedade americana, afetando seus sujeitos, produzindo sentidos e construindo identidades. A perspectiva adotada para a análise de nosso corpus é a da Análise do Discurso (AD) de linha francesa, especialmente os trabalhos propostos por Foucault (1969/2000) e Pêcheux (1975/2001). Concluímos este estudo confirmando que, por meio da criação e da exibição de diversos programas, a mídia televisiva colabora na produção de sentidos sobre a nação norte-americana, influenciando, organizando e reforçando não só seu sistema de representação mas, principalmente, o processo de construção de sua identidade cultural nacional. / The purpose of this study is to analyze the construction and the representation of the American identity through television. In this context, we also aim at observing the mechanisms used by this mass communication medium in order to sell its product - the American way of life. Our central hypothesis is that the representation of the American people on television disguises differences and conflicts so as to construct a historical narrative that justifies their reality and reassures some values considered essential in the constitution of their national identity and in the preservation of the American way of life. The starting point of this study is a discoursive reading of the document that celebrates the beginning of the narrative of the American nation - the Declaration of Independence - which contains three of the fundamental principles for the constitution of the North-American subject identity: freedom, equality and the pursuit of happiness. In the analysis of our corpus, composed by some discoursive sequences that show social practices in selected episodes of the American sitcom The Wonder Years, we examine how the principles above mentioned work as a founding discourse and appear in the everyday life of the American society, affecting its subjects, producing meanings and constructing identities. We adopt the perspective of the French School of Discourse Analysis for the analysis of our corpus, particularly the studies developed by Michel Foucault (1969/2000) and Michel Pêcheux (1975/2001). We conclude by stating that, through the creation and broadcasting of many different programs, the medium of television contributes to the production of meanings on the American nation, influencing, organizing and reassuring not only its representational system but mainly the construction process of its national and cultural identity.