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sitcoms

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Journal Article
Camera Obscura (2017) 32 (3 (96)): 1–31.
Published: 01 December 2017
...Tison Pugh Despite the progressive ambitions announced in its title, the sitcom Modern Family (ABC, 2009–) has been excoriated by many viewers for its purported conservatism and reactionary politics. In particular, the program’s treatment of homosexuality, evident in the story line of gay couple...
Journal Article
Camera Obscura (2015) 30 (2 (89)): 125–155.
Published: 01 September 2015
...Phoebe Bronstein This article examines The Andy Griffith Show (CBS, 1960–68) within the context of civil rights news reporting and articulates how the sitcom used humor to reenvision and rehabilitate the South in its safer white image. By 1960, due to civil rights news coverage, racism could...
Journal Article
Camera Obscura (2017) 32 (3 (96)): 33–61.
Published: 01 December 2017
...Douglas S. Ishii The “ Modern Family effect,” a reference to the ABC family sitcom that premiered in 2009, first emerged to describe the program’s ratings success and then shifted in meaning to discuss its seemingly bipartisan depiction of same-sex marriage. This convergence of television’s...
Journal Article
Camera Obscura (2016) 31 (2 (92)): 27–59.
Published: 01 September 2016
...Rebecca Wanzo Issa Rae's web series The Misadventures of Awkward Black Girl (2011–13), initially posted on YouTube, and Lena Dunham's Girls (HBO, 2012–) are examples of the precarious-girl comedy in the new millennium. These sitcoms depict women experiencing a prolonged girlhood produced not only...
Journal Article
Camera Obscura (2019) 34 (3): 31–61.
Published: 01 December 2019
... and the private sphere of the home. These newly blurred boundaries had profound implications for postwar conceptions of gender, home, and family. Through both form and content, programs as wide-ranging as the science-fiction anthology The Twilight Zone (CBS, 1959–64) and domestic sitcoms The George Burns...
Journal Article
Camera Obscura (1993) 11 (2 (32)): 102–123.
Published: 01 September 1993
... oddity as well as their corporate strength. Nina Auerbach2 On December 20, 1990, in a brief, three-sentence article reporting on a new, 50 million dollar deal between Mozark Productions Inc. and CBS, the then five-year-old sitcom Designing Women finally...
Journal Article
Camera Obscura (1994) 11-12 (3-1 (33-34)): 102–131.
Published: 01 May 1994
... but tender-hearted bookseller), and Nate (an African Amer- ican police detective who ultimately fathers her child and then tragically dies). Yet, in sharp contrast to the characters in most sitcoms or dramatic series, Molly Dodd is ultimately a solitary figure. Despite the importance of the people...
Journal Article
Camera Obscura (2000) 15 (1 (43)): 45–93.
Published: 01 May 2000
... shows were touted as more “literate,” more stylistically complex, and as offering more char- acter development than most sitcoms. This elevation of the situation comedy to “quality” status relied upon highly gendered representations...
Journal Article
Camera Obscura (1994) 11-12 (3-1 (33-34)): 166–191.
Published: 01 May 1994
... like morning and evening news shows and “reality”-based programs like COPS usually work harder to produce this effect than fictional ones do; dramas like NYPD Blue or ER produce it more self-consciously than traditional series like Matlock or than most sitcoms...
Journal Article
Camera Obscura (2007) 22 (2 (65)): 166–172.
Published: 01 September 2007
... when the latter wasn’t explicitly thematized (and it rarely was), it could still haunt the workplace families of “feminist sitcoms,” since, as Lauren Rabinovitz claims in her study of the genre, “women desiring women [is] the repressed aspect of female friendship throughout...
Journal Article
Camera Obscura (2001) 16 (2 (47)): 230–231.
Published: 01 September 2001
...: University of California Press, 2000. Smith, Susan. Hitchcock: Suspense, Humour, and Tone. London: British Film Institute, 2000. Staiger, Janet. Blockbuster TV: Must-See Sitcoms in the Network Era. New York: New York University Press, 2000. Street, Sarah. British Cinema...
Journal Article
Camera Obscura (2015) 30 (1 (88)): 155–183.
Published: 01 May 2015
...), with its serial- ized plots about the ostensibly scandalous lives of suburban white women. The docusoap’s deployment of some sitcom conventions —  which have always revolved around notions of familial relations —  therefore contributes to the production of intimacy, particularly in the way...
Journal Article
Camera Obscura (2015) 30 (1 (88)): 185–195.
Published: 01 May 2015
... production values only contribute. And unlike in sitcoms, the clumsy style of cinema verité is not used to indicate reality. In this sense, casting is everything. The term unscripted needs to be deconstructed. Perhaps a better term would be prescripted in the sense that the real people...
Journal Article
Camera Obscura (2013) 28 (2 (83)): 109–149.
Published: 01 September 2013
..., 1968 – 73) and The Smoth- ers Brothers’ Comedy Hour (CBS, 1967 – 69) on the political left and procedurals like Dragnet 1967 (NBC, 1967 – 70) on the right, Lear’s introduction of these social issues into the prime-­time sitcom, start- ing with All in the Family (CBS, 1971 – 79), was treated...
Journal Article
Camera Obscura (2003) 18 (3 (54)): 131–175.
Published: 01 December 2003
... that poses the question: What kind of mother does the cinema of the 1950s make? More specifically, what happens if we understand 1950s film melodramas as offer- ing oblique, but active contestation of the world of television fam- ily sitcoms? Surely, Cathy Whitaker functions as an icon...
Journal Article
Camera Obscura (1989) 7 (2-3 (20-21)): 241–245.
Published: 01 December 1989
... one. The other development is more familiar to me from cultural studies than from cinema scholarship, and it involves the use of “the female spectator” as a myth of academic pleasure -in particular genres (soaps and sitcoms are favorites), in predicated modes of “consumption...
Journal Article
Camera Obscura (2004) 19 (3 (57)): 57–91.
Published: 01 December 2004
..., or episodes of sitcoms, but to a gen- eral cultural memory of the time.31 Here Haynes’s appropriation functions less as a recontextualization or subversion of corporate Superstar and Bootleg Aesthetics • 73 media than as a historicizing method to present the cultural con...
Journal Article
Camera Obscura (2019) 34 (3): 157–167.
Published: 01 December 2019
... intertextual references to theme songs from black- cast sitcoms, what is especially fascinating is that each of these shows advances distinct musical sensibilities that reinforce its nar- rative form and representational politics. Except for Looking, these shows typically embed licensed music over a cold open...
Journal Article
Camera Obscura (2015) 30 (1 (88)): 11–39.
Published: 01 May 2015
..., Reality Celebrity, and the Female Grotesque Jennifer Lynn Jones and Brenda R. Weber We begin this consideration of motherhood, reality celebrity, and figures of the female grotesque not with reality television per se but with an episode of the NBC sitcom 30 Rock (2006 – 13...
Journal Article
Camera Obscura (1990) 8 (2 (23)): 148–175.
Published: 01 May 1990
... on this observation to explore the ways that space-age imagery was “domesticated” within the popular discourse and the fantastic sitcoms (Bewitched, I Dream of Jeannie, The Jetsons) of the 1960Not only did such programs familiarize their futuristic or fantastic imagery so that they fit more comfortably...