It is often difficult to make clear-cut distinctions between one TV genre and another because many of them entail mixtures of textual elements from pre-existing genres. Many TV shows often exhibit the codes and conventions of more than one genre and are hybrid texts.
Nonetheless, a TV genre is a socially constructed category that enables scholars to compare TV shows in terms of subject matter, narrative structure, characterization, setting, aesthetics, and so on. The concept of genre helps us to identify similarities and differences between TV shows circulating at any given time.
In addition to classifying TV texts, scholars who study TV genres examine their industrial uses. All TV genres are shaped by the economic imperatives of TV production firms, broadcasters, and advertis- ers. Television genres or program forms have many industrial uses. For the most part, TV production firms make TV shows that adhere to established or time-tested genre categories to create efficiencies in the production stage.
Television genres provide a template to follow, an easily understood and easily explained way of making TV shows. Television workers that are familiar with the codes and conventions of specific TV genres will be able to produce TV shows more efficiently than those who are not. TV networks also license and schedule TV genres to attract and organize an audience on behalf of their advertising clients.
Genres are important to TV viewers too. Genres help viewers to orient themselves to differ- ent kinds of TV shows while providing a level of standardization and predictability.
Genres are comfort- ing to TV viewers because they provide an important frame of reference, which helps viewers to identify, select, and interpret TV shows that are scheduled. Consumers of TV shows have certain expectations about what they will see, read, or hear. Genres represent a promise to please and meet specific viewer expectations. They make TV series recognizable to viewers and tell them what to expect from TV shows.
How do TV scholars study genre? Jason Mittell , , addresses the many debates and challenges involved in TV genre study and provides a methodologically useful framework.
Mittell reviews common approaches to TV genre studies, noting that some scholars start with a pre- existing formalistic notion of a TV genre e. Here, the scholar slots a TV show to a pre-existing genre category. By hastily reducing the TV text to a pre-given TV genre, they risk missing what might be novel or unique about the TV show. Other scholars undertake a more dif- ficult approach to genre studies.
They watch several TV shows that seem to have similar codes and conventions. In this approach, the scholars might collect every single episode of every single vampire TV series produced in the past five years, watch them all, and make extensive notes about what codes and conventions the shows have in common.
The result would be a genre study of vampire TV shows. Rather, TV texts are given meaning as distinct genres by a number of different actors in society, from TV networks to TV viewers. This methodological approach to genres asks us to examine what people—creators, business, critics, audi- ences—are saying about a TV show. How do they give specific TV shows meaning as distinct genres? Mittell wants TV studies scholars to explore the material ways in which genres are socially defined, interpreted, and evaluated.
Instead of trying to figure out an inherent genre, we should examine how a specific TV show is given meaning as a distinct or essential genre by TV production companies, networks, advertisers, and viewers. While many TV genre studies originated as textual analysis, in- dustrial, historical, and social constructivist approaches have supplemented narrowly textual analysis of TV genres more recently.
What are the characteristics associated with specific TV genres? How do viewers define and relate to specific TV genres?
Sitcoms The situation comedy or sitcom was a regular genre broadcast by commercial radio in the United States in the s and s. Mike Eaton argues that most sitcoms focus on the trials and tribulations of a family and their home life, the relationships between employ- ees in a workplace, and tensions between people as they navigate home life and work. In the fictional world of these sitcoms, women are expected to function as homemakers while men work to support their families. Whether situated in an apartment in Manhattan I Love Lucy or a suburban home in a fictitious town Leave It to Beaver , female and male gender roles were more structured on TV sitcoms than they were in US society, where women were actually entering the workforce in significant numbers.
For example, Lucile Ball was a successful film and TV actress and producer. But the character she played in her sitcom was woefully incapable of making it in the working world despite her frequent efforts to enter it.
Like the traditional comic form, the sitcom features anti-heroic characters in everyday situations. Many sitcoms are about unexceptional people that do not desire or hope for a better or different way of life. Week in and week out, the characters that inhabit the specific location s of the TV sitcom remain trapped in the same place whether it is a living room couch Married. The narrative structure of the sitcom is standardized. Conflicts are neatly resolved after each episode only to reappear in a slightly different form in the following episode.
There are no radical transformations in the fictional worlds represented by sitcoms. Each episode reproduces the routine of everyday life at home, at work, and in between. David McQueen says that the essential feature of the TV sitcom is that nothing ever changes. Sitcoms sometimes raise important issues that represent social changes, although the sponsored nature of commercial TV shows in the network era ensured that these issues were dealt with in a tim- id way.
Post-network era sitcoms, particularly those on premium cable and some of the cable networks, can be more provocative in their representation of contentious social issues. The move away from advertising-supported TV programming has much to do with this recent phenomenon. Both are among the most popular cable and network sitcoms in Canadian television history.
Trailer Park Boys is one of the most successful cable shows in the history of Canadian television and its DVD sales were among the best for any Cana- dian TV show, comparable to those of many big American films Neilson Soundscan The first theatrical movie spun off from the show, Trailer Park Boys: The Movie, had the highest gross of any Canadian film for an opening weekend Adams The series also grafts a mock documentary or mockumentary aesthetic onto the traditional sitcom form.
This allows the shows creators to skewer the whole tradition of reality-based and ideologically conservative TV programs like COPS.
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Rohail Ijaz. Table of Contents. Best All Round 1. ExpressVPN Review Texas 6. The 11th Hour with Brian Williams. The Bite. The Equalizer. The Ghost and Molly McGee. The Good Lord Bird. The Great Canadian Baking Show. The Great North. The Osbournes Want to Believe. The Outlaws. The Rachel Maddow Show. The Real Housewives of Potomac. The Wonder Years. What on Earth? Who the.
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