GCSE Media Studies

Revision Pack – 2018Unit B322: Section B – T.V. Comedy and Institutions

ContentsWhat is Section B about?................................................................................................................................................2

Mark Scheme – Section B: T.V. Comedy and Institutions................................................................................................3

TV Comedy Glossary........................................................................................................................................................5

Basic facts: The Big Bang Theory.....................................................................................................................................7

Basic Facts: 8O10DC........................................................................................................................................................8

Scheduling: The Big Bang Theory vs. 8O10DC...............................................................................................................10

Audience Pleasures: Sitcoms.........................................................................................................................................13

Audience Pleasures: Panel Show...................................................................................................................................14

Audience Theory: Uses and Gratifications.....................................................................................................................15

Audience Pleasures: The Big Bang Theory vs.8O10DC..................................................................................................17

Revision Activities..........................................................................................................................................................18

Practice Exam Questions...............................................................................................................................................22

Exemplar Answer..........................................................................................................................................................22

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What is Section B about?

Requirements: you need to be able to use evidence from at least two texts (TV comedy programmes) that you have studied in detail to answer two questions about audiences and institutions, and why audiences enjoy watching TV comedy.

The comedies we have focused on are:

1. NMTB

2. The Inbetweeners

3. The Big Bang Theory

4. Doodlebug

5. 8 out of 10 cats

You should be prepared to:• Contrast two texts or discuss one text in more detail using media key concepts • Explain why these channels have chosen these texts to fit their institutional contexts• Explain why these channels have scheduled these texts on certain times and days• Discuss how these texts address their audiences, the nature of these audiences and the pleasures that are offered

by these texts.

Time management: This section is out of 30 marks, therefore you are expected to spend 30 minutes on this section. 1 mark = 1 minute.

Question 1 will ask you to explain why particular comedies are shown on particular channels and on particular days/times. You should demonstrate your understanding of the institutions BBC (BBC2) and Channel 4 (E4) and how it relates to its target audience.

Question 2 needs you to know about two TV comedies to illustrate your answer. Typically, the question will ask about what pleasures TV comedies offer their audiences. You will be expected to name pleasures that the programmes studied offer specifically, depending on their audience. You need to use examples from more than one episode to exemplify your point.

Both the questions above could either be compare/contrast or discuss one comedy.

READ THE QUESTION VERY CAREFULLY. Do not just write down everything you know about it!

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The mark scheme below is reflective of one of the possible questions for both 4a and 4b. Remember, there are two likely questions that could come up for each.

Mark Scheme – Section B: T.V. Comedy and Institutions

Question 4A: Pick two TV comedies you have studied. Discuss why they were scheduled: On the channels that chose them On the days and times they were transmitted

Candidates should have studied two programmes on different television channels. Answers that only discuss one programme and/or discuss two programmes on the same channel/station are highly unlikely to gain marks above level 2.Candidates will probably discuss two contrasting comedy programmes and show how they fit their different institutional contexts.The question asks for a discussion of the relationship between institutional context and scheduling practices, on the one hand, and the texts the candidates have studied, on the other. Better answers will focus on how the texts fit the institution and its scheduling. Weaker answers might focus solely on the texts, or might simply list facts about the institutions.Candidates might briefly discuss the channel’s brand identities, perhaps in terms of other programmes played on those channels and the ways the channels market themselves. This may include how an institution has branded a time slot, e.g. ‘Quite Big Thursday’. They may mention regulatory (e.g. Public Service Broadcasting) requirements in terms of the watershed and limitations on content or in terms of requirements for British (or regional) programmes.They may touch on channel ethos and history in relation to the distinctiveness of the BBC or Channel 4. They should be able to state whether the texts are scheduled on mass audience or niche audience channels/stations and perhaps make some judgments about the nature of those niche audiences. Candidates may produce audience figures; better answers will use these to illustrate institutional context (but note that this can be equally well done without statistics).Candidates should know the days and times of transmission for the two texts and be able to discuss which programmes were scheduled before and after them. They might state which programmes were scheduled on competing channels/stations at the same times. They should attempt to evaluate how these time slots would attract the target audience for the texts, whether this be a mass or niche audience. Better candidates will use evidence from the schedules to back up this evaluation, not unsubstantiated assertions about what the audiences will be doing at this time of day. Stronger candidates may show awareness of the crucial role of scheduling in a multi-channel TV and discuss the role of stripped schedules.

Level 1: Describes the scheduling of one or two comedies Minimal or inaccurate use of terminology Shows minimal knowledge of TV or radio channels and scheduling Minimal or no understanding of how channels use scheduling to reach audiences Some simple ideas expressed with errors of spelling, punctuation and grammar that obscure

meaning. Writing may also lack legibility.

0 – 3Marks

Level 2: Accurately describes the scheduling of two comedies Limited use of terminology Shows some knowledge of TV or radio channels and scheduling Some understanding of how channels use scheduling to reach audiences Simple ideas expressed appropriately but possibly with some errors of spelling, punctuation

and grammar that obscure meaning.

4 – 8Marks

Level 3: Describes and evaluates the scheduling of two comedies Some accurate use of terminology Shows sound knowledge of TV or radio channels and scheduling with some understanding of

9 – 11Marks

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how programmes reflect institutional contexts Sound understanding of how channels use scheduling to reach audiences Ideas expressed with some clarity and fluency; errors of spelling, punctuation and grammar do

not obscure meaning.

Level 4: Discusses the scheduling of two comedies Precise and accurate use of terminology Shows detailed knowledge of TV or radio channels and scheduling with understanding of how

programmes reflect institutional contexts Thorough understanding of how channels use scheduling to reach audiences Ideas expressed clearly and fluently in well structured sentences with few, if any, errors of

spelling, punctuation and grammar.

12 – 15Marks

Question 4B: Show how these two programmes offer their audiences different pleasures.

Higher level answers will explicitly contrast a range of pleasures offered by two texts with detailed exemplification of these pleasures by reference to at least two episodes of the programmes. These pleasures may range through comedic effect to narrative pleasures (e.g. opportunities for identification and narrative resolution), generic pleasures, audience uses and gratifications, high (or deliberately low) production values, pleasurable themes, and so on.

Middle level answers are likely to discuss fewer pleasures, with little or no explicit contrasting, and more limited examples, probably from only one programme or part of a programme.Lower level answers are likely to describe the texts with little identification of pleasure beyond the text ‘being funny’.

Level 1: Describe one or two texts Shows minimal knowledge of audience pleasures Minimal or no understanding of how programmes offer audience pleasures Some simple ideas expressed with errors of spelling, punctuation and grammar that obscure

meaning. Writing may also lack legibility.

0 – 3Marks

Level 2: Shows knowledge of one or two audience pleasures Basic understanding of how programmes offer audience pleasures Some textual exemplification Some ideas expressed appropriately but possibly with some errors of spelling, punctuation and

grammar that obscure meaning.

4 – 8Marks

Level 3: Shows sound knowledge of different audience pleasures Sound understanding of how programmes offer audience pleasures Some understanding of differences between programmes Relevant textual exemplification Ideas expressed with some clarity and fluency; errors of spelling, punctuation and grammar do

not obscure meaning.

9 – 11Marks

Level 4: Shows detailed knowledge of audience pleasures Thorough understanding of how programmes offer audience pleasures Thorough understanding of differences between programmes Detailed and appropriate exemplification Ideas expressed clearly and fluently in well-structured sentences with few, if any, errors of

spelling, punctuation and grammar.

12 – 15Marks

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TV Comedy GlossaryThese terms can be revised using Quizlet: https://quizlet.com/39482107/tv-comedy-flash-cards/

4a Terminology What it means

Audience ‘hook’An audience hook is a method used by television channel to encourage the audience to stay watching that channel. For example putting on a popular TV show before another show they want to encourage you to watch.

Block programming Occurs when a television network schedules similar programmes back-to-back. The concept is to provide similar programming to retain viewership.

Brand image What we think and feel about the brand, and our expectations.

Channel idents The ways a television channel help us recognise what channel it is; these might be logos, short films or animations.

Counter programmingWhen a time period is filled with a programme whose appeal is different from the opponent channels because it is a different genre or appeals to a different demographic.

Demographics Measuring audiences by CLEARS - class, location, education/employment, age, race, sex.

Downmarket audience Audiences with lower-middle class and working class people.

Ethos The characteristic spirit of the institution that is shown though its attitudes and aspirations.

Flagship programme A programme that is used by a channel to promote itself, to lead the schedules, to add to its brand image.

Hammocking A technique used by broadcasters whereby an unpopular programme is scheduled between two popular programmes in hope that viewers will watch it.

Institution A large media corporation or company. In this context, the organisations that makes, distributes or regulates programmes. E.g. Channel 4, BBC, Ofcom.

Mainstream Appealing to a mass audience.

Mass audience A wide audience. For example families.

Mixed schedule When the programmes a channel shows cover a mix of different types of programmes (e.g. news, comedy, documentary, soap.)

Niche audience A small and specific target audience. For example teenagers.

Ofcom The communications regulator for TV.

Prime time The time at which a TV audience is expected to be at its highest. Usually 7pm-11pm

Public Service Broadcaster (PSB) Any terrestrial channel. BBC 1, BBC 2, ITV 1, Channel 4 and Channel 5. These channels must follow particular charters to make the audience happy.

Specialist schedule When the programmes a channel shows cover a few or only one type of programme.

Stacking A technique used to develop audience flow by grouping together programmes with similar appeals to sweep the viewer along from one programme to the next.

Stripped scheduleA stripped schedule is the practice of running a television series at the same time daily (or at least on Mondays to Fridays), so that it appears as a strip straight across the weekly schedule.

Syndicate

When a programme is shown on a different television network than the one that first showed it. E.g. The Big Bang Theory was made for CBS (American) but now E4 broadcast it too.

TentpolingThe programmers’ bank on a well-known series having so much audience appeal that they can place two unknown series on either side, and it is the strength of the central programme that will draw viewers to the two other shows.

Theming Having special theme days, e.g. comedy

TV license Payable by every household that owns a TV. It funds the BBC.

Universal audience A universal audience is a wide audience which includes everyone. Everyone will like the product/media text.

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Upmarket audiences Audiences with more upper-middle class and middle class people.

Watershed

The watershed is the time before 9pm on television. It is in place to protect younger audience members from offensive material, such as swearing, sex and violence. Any show shown after 9pm is referred to as post-watershed.

4b Audience Pleasures What it means

Audience superiority

When the audience feels better than the character[s] because the audience knows they wouldn’t get themselves into those ridiculous or stupid situations, or make the same mistakes.

Circular narrativeThe plot will always go back to ‘normal’ at the start of each episode. This means that audiences do not have to watch the episodes in order to make sense of it.

Diversion Escape from problems and routine, or purely for entertainment.

Familiarity (i.e. catch phrases)When an audience can predict how a character will respond or react in situations within a T.V. programme. i.e. Catchphrases such as Homer’s “D’oh!” or Sheldon’s “Bazinga!”

Farce When situations are more exaggerated than they would be in reality.

Intertextuality

When one media text refers to another. E.g. when The Simpsons included a reference to JK Rowling and the Harry Potter books. It is a way to create audience pleasure, as the audience would feel clever for noticing the reference.

Personal identity Learning behaviour and values from texts; identifying yourself with a particular text.

Personal relationships

The media is used for emotional and social interaction. Media gives a common ground on which we can build conversation and relationship; we identify with certain media personalities or alternatively soap operas or celebrities can be used to substitute family life.

Relatable characters

Audiences can relate to the characters within the show as they demonstrate similar lifestyles and/or characteristics; Bart Simpson is a mischievous boy who attends school – easily relates to young boys.

Relatable SituationsAudiences can relate to situations or themes within a programme; I.E. Modern Family, the day-to-day life of in-laws, aunts, uncles, parents, and teenagers.

SatireFeatures such as irony and sarcasm are the main focus of this type of comedy that tends to focus on “making fun” of existing issues in the world.

Slapstick comedySilly and exaggerated physical actions; for example, the cliché pie in the face. Think of, The Three Stooges.

Star theoryRichard Dyer – the identity of famous people in the media has been constructed. They have created an identity to appeal to their target audience.

Stereotypes

Used to create predictability, as the audience can already expect certain characters to act or present themselves in a certain way. I.E. Blondes are unintelligent; people with glasses are nerds.

Surveillance Finding useful information, news, weather reports, financial news, holidays, produce.

Uses and Gratification theory

Developed by Blumler and Katz (1974) which suggests that audiences choose and use media texts for 4 different reasons - PrPiDS (personal relationships, personal identity, diversion and surveillance).

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Basic facts: The Big Bang Theory

From left to right: Bernadette, Howard, Raj, Penny, Sheldon, Leonard and Amy

The Big Bang Theory is an American sit-com which is now in its ninth season. It is a flagship programme for the channel as it attracts the highest ratings for E4. The show was also shown as a 'first-look' on Channel 4's digital offshoot E4 prior to the main channel's airing. While the show's ratings were not deemed strong enough for the main channel, they were considered the opposite for E4. For each following season, all episodes were shown first-run on E4, with episodes only aired on the main channel in a repeat capacity, usually on a weekend morning.

The show is primarily centred on five characters living in Pasadena, California: Leonard Hofstadter and Sheldon Cooper, both physicists at Caltech, who share an apartment; Penny, a waitress and aspiring actress who later becomes a pharmaceutical representative, and who lives across the hall; and Leonard and Sheldon's equally geeky and socially awkward friends and co-workers, aerospace engineer Howard Wolowitz and astrophysicist Raj Koothrappali. Geekiness and intellect of the four guys is contrasted for comic effect with Penny's social skills and common sense.

Over time, supporting characters have been promoted to starring roles: Bernadette Rostenkowski, Howard's girlfriend (later his wife), a microbiologist and former part-time waitress alongside Penny; neuroscientist Amy Farrah Fowler, who joins the group after being matched to Sheldon on a dating website (and later becomes Sheldon's girlfriend); and Stuart Bloom, the cash-strapped owner of the comic book store the characters often visit, who, in season 8, moves in with Howard's mother.

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Basic Facts: NMTB

Regular Rounds

The following games feature in most episodes

1.

2.

3.

4.

Occasional rounds

These games appear in some episodes, but not all and this is dependent on who are the guests or who is the presenter.

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1.

2.

Scheduling: The Big Bang Theory vs. Mock the WeekProgramme 1: Programme 2:Channel: E4 Channel: BBC2Day: Thursday Day:Time: Time: 10pm

Only include the information below if you are asked to discuss one programme. Pick the programme you feel you are most confident in discussing.

Syndicate channel: Channel 4 Syndicate channel: DaveOther days/times: Other days/times:

Repeats very old episodes on Dave most ___________evenings after 9pm.

4a

Why are they on the channels that broadcast them?

The Big Bang Theory (TBBT) / The Inbetweeners

E4 is a young channel that, like Channel 4, aims to be more daring and exciting than its competitors. It needs programmes that are popular, entertaining, but not too mainstream to fit its brand image. The institutions core values are to ‘do it first, make trouble and inspire change.’ It can attempt to inspire change by hopefully altering the audiences’ stereotypical view on ‘geeky’ scientists.E4 describe their brand identity as ‘witty and eccentric.’ E4 create this brand identity through the use of distinctive idents. For example, in the canal boat ident we see the mascot Eefer looking very bored on the boat with old people waving at him. There is a life buoy with

The BBC’s mission, outlined by Lord Reith, is to ‘inform, educate and entertain.’

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his name on it, dryly suggesting that E4 could save you from boredom. TBBT has a similar type of humour.

E4 has a niche audience that appeals to its young target audience (15-35) who are slightly skewed more to females, are sociable and connected, which is attractive to advertisers as they are a hard demographic to reach on TV. This generates income for the institution.

BBC2 is considered to be a mainstream channel but skews to an older audience. It aims to reach viewers’ aged 25-44 which links to the niche target demographic for NMTB who are male, ABC1. This is reflected in the BBC2 logo as it is a dark teal colour, which is stereotypically a male colour, and the font looks quite formal and serious which links to the target age.

E4 is part of a public institution – Channel 4 is owned by the British public and is not designed to make a profit. However, E4 is a commercial channel and a non-PSB digital channel. This means that E4 can show any programme that it thinks will attract their target audience. They are not required to show a certain amount of British programmes, or factual programming. Therefore, it can import lots of American programmes which is cheaper than producing their own, and are able to repeat programmes as often as they like.

The BBC is a public service broadcaster (PSB) funded by the license fee, so they have to follow Public Purposes which are set by the Royal Charter. These include showing mostly British programmes and they are limited to how many times they are repeated.

PSB channels are for the public benefit rather than commercial purposes. They have to have a mixed schedule with different genres of programmes. This includes local news coverage, arts programmes and religious broadcasts. On the same day the BBC shows a variety of genres such as factual programming, news, quiz shows and soaps.

Only add the information below about repeats if you are asked to discuss one programme.

E4 is allowed to have stripped schedules. As it competes with a lot of other digital channels it needs to have a schedule that the audience are able to easily remember.

syndicated to the channel Dave whose slogan is ‘the home of witty banter.’ It does not have a regular time slot on the channel, but is usually on after 9pm. Dave is owned by UKTV, which is jointly owned by BBC Worldwide.

TBBT is syndicated to Channel 4 at the weekend to help the channel attract the older end of TBBT’s target demographic. Prior to TBBT are other American comedies – Frasier and Everybody Loves Raymond. This is an example of counterprogramming as the other PSB channels show programmes aimed at an older audience, such as Bargain Hunt, Escape to the Country and Homes Under the Hammer.

Why are they scheduled on those days and times?

- Day: Thursday- Time:

-- Day:- Time:

A part of the themed comedy slot “Quite Big Thursdays” in which first look programmes of US imports are shown – links to C4 ethos of ‘do it first.’

TBBT is one of E4’s flagship programmes so is able to act

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as an audience hook for other US sitcoms. They use the technique of stacking as it is shown in a block of US sitcoms about young people. It is aired before Kevin Can Wait and Brooklyn Nine-Nine which encourages audience flow and acts as an audience hook to new and less popular programmes.Counterprogramming – TBBT is the only comedy programme aimed at young people on any of the mainstream channels in that time slot. The other main channels are showing programmes aimed at older audiences, e.g. BBC1 is showing Masterchef, BBC2 and channel 5 have documentaries and channel 4 has a house programme.

It is shown pre-watershed as although there are some sexual references, the humour is not too risqué.

Shown during prime time (7-11pm) when there are usually a larger number of people watching TV compared to the rest of the day. TBBT is in its tenth season which suggests its popularity.

Only add the information below about repeats if you are asked to discuss one programme.

The midday slot is part of the rolling programme of repeats with which E4 fills its daytime schedules.

Repeated on Dave to appeal to the channels male target demographic. However, Dave’s target audience is 15-35 which could help draw a younger audience to watch new episodes on BBC2.

The double bill at 6pm kicks off the evening schedule, which is followed by the first showing of Hollyoaks (repeated the next day on Channel 4), which is the channels core rating for that age group.

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Audience Pleasures: SitcomsWhat are the conventions of a traditional sitcom?

- a half-hour programme (24-30 mins), usually as part of a series- regular characters and familiar situations (often interiors)- a stand alone narrative so it is possible to appreciate the humour of each episode without viewing a whole series- each week a new problem causes humorous havoc, the comedy arising from the way in which the characters try

and deal with the problem- the use of common situations such as home, family or work- the use of small, regular casts based around an individual or a pair, with other subordinate characters (main

characters; supporting characters; transients)- equilibrium is disrupted and each episode concludes with some sort of restoration to ‘normality’, depending on

the style of the sitcom- catchy and hummable theme tunes- a ‘situation’ which often involves the characters feeling ‘trapped’ in some way

Popular aspects of some sitcoms are:

The Running Joke - A popular hallmark of both comic, and serious, forms of entertainment. A running joke or gag is an amusing situation, line (a catch – phrase), character trait or even character which reappears throughout the work. They are often unintentional at first, but familiarity or popularity of such gags among viewers encourage their reappearance. Often, the humour in a running gag derives entirely from how often it is repeated. In sitcoms they are usually associated with character’s personality or development as this is where the humour predominately comes from e.g. Sheldon’s 3 knocks, or his “spot” on the sofa (it highlights he is a bit different!)

The Comic Trap - The comic trap is the basic premise of a sitcom, on which the entire show is built. It is the situation characters find themselves in that they can’t escape from (they possibly could but won’t because then the humour and point of the show would be lost.) The humour in the show comes from the frustrations and obstacles the character/characters face because of the situation (or trap) they are in e.g. All the male characters are geeks.

The One-liner - Often a throwaway remark, the one-liner is a staple of the modern sitcom and stand-up comedy – where a lot of sitcom stars got their start. The one-liner is a joke that is made in one sentence often observational of a situation or event that has just occurred. E.g. Bazinga!

Innuendo/Double Entendre - Innuendo is when something is inferred but not obvious. A double entendre is a pun (something that can have 2 meanings), which is usually sexual and playful. For example, when playing a board game Sheldon says that he needs wood for his sheep. Raj and Howard find this amusing but Sheldon does not understand why.

Sarcasm - A disparity of expression and intention: when a speaker says one thing but means another, or when a literal meaning is contrary to its intended effect e.g. “No, really?” said in the correct tone actually means “obviously.” There are numerous episodes in which Sheldon is seen not to understand sarcasm.

Otherness - Not strictly a sitcom term, otherness factors into the clash that arises between characters, particularly concerning the character of the fish-out-of-water. Otherness is the expression concerning the unspoken difference between people. Sheldon is “otherness.”

Dysfunctional Family – Impaired or abnormal function that affects their day-to-day operation. In a dysfunctional family, conflict, misbehaviour and even abuse on the part of individual members of the family occur continually, leading other members to accommodate such actions. Children sometimes grow up in such families with the understanding that such an arrangement is normal. As a comic trap, the dysfunctional family came ready-made with

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quirky characters and plenty of conflict. Leonard’s psychiatrist mother meant that he grew up in a dysfunctional family.

Pseudo Family – A chosen family, the people you choose to live with, spend time with and look to for support and identity. They often lived in flatting or share-housing situations and therefore flatmates became members of the pseudo family as they witnessed strained family relations along with personal relationship highs and lows.

Taflinger’s Classification of Sitcoms

Richard Taflinger is an academic who has identified different structures within sitcoms:

1. Actom: ‘action focused comedy’…’plots are just there to make us laugh rather than make us think.’2. Domcom: based around domestic issues. Character and thought are more important than action.3. Dramedy: plots centred on big issues and important messages. Characters are complex and plots follow how

they cope with problems and difficulties.

Six elements are required for something to be humorous:

1. It must appeal to the intellect rather than the emotions2. It must be mechanical (automatic).3. It must have the capability of reminding us of humanity.4. There must be a set of established societal norms with which the observer is familiar with, either through

everyday life or through the author providing it in expository material.5. The situation and its component parts (actions performed/dialogue spoken) must be inconsistent or

unsuitable to the surrounding or associations (societal norms)6. It must be perceived by the observer as harmless or painless to the participants.

Audience Pleasures: Panel Show

Light entertainment Intertextuality Use of celebrities Familiarity – host and structure Diversion - Escapism Tests/gain knowledge Competition Participation Mocking - Laughing at other’s misfortune

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Read through the list below and tick the pleasures the programmes offer. How many do the two programmes have in common?

Audience Pleasure NMTB TBBTThe narrative and problems are always resolved at the end of the programmeIntertextualityUse of celebritiesDifferent types of humourRelatable characters and situations (so we can also laugh at ourselves/friends)Audience escapismAudience feels superior to characters as they never learn from their mistakes.Easy to watch (30 minutes long and self-contained episodes mean audience can ‘dip’ in and out of series).Social and family issues often used (audience can relate to)Themes are easy for audience to understandFamiliarity - e.g. catchphrasesPredictability – e.g. audiences know character well and know how they will react.

Audience Theory: Uses and Gratifications

The Uses and Gratifications theory (Blumler & Katz) outlines the generic pleasures of watching comedy on TV. This approach focuses on why people use particular media, 'what do people do with media'. Does television content serve or create audience needs? In some ways the theory argues that watching TV is a partnership between makers and users. Do we laugh at what comedy shows contain (clever writers surprising us with funnies) – or is it written to make us laugh (creating a style of humour in order to create an audience) – kind of a chicken and egg syndrome.

The same TV programme may gratify different needs for different individuals. Different needs are associated with individual personalities, stages of maturation, backgrounds and social roles.

The theory outlines 4 areas of audience pleasure: PrPiDS

Personal Relationships gaining insight into circumstances of others; social empathy identifying with others and gaining a sense of belonging finding a basis for conversation and social interaction having a substitute for real-life companionship helping to carry out social roles enabling one to connect with family, friends and society

Personal Identity finding reinforcement for personal values finding models of behaviour identifying with values in others (in the media) gaining insight into one's self

Diversion escaping, or being diverted, from problems relaxing getting intrinsic cultural or aesthetic enjoyment filling time emotional release

Surveillance finding out about relevant events and conditions in immediate surroundings, society and the world seeking advice on practical matters or opinion and decision choices satisfying curiosity and general interest learning; self-education gaining a sense of security through knowledge

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We all bring different approaches to TV programmes each time we watch it. All this ‘baggage’ helps shape how we use television and what we expect to get out of it. Including some or all of following:

age / gender / heritage education / social status emotion state of mind/day beliefs / culture viewing habits and expectations boredom may encourage a choice of exciting content stress encourages a choice of relaxing content.

How does this relate to watching TV comedy panel/quiz programmes?

McQuail, Blumler and Brown (1972) offered the following summary of clusters of 'uses' that people made of TV quizzes:

Self-Rating Appeal I can compare myself with the experts I like to imagine that I am on the programme and doing well I feel pleased that the side I favour has actually won I am reminded of when I was in school I laugh at the contestants’ mistakes

Basis for Social Interaction I look forward to talking about it with others I like competing with other people watching with me I like working together with the family on the answers It brings the family together sharing the same interest It is a topic of conversation afterwards

Excitement Appeal I like the excitement of a close finish I like to forget my worries for a while I like trying to guess the winner Having got the answer right I feel really good I get involved in the competition

Educational Appeal I find I know more than I thought I find I have improved myself I feel respect for the people on the programme I think over some of the questions afterwards It’s educational

Sourced from: Daniel Chandler/online at http://users.aber.ac.uk/dgc/

Audience Pleasures: The Big Bang Theory vs. Mock the Week4b How do The Big Bang Theory and Mock the Week offer different audience pleasures?

TBBT offers a range of audience pleasures such as exaggeration, identification with characters and situations, intertextuality, slapstick humour, familiarity of characters, narrative resolution.

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MtW offers a range of audience pleasures including familiarity, intertextuality, and the quiz show format.

The Big Bang Theory (TBBT) NMTB

Narrative pleasures – we can follow a story as it unfolds throughout an episode, and some narratives follow from one episode to the next. It has a circular narrative that is resolved in some way at the end of the episode.

Has a loose narrative in which players compete for points and the teams win or lose at the end, but this is far less important than the laughs that are generated along the way. It offers structure through the regular order of the rounds played, offering familiarity.

Following a story means: We are able to identify and build a relationship with one

or more of the characters – we feel for them and want the best for them. Although, Sheldon’s ego can sometimes spoil this!

We are rewarded as loyal viewers by understanding events that are only explained by what happened in previous episodes. E.g. Penny and Leonard’s on/off relationship, Raj’s inability to talk to girls, Sheldon’s ‘spot.’

Narrative resolution – one of a few storylines that come to some conclusion at the end of the episode.

A mixture of comic and serious storylines. We sometimes sympathise with characters, but sometimes laugh at them.

Personal viewpoints of the panel on particular topics/Music stories. This can add to the audience’s sense of security brought about by the feeling that you know what is going on in the world (surveillance) and listing to other people’s opinions about it – links to the uses and gratifications theory. The audience enjoys musicians or celebs they might dislike being mocked for their entertainment.

Exaggeration – In the episode ‘The Tangerine Factor’ exaggeration is used when Leonard is nervous about his date with Penny and is shown covered in sweat. The audience would find the exaggeration of Leonard’s nerves funny and the over the top humour would appeal to the target audience of young adults, who may be able to relate to the situation.

Intertextuality – refers to other media texts which relies on the target audiences knowledge of the real world in order for them to find it funny.

Slapstick – In the episode ‘The Fuzzy Boots Corollary’ slapstick humour is used when Leonard bangs his head on the table. The easy to understand humour would be appealing to the target audience.

It provides a basis for social interaction as audiences may look forward to talking about it with others, providing a topic of conversation afterwards, linking to personal relationships.

Familiarity of characters – the audience would enjoy getting to know the characters and familiarity with how they act creates humour. For example Sheldon’s obsessive behaviour is a source of humour in every episode, and is seen in the episode ‘The Tangerine Factor’ when it takes Sheldon five minutes to decide which chair to sit in.

Familiarity – offers the audience pleasure of familiarity as it follows the same format every episode, e.g. the same four rounds every episode. Audiences would enjoy the programmes as it fulfils their expectations.

Identification within everyday situations, which brings about personal identity. In the episode ‘The Tangerine Factor’ the target audience of young adults would be able to relate to the awkwardness of Leonard and Penny’s first date, which they would find humorous.

It can provide educational appeal as it can make audiences think over some of the topics afterwards and it could make them feel good as they may have known more about music than they thought.

Revision ActivitiesComplete the activities below to help you revise information about BBC 2 and E4.

Programme 1: Programme 2:16

Channel: Channel:Day: Day:Time: Time:

Give three reasons why you think NMTB is scheduled on that channel, and at that day and time.

Channel:_____________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________

Day:________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________

Time:_______________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________

Give three reasons why you think The Big Bang Theory / Inbetweeners is scheduled on that channel, and at that day and time.

Channel:_____________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________

Day:__________________________________________________________________________________________________________________________________________________________________________________________

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Target audience:

Name 3 rules the BBC have to follow which fit with BBC 2:

1.

2.

3.

Target audience:

Name Channel 4’s 3 core values:

1.

2.

3.

______________________________________________________________________________________________________________________________________________________________________________________________

Time:_______________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________

Compare your responses to the programme checklist and exemplar answers. Look back at the mark scheme.

What level would your response achieve? What do you need to do in order to achieve more marks?

Audience pleasures: Examples

Find specific examples of audience pleasures to help you explain how the texts offer different pleasures.

Audience pleasure

The Big Bang Theory Audience pleasure

NMTB

Personalidentity / audience superiority

In season 9 episode 5 Stuart explains how he feels insecure about having been single for so long which is why he is awkward around women. Amy explains that is how she felt before meeting Sheldon. The young target audience are likely to be able to relate to these characters which could make them feel better about not being good with relationships too. Alternatively, it could make them feel superior to the characters, as they may not have the same problems.

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Now, using clear examples answer the question:

“Pick two TV comedies you have studied. Discuss why they were scheduled:

• On the channels that chose them

• On the days and times they were transmitted.”

Take no longer than 15 minutes on your answer.

Find specific examples of audience pleasures in both programmes to help you explain how the texts offer similar pleasures.

Audience pleasure

The Big Bang Theory NMTB

Intertextuality Used in almost every episode through reference to either sci-fi films/programmes or comic books. In ‘The Skywalker Incursion’ (season, 8 episode 19) Bernadette challenges Howard to a ping-pong game in order to get rid of his Dr. Who Tardis door. Audiences enjoy identifying and learning about sci-fi elements that are related to the real world, and are important to the characters.

Example episode

Comparison question structure:

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Pick two pleasures The Big Bang Theory offers:

a).........................................................................................................................................................................

b).........................................................................................................................................................................

Pick two pleasures Mock the Week offers:

a).........................................................................................................................................................................

b).........................................................................................................................................................................

Pick two pleasures both comedies offer:

a).........................................................................................................................................................................

b).........................................................................................................................................................................

Terminology

Make a note of the terminology and theory you will use for 4a and 4b.

Question The Big Bang Theory Mock the Week4a

4b

Practice Exam QuestionsAnswer this question using Television and/or Radio Comedy programmes you have studied.

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Now, using clear examples from episodes studied answer the question: “Discuss in detail how two comedy programmes offer audience pleasures.”

Spend no longer than 15 minutes on your answer.

4 Pick two TV or radio comedies you have studied.

(a) Compare how and why two programmes were schedules on different channels. Refer to one specific channel, time and day. [15]

(b) Discuss in detail how one comedy programmes offers audience pleasures. Give examples from the programme. [15]

OR

4 Pick two TV or radio comedies you have studied.

(a) Discuss in detail how and why one comedy programme was scheduled on one or more channels. [15]

(b) Compare the audience pleasures offered by two comedy programmes. Give examples from the programmes. [15]

By practicing the response to all 4 of the above variations you will be fully prepared for section B. When you are only required to discuss one programme, do it for the text you are most comfortable with for the particular question.

Exemplar Answer4 A – Scheduling: The Simpsons is shown on Channel 4, an institution which is aimed at an almost universal audience as it attracts a wide audience of all ages. It is shown at 6pm each weekday and on Sundays at 1pm. This is because the 6pm weekday slot is a competitive time for a family audience as children and teenagers would have returned from school and most adults will have returned home from work and will be looking to relax. Due to the broad appeal of the sit-com, as it focuses on a family of a variety of ages, it contains mainly inoffensive material. The Simpsons is appropriate for family viewing, meaning it can be shown before the 9pm watershed. Then, Channel 4 has scheduled The Simpsons as a part of its T4 line up on Sunday at 1pm which appeals directly to teenagers, a large portion of the show’s target audience. By showing it at both times and six days a week the channel is more likely to gain viewers. It could also be argued Channel 4 has used a stripped schedule for The Simpsons as it is a well-established, popular show and would not only attract advertisers for Channel 4 nearly every day of the week but also showing The Simpsons at an early evening time of 6pm may hook in the audience for programmes which follow such as Hollyoaks, which has a similar target audience. 6pm is also a good time to show The Simpsons as Channel 4’s main PSB competitors, BBC 1 and ITV, are showing the news at this time and this does not appeal to a younger audience, whereas The Simpsons does.

How Not to Live Your Life (HNtLYL) is shown on BBC 3, which is part of the BBC institution. BBC 3 is aimed at a young audience and How Not to Live Your Life attracts a niche audience of mainly male young adults, due to the show following the protagonist Don and a mainly male point of view. It is shown at 10.30pm on Mondays. Firstly, this is because the show contains adult themes, such as bad language and sex, so must be shown after the 9pm watershed. It is also because the show’s target audience are more likely to be watching television at this time as they will have returned home from work and will be looking to relax on a Monday evening. BBC 3, as a part of the BBC, has to follow the BBC’s Charter. One of the charter rules is the BBC must produce programmes which are ‘original’ and ‘stimulate creativity’. HNtLYL is therefore appropriate for BBC 3 as although it is a sit-com, it contains surreal humour, making it an original and creative show format.

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B – Audience Pleasures: How Not to Live Your Life and The Simpsons are both sit-coms so offer audiences similar TV comedy pleasures. Firstly as both shows are sit-coms they are both short, with self-contained plots. This offers the audience pleasure as they do not need to spend time following the entire series but can instead choose to watch a ‘one-off’ episode and easily follow the narrative. Also after most episodes both programmes come to a conclusion and audiences like to watch a resolution. For example in The Simpsons episode ‘You Only Move Twice’ The Simpsons family leave Springfield and move to a new town when Homer gets a new job. However by the end of the episode once the episode conflict is resolved the family return to Springfield and Homer get his old job back, offering the audience a clear conclusion.

The Simpsons offer pleasure through familiarity with the characters and being able to relate to the characters. The Simpsons has a family audience and members of the family would be able to relate to the different characters, for example mums can relate to Marge and how she may behave in certain situations. For example, her frustration at Homer when he makes a mistake. The use of stereotypes in the programme, such as Apu the Indian shop-keeper who is given a stereotypical Indian accent and characteristics, also allows the audience to easily relate to the characters and quickly understand them; making the show easy to follow. As the programme features the same characters each episode the audience would be familiar with them and be able to predict what they may do or say in certain situations. For example when Homer makes a mistake he will often use his catch-phrase ‘D’oh’.

Similarly, HNtLYL also offers the audience pleasure through understanding of character, however this is mainly achieved through the audience feeling superior to the main character Don as he often makes big mistakes and gets himself into ridiculous situations. For example, in the episode ‘Don’s New Job’ Don lies to his flatmate about having a new job to make himself look better than he is, however when he is caught out, instead of telling the truth he takes the lie further and pretends to go to his new office where he is mistaken for an actual employee. He then spends lots of money on ‘stuff’ online before being fired and found-out by his flat mate for the lie. In this situation the audience are able to laugh at Don and feel they are superior to him as they know they would not get into such a situation themselves.

Specifically, in HNtLYL the show offers the audience pleasure through the use of surreal humour. When Don is put in certain situations the main narrative is cut away from to show several potential outcomes to the situation Don is in. For example, in an episode where Don is late to work the narrative cuts to ‘4 excuses you shouldn’t give for being late’ and shows four short clips with different, comic excuses. This gives the audience pleasure as not only does it offer the audience something original from the conventional sit-com, they may also relate to the situations as the surreal cut-aways often show what the audience may like to say in a situation but cannot as it would be rude or weird to behave that way in real-life. Therefore this element of the show also offers the audience escapism.

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