The Great American Family Sitcom, Guarunteed to be Simple and... Simple

Episodic structure is a crucial aspect in understanding the television sitcom format. Family sitcoms have many uniting characteristics we all should be aware of. Generally they air in the early evening from 7-8 pm in half hour increments. Usually the nature of the sitcom is full of hyperbole and are absurd. The sitcom itself developed from theatre which is the reason the setting resembles a stage and is often filmed in front of a live studio audience. The format of most sitcoms is episodic while some may be classified as serial. In order for a sitcom to be serial, the narrative needs to be complex with a long term plot and complicated character development. This is why serial tendencies are more inclined to be linked in the genre of drama. On the other hand, episodic tendencies are prominent in comedies.


A give away that a sitcom is episodic is the common “lesson learned” sitcom. This occurs when the main character learns a valuable lesson in the short thirty minutes each week he/she has your undivided attention, meaning the show ends where it began. It’s also highly unlikely the character will mention the lesson or issue ever
again. The characters in an episodic sitcom are very predictable and familiar implying character growth will most likely be avoided.





I must admit, usually I avoid television sitcoms for the very same reasons I just mentioned that forms their episodic nature. However, they’re times when some simple humor is just what the doctor ordered. I enjoy tuning in to My Name is Earl ever so often to see what mess he got himself into. The premise of the show is about a small town criminal who wins the lottery and gets hit by a car before he can spend a dime. While in the hospital and under the influence of morphine, he begins to believe in the power of karma. He writes a list of all the people he has cheated or
scammed and decides to right his wrongs.


In each episode Earl, the main character, uses his money and smooth talking to help someone he has previously screwed in attempt to receive good karma. While helping others out, he tends to learn a valuable lesson that increases his overall morality. Usually the lesson is something quirky mixed with some self-reflection. A normal concluding quote said by Earl is, "I learned two things that day. I hated guys with alligators on their shirts and I was a terrible shot." This particular reflection at the end of the episode is at the same bar where the beginning of the show takes place. The comedy in My Name is Earl is usually absurd and addicting at the same time. Be warned, you will be reminded of that distant second cousin or brother in law you see every Thanksgiving. Character growth is essentially nonexistent. Personalities and attitudes are as consistent as the red on their necks, leaving each character to be highly predictable. Overall the show is dangerously episodic. You can watch the show once every few months and be
completely aware of what is going on...at least that’s what I do.

Note:
Apologies if this reads like a radio instruction manual. I wrote this blog right after Texas lost to Iowa State, thats right Iowa freaking State!

Film Language of "The Glow"

Shot progression is crucial to understanding the art of film language. Films not only tell stories verbally but visually as well. The way a scene is shot affects how the viewer interprets the action being portrayed in the film. The usual progression goes from general to specific by using long shots, medium shots, and close up shots. A long shot is known as the orientation shot by providing the viewer with the setting. The medium shot is the information shot. It increases the amount of detail shown by often revealing certain relationships. The most specific shot is the close up. This shot focuses on the important details the director is trying to convey such as the emotions of the character. Let’s take a look at a 1980’s kung fu flick based in Harlem.


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The Last Dragon is about a teenage African-American boy named Leroy Green who is on a quest to reach the “final level” of martial arts in which he will actually glow during battle. Of course, during his journey there are villains that he must conquer in order to reach his illuminate status as the dubbed “last dragon.” The scene I would like to introduce is the epic last fight sequence between Leroy and his arch nemesis Sho’nuff, who is the self proclaimed “shogun of Harlem.”





The scene begins with a long shot that is used to show the viewer the place where the two are duking it out. The shot shows a back alley connecting different factory warehouses together. Immediately we see the setting is dark and highly industrial. This shot creates an authentic urban feel that sets up the rest of the scene. As our attention is grabbed by the action we see Sho’nuff and Leroy in the she back of the shot.


The scene then progresses into a medium shot. We can now see the immediate relationship between Sho’nuff and Leroy. In just a moment’s notice we see Sho’nuff drowning Leroy. This shot is very informative as it reveals who is dominating the dual at this point. The medium shot is also used to show the dialogue between the two after Sho’nuff lifts Leroy’s head out of the water. This is crucial because the director chooses to use a medium shot to reveal the most important part of the film,, you guessed it, the glowing scene.



As Leroy’s whole body begins to glow he sways his arms in a manner that would even inspire Keanu Reeves as Neo, the shot zooms in on a close up of Sho’nuff. This shot focuses on the important details such as the characters emotion. We can feel the rage flowing from the eyes of Sho’nuff. His face has a very distinct evil grimace showing he is ready for the final showdown. May I add, it is also quite noticeable that the man’s hands are glowing red! Then the director does something interesting as we are given the viewpoint of Sho’nuff watching Leroy creep closer to us with a look of utter determination on his face.




The rest of the scene is composed of medium shots showing what happens when you fight a man whose whole body illuminates the color orange. Mental note 587, never fight a man who glows.

The Star System of Classic Hollywood

Classic Hollywood’s studio system placed an emphasis on certain stars to promote films that the studios produced. The 1920’s through the 1940’s was a landmark time in the history of cinema that is often referred to as the golden age. Although during this same era our nation was recovering from a depression and fighting through World War II, movies provided escapism for most Americans. The depression ruined many of the independent movie theatres and small producers of the time which strengthened the control of a few major players. The five major studios were MGM, Paramount, 20th Century Fox, Warner Bros., and RKO. They were fully integrated, meaning they had complete control of their movie production, distribution, and exhibition. It is also important to include the three minor studios Universal, Columbia, and United Artist. These three did not have control of their own theatres. The major studios goal was focused towards economies of scale by maximizing profits while limiting production cost. One way they accomplished this was by focusing on the star power of the actor.





The major studios’ realized early on that the audience had strong feelings towards the actors and actresses of their films. They used the popularity of the actor or actress to promote their movies, this technique is known as the star system. The stars were discovered and contracted by the studio in an effort to sell their products. This meant that actors and actresses were prohibited from being in another studios movie unless the studio they were under contract by allowed them to do so. Under this philosophy, stars were used to market products, promote other actors, and even other genres of film. The studio system was set up like a modern factory, often referred to as a “Fordist” meaning everything was assembled on site. This included the actors in which at the time were considered no different than an assembly line worker. However, the stars of the time were the best representations of what the studio was doing.



The stars had a direct effect on the type of movies the studio produced. Each star was attached to a genre of film. They indicated to the studios what the audience wanted to see. When certain actors gained momentum and popularity, Hollywood produced more films starring that actor in order to increase profits. If that actor was known as a gangster, the studio produced more gangster films in order to exploit the actor. Audiences were attracted to the stars of the films more than the plot itself. Certain character traits moved from movie to movie. These character traits could even become more important than the genre of film.




A prime example of an actor that was a product of the star system was Warner Bros. star, Humphrey Bogart. He got his start playing in gangster films like Angels with Dirty Faces. His big break came when he played the role of a detective in The Maltese Falcon which is widely regarded as the defining film of the “film noir” genre. Of course, you cannot mention Humphrey Bogart without noting his remarkable performance as Rick Blaine in the war classic Casablanca. Bogart became more popular than the movies themselves. Audiences flocked to see him play his usual hard cynical character that ultimately is noble by the end of the film. He also had a set of star traits that the audience could count on seeing no matter the plot or even the genre. Take Mr. Bogart’s trademark, his fedora and raincoat,when he slipped on this attire the audience knew Bogart meant business as the day was about to be saved. Together they certainly made for a beautiful friendship.

Blog # 4: The Bunkers's vs. The Forman's

"All in the Family" and "That 70's Show" use different approaches towards family structure and social issues that together, help me grasp what the traditional family was like in the seventies.


The family structure of " All in the Family" and "That 70's Show" is quite similar. Both of these situational comedies are composed of the traditional blue collar family. In "All in the Family', Archie Bunker is a working class husband, who also is a World War II veteran. Archie has strong prejudices against anybody who isn't a U.S. born, politically conservative, white male. His Wife, Edith Bunker plays the classic joyful, ditsy role to the tee. She is always very supportive of her family and if or may I say when, she disagrees with Archie it's always with a smile. Their child, Gloria Bunker Stivic is married and most likely in her early twenties. She still lives with her parents, but of course now she has brought her husband into the nesting ground as well. Micheal Stivic is Gloria's hippie husband. He and Archie frequently clash on social issues such as homosexuality. With Micheal representing the the views of a 1960's counterculture and Archie, the traditional "good ole boy" mentality.



Growing up, it was the situational comedy of "That 70's Show" that shaped my views of family structure of the seventies. Unlike "All in the Family" which aired from 1971-1979, "That 70's Show" aired from 1998-2006. Centered towards the teenage viewer, it gave many like myself a glimpse of what family life was like pre Nintendo and TiVo. This show has many similarities as well as distinct differences to "All in the Family". The breadwinner is Red Forman. He is also a working class husband and war veteran. Like Archie, he thinks the kids of the era(including his own son) are a bunch of pansies. While he comes across like a hard old man, towards the end of the episode his wisdom usually helps out his family. This view contrasts with the Archies', who usually learns some type of lesson towards the end of an episode. Red's wife Kitty is pretty much a clone of Edith's character. She is giddy, naive, and extremely supportive. Unlike Edith, Kitty has a job as a nurse. She is also often portrayed to be drinking a lot with frequent mood swings. The Forman's have two children. The oldest is Laurie Forman, she is casted as a very flirtatious and promiscuous college drop out. Unlike Gloria who is married, Laurie's character seems to get with every male character on the show who's last name isn't Foreman. Their youngest child, Eric is the focal point of the show. His character is much like Micheal, he views the world very differently than his father, challenging the old conservative views. Although Eric often is too scared to confront Red. Eric respects his father to the point of fear. Unlike "All in the Family", "That 70's Show" focuses on Eric and his extended family: his friends.


"That 70's Show" revolves around Eric's relationships with his friends as they discover who they are as individuals. The show takes on such social issues as feminism and teenage sexual attitudes of the time and how they relate to the teenage population of the time. One of the reoccurring theme's is his girlfriend Donna evolving into a strong feminist woman. Another important aspect of the show is how each of the male figures are consistently curious about sex. Using different characters to approach different sexual attitudes. There is Micheal who plays the womanizer, Fez is the mysterious foreign exchange student, Hyde plays the classic bad boy, and of course Eric who is in a long term relationship. It would do the show injustice to go without mentioning the famous in the basement "smokey" scenes. This is important because it portrays how the show doesn't discount the use of marajuana amongst teenagers in the era. Usually this is when each of the teenage characters are reflecting on their current issues of the episode.



"All in the Family" was much more blunt in its approach to such issues as homosexuality. This show seems to be more directed to the adults of the time, as you see the world through the eyes on Archie. While in "That 70's Show" Red may make a comment about being a pansie, it isn't the focal point of the episode, rather it is a side issue of character development."All in the Family" attacked the issues of the time such as the episode we watched about homosexuality. The whole episode was geared toward the topic, forcing the viewer to confront the issue or change the channel. However, in "That 70's Show" social issues are more lighthearted, put in place to show the growth of teenagers in the seventies.



VS.

Be Thankful for Broadcasting Networks, Advertising Strategies & Pluckers

Institutional factors including broadcasting networks and advertising strategies shaped the radio industry in the 1920’s by creating a means of operation that we still use in modern times.


Today, many of us rely on networks such as NBC, CBS and ABC for our morning talk shows, evening laughs and nightly news reports. These stations are provided via basic cable unlike other commercial free channels like HBO. Networks on basic cable rely on advertising to pay the network for its usage. The idea of a company required to pay for their advertisement on a network is a “win, win” for all parties. The viewer does not directly have to pay to watch the network. (I am proud to say I have watched NBC and CBS many occasions via antenna.) The network gets funded by advertisements and the company advertising benefits from the exposure from being on the network. This concept dates back before television was even invented. A time period that Woody Allen likes to call the “Radio Days."





It was in the 1920’s when institutions such as broadcasting networks played a vital role in the foundation of radio. American Telephone & Telegraph (otherwise known as AT&T) was the first broadcasting network. In 1926, the government opposed AT&T’s dominance in both radio and telephone communications. They were forced to sell their broadcasting rights to RCA, in which named their broadcasting network NBC. It did not take long until NBC had a rival competitor called CBS. All this network evolution gives rise to a whole new meaning of the phrase “the roaring 20’s.” These institutions produced the programs on the radio, implying it was them who decided what the consumer listened to. The combination of music, news and entertainment played on these stations shaped the culture. People were now more aware of what was going on globally. Now families and friends had shows over the radio to discuss and create bonds over.


What these networks did through radio has shaped global broadcasting even in modern times. Take such examples as current local radio stations to national broadcasting
networks like CBS and NBC whose birth was in radio broadcasting. These crucial institutional factors began in the 1920’s, a time when the vision of radio as a commercial commodity by David Sarnoff was coming of age. These networks needed a source of funding. In 1922, AT&T was the first institution that used advertising as a means of financial support. AT&T charged companies a fee for the use of their
radio station, WEAF. The cost of the fee was based on the amount of airtime used. This way of funding evolved rapidly, manufactures were now sponsoring programs in attempt to promote goods. Advertisers began paying to have ads promoted on airtime. This type of economic flow should seem very familiar considering it is still prominent in today’s society.


On my way to school, most mornings I tune in to the morning show on 101X. The host continually reminds his viewers how delicious the wings are at Pluckers and that it is one of his favorite places to eat. It is no coincidence that Pluckers frequently advertises during commercials. As annoying as I find these redundant radio ads to be, they have proven to be successful. I find myself eating at Pluckers every couple of weeks. Whether it was luck or sheer genius, institutional factors in the 1920's such broadcasting networks and advertising strategies had a tremendous impact on the evolution of radio. Just the possibility that I might have never discovered Pluckers and their infamous "Dr. Pepper wings" without radio advertisements makes me quiver.

Social Learning Theory Applied to Masculinity, Post 3

The concept of the social learning theory helps me understand the influence film has on our perception of masculinity, as well as my own personal media consumption patterns.

The social learning theory, also known as observational learning, basic principle is that we imitate the behavior we see in the media. This theory became prominent by the classic Bobo doll experiment conducted by Albert Bandura. The experiment proved the effects of viewing violence had on children, specifically preschoolers. During the experiment three groups of children watched a film about an adult attacking a doll with three different outcomes. Group-A saw the doll being hit with no reinforcement. Group-B witnessed the adult being rewarded after attacking the doll, while group-C watched the adult being punished after the attack. After viewing the film, the children were given the same doll they just witnessed being attacked. Groups A and B were far more aggressive towards the doll than group-C.
The Bobo doll experiment proposes we learn by observing the behavior and the outcome from that particular behavior.



Bobo Experiment Link


Focusing on films, lets apply the social learning theory to our current society that is bombarded with gangster movies, one man action renegade flicks, and overall utter male dominance. "Be a man" it seems as I have heard this phrase a thousand times growing up, but what does it mean? As a boy, I remember watching such classics as The Godfather, Rambo, and The Terminator with my friends. We idolized Al Pacino, Sylvester Stallone, and of course Arnold Schwarzenegger, these guys were not just men but "manly men." As kids, we may not have been able to get a crime boss "wacked" or shoot hundreds of people with a gun bigger than our bodies but the persona of what it meant to be a man was being instilled in us as well as millions of other teenage boys.






The documentary Tough Guise really opened my eyes to how our society views masculinity, that is in order to be a guy you have to be tough. In nearly all action movies masculinity is associated with violence, whether it's a "hero" plotting his revenge or a villain causing complete havoc. In reflection towards films, when a crime such as domestic violence is reported by the media the gender is hardly ever stated. This gives the impression that male violence is perceived as normal. Masculinity driven movies that young men flock to theaters to see, teach us the path to becoming a "manly man." In order to be tough, you need power. In order to get power, you need to dominate your surroundings and you must dominate your surroundings by violence.


Compilation of "manly man" movies here



The social learning theory also explains our own personal media behaviors. The theory states that our expectations of media is based off previous outcomes of behavior. Everybody can relate to this type of influence. Personally, this concept applies to my interest in J.J. Abrams films. I vividly remember my feelings of excitement the first time I watched Cloverfield and the anticipation I had for the remake of Star Trek. I am already counting down the days until Super 8, a film created by Abrams and Steven Spielberg is released. Since my experiences with J.J. Abrams films has been positive, his next film attracts me as a viewer. This theory can also be applied to the avoidance of media. Simply stating, we choose not to watch certain media because of a negative behavior we previous experienced. This is the very reason I am reluctant to watch Michael Bay films! After watching Friday the 13th and Transformers: Revenge of the Fallen., I am convinced this man relies on boobs and special effects without even attempting to tell a decent fictional narrative.


YAY!




BOO!

Hegemony and Ford

Hegemony’s prevalence throughout social media venues help me understand the following advertisement by Ford Trucks. Hegemony occurs when a ruling power such as big corporations use the media to create an underlying consensus around a particular set of ideas, so that they ultimately are accepted as common sense. Through gate-keeping, agenda setting, and framing , hegemony is maintained in our constant evolving society. Gate- keeping is a reference for who decides what is going to get attention. Agenda setting is the what or topic we as an audience are to think about. Framing refers to how we as an audience are to view the topic. The ruling power uses certain steps in order to carry out hegemony. First, the ruling group controls through our own consent. This occurs when our culture agrees to current arrangements set by the ruling power. Second, hegemony operates at a level of common sense. Basically this implies that hegemony uses a playing field we see as obvious. The third step of hegemony implies the dominant ideology must be made to seem natural. Nature is beyond human control, so if social media convinces us the unnatural is natural, it will go uncontested. The fourth and last step is the ongoing process of hegemony. It is not permanent, hegemony is continually enforced in order to be believed.


While explaining hegemony, I can’t help but think of big brother controlling little brother, with big brother being big corporations and little brother being us! These corporations are creating an ideology that ensures their dominance over us, the audience. It is nearly impossible to go a full day in our contemporary society without witnessing hegemony first hand. Just ask yourself, have I watched T.V., used the internet, read a magazine, or even listened to music? If the answer is yes, than chances are, you my friend , have witnessed hegemony.



It is difficult to find a better example of hegemony occurring than advertising. Ads tell us how we are suppose to look, act, feel, think , and pretty much live out our existence. A personal example would be the Ford truck or “FORD TOUGH” ad. As the proud owner of a F-150, I cannot help but acknowledge I do not fit the mold Ford establishes through these ads. This Ford tough ad begins with famous country singer, Toby Keith saying the reason he is a good spokesperson for Ford is because he is a “perfect fit.” Ford is telling the viewer, if you like Toby Keith, you like Ford. This ad is filled with cowboy hats, cowboy boots, and just about anything else cowboy besides John Wayne himself. Continually throughout the ad Toby Keith is seen driving his over-sized F-350 in what looks like a west Texas desert , while only taking breaks to hop in the tailgate and play his country guitar. Ford has managed to use all four steps of hegemony. As I’m sure most of us would agree cowboys like trucks. I wouldn’t think to ask the question, would a cowboy drive a Ford truck? Here is where the crucial step comes to play. This dominant ideology of cowboys driving Ford trucks is made to seem natural instead of cultural. Cowboys driving Ford trucks is a cultural construction not a natural one. Lastly, Ford has a strong ad campaign devoted to “Ford tough. ” There are numerous commercials instilling in us that tough cowboys must drive Ford trucks.


At first thought, I felt confused that I even own a F-150. After further evaluation, a connection becomes obvious. While I am not a cowboy, I don’t even listen to country music but I do live in Texas. Growing up in Texas with cable the past decade implies that if I want to be regarded as a “tough Texan” I should drive a Ford. Now only if I was tough.







Youtube
link to go watch Ford commercial.