Archive
Death of the Author
As a newcomer to fan texts and online fandom, one can easily make the mistake of generalizing the concepts and attitudes of fans into fanatical and/or detailed obsessions about a particular television program, genre, or even body of work. Therein the argument lies in whether the derivative works of fans is meaningful or problematic since “the multiplicity of meaning has collapsed into complete absence of intersubjective meaning (Sandvoss, 30). Essentially, the ignorance of intertextuality and the differences that come with the various interactions between the readers, texts, and author can create conflict in the value and originality of fan text. Upon analysis of the aforementioned interactions, it becomes apparent that the aesthetic value of a text is highly subjective to the taste and interpretation of a reader, and intertextuality is a better way of describing fan text as composed to regressing to the complete absence of intersubjectivity.
The original and creative ideas that can be seen in the derivative work from fanfiction sites that offer alternate endings, closer looks into the lives of extraneous characters, or subplots that can be fit within the text have the potential to be considered original bodies of work. Although they do derive ideas, people, and places from an “Ur-text,” the differences in storyline and ideology call for a placement of such works into its own category. Without a starting point, or “Ur-text,” it can be inferred that a fan would not have a basis for his/her story or alternate ending; however, there is a thin line. Without the input of innovative and imaginative ideas from a reader, there would be no change in script or story line.
Like any body of work, the dialogue between the reader and the text is key. Various interpretations of dialogue are present in every day life. The body language and attitude with which a person presents him or herself is subjectively taken in by the receiver of their “work” or conversation. Similarly, when reading texts, the dialogue is open to interpretation by the man readers of the “Ur-text” and thus subject to numerous opinions, attitudes, and arguments. Some of these emotions manifest themselves in works of art known as fan texts, which can celebrate an author just as much as diminish an author’s worth or purpose.
Although subjective, an author’s purpose (main or discrete) is to be read and enjoyed. The manipulation, extraneous research, and addition of details of original texts to create fan texts can thus be perceived in a positive light. A fan must be humble enough to study, analyze, and add age and time appropriate elements to texts that are within or after the original text. The time and effort employed to analyze the original text and add details can have an enamored connotation. Could it be that fan texts are tributes to original texts? Could it be that the immense amount of respect that a reader has for an original text takes its form in the creation of a derivative work that uses elements of the “Ur-text” to give a off-handed “shout-out” to an author that created the first of many archived works? Thus, rather than believing in the “death of the author,” one can argue that a celebration of the author is taking place through the close study of an author’s work resulting in imaginative creation.
Works Cited
Sandvoss, Cornel. “The Death of the Reader: Literary Theory and the Study of Texts in Popular Culture.” Fandom: Identities and Communities in a Mediated World. Ed. Jonathan Gray, Cornell Sandvoss and C. Lee Harrington. New York: NYUP, 2007.
Blog 14: Essay Three
For the last, longest, and most challenging essay, I will be looking into the television program House M.D. because it is my favorite show to watch and keep up to date with and its multitude of story lines and characters will allow for a diverse and interesting fan group that could potentially have many attractive and appealing qualities since I will actually have to join this fan club and interact with them.
For the most part House M.D. is comprised of my favorite parts of television. It contains a plethora of sarcasm, which can easily be critiqued and commented on, especially by fans of the show. Many people feel defensive about why Dr. House acts the way he does and the various views and opinions on his behavior and demeanor are interesting to analyze. Furthermore, there is a long history of drama that revolves around the main cast, and the evolution of the characters themselves as well as their relationships proves to provide many areas of study and analysis, as well. Lastly, the medical procedural aspect of the show contains a wide range of scientific and technical jargon. This is often critiqued by audience members on the ground of how effective the recreations of the medical processes that appear on the show are.
I am excited for this essay because I have never engaged in any online fandom, and I think it would be interesting to see what diverse people have to say about the same episodes and topics. Even though everyone on these sites are watching the same show that airs the same episodes, the way in which the program is perceived and analyzed is individual to each person that chooses to post any information or opinions about it.
Currently, I am picking between two online fandom sites to join and engage in based on the fact that they are rather large. The major difference between the “House M.D. Fanfiction Archive” site and the “House M.D. Fan Club” site is that the “House M.D. Fanfiction Archive” site has fiction stories and alternate endings that include excerpts from what really happens on the show in the form of prose. Since I enjoy reading, creativity, and originality, I can see myself being entertained by reading the various submissions by some die-hard fans. On the other hand, the “House M.D. Fan Club” site has a wider variety of information offered. Complete with videos, trivia, photos, comments, opinions, and links, I feel as though this site is more interactive and allows for more exploration of an established fan base.
Essentially, I wanted to pick a show that I would enjoy researching. I have used the program House M.D. for both of my essays and my in-class presentation, so I am comfortable with the program, its history, and its qualifications. This comfort will help me in being a better poster or submitter of information, opinions, on comments on a fan site that often includes people that watch the show more obsessively than I do, and have more knowledge and information on the subject and genre of the show. It will be exciting and interesting to see the different levels of research, soul-searching, and opinion based posts and stories that I come across, and I am anxious to get started!
Works Cited
“House M.D. Fan Club | Fansite with Photos, Videos, and More.” Fanpop – Fan Clubs for Everything. What Are You a Fan Of? Web. 06 Apr. 2011. <http://www.fanpop.com/spots/house-md>.
“House, M.D. FanFiction Archive – FanFiction.Net.” Unleash Your Imagination – FanFiction.Net. Web. 06 Apr. 2011. <http://www.fanfiction.net/tv/House_M_D/>.
Genre
Metaphorically speaking, genre is the racial division of the televisual world. The study of genre wholly depends on its ability to be understood as a categorization of groupings of types of television programs that have certain specific characteristics and attract particular audiences. Although this may be a generalization, but genres essentially make it easier for television and cinema viewers to pick and choose what they do and do not like about various programming. Furthermore, genre allows critics and analysts of television and cinema to create definitions and characteristics for differences and similarities between movies and programs. In my opinion genre is necessary, and is what keeps media, cinema, and television broadcasting different and interesting.
Genre should be studied so that criticism and analyses made on various programs can take the intention and nature of the programs into account. A comedy is not usually criticized or studied in the same way that a drama is, nor should it be. Both vast and minute difference, and everything in between, comprise the essence of a television show and set it apart from others. In a way, genre can be considered the spice to the bland dish of television. The multitude of subgenres and mixture or mixing of genres creates different aspects and venues of television that allow for new audiences to create a fan base and/or following.
The most interesting point may be that as television scholars, we can learn just as much about television, broadcasting, script, and narrative from studying genre as learning about people in general. If it weren’t for predispositions, stereotypes, age difference, and differences in taste and humor, genre would not be as significant as a whole, and may not have a need to be studied. The interests of different groups of people mesh with creativity, originality, and technology to create avenues of enjoyment and entertainment for the billions of people around the world that indulge in the delight of watching television.
Although it is true that a small percentage of experts that study television studies consider the idea of a genre “deceptive,” I disagree. I can see where this comes from, however. Much like in daily life, the concept of “race” is often a charged and controversial topic. The grouping and organization of things and people is extremely subjective and prone to much criticism and sensitivity. Similarly, the concept of a genre as a grouping and organization of certain television programs based on general characteristics that are seen over and over to define a show can be a controversial one. Humor, horror, and technicality are all subjective ideas that are highly dependent on the viewer at hand. For instance, some people may be highly interested in procedurals and find comedies immature and meaningless, while others believe humor is essential in life and the technical aspects of procedurals is boring, repetitive and uninteresting. Either way, the differences in opinion both allude to and take away from the idea of using the term “genre.”
In essence, for comparisons and contrasts to be made between television show “types,” the application and use of the concept of a genre is undeniably necessary and pertinent.
Procedurals
Television shows that embody the genre of a procedural often romanticize a body and employ various techniques to view the realism of a course as juxtaposed with the drama of the live character counterparts. As seen in CSI, the plot of each episode often revolves around a crime that has taken place, during which a body is examined in an extremely detailed and scientific way to grasp the viewers’ attention and interest. Chicago Hope, a medical procedural follows some of the same characteristics with intermittent differences. In both television programs it is highly apparent that the realism of the medical and autopsy procedures romanticize the corpse while bringing the surrounding storylines to light using camera techniques as well as flashbacks.
In CSI, the juxtaposition of camera image types is used to separate the different types of scenes. The same thing can be seen in Chicago Hope. For instance, while characters are in dialogue and every day life is commencing within the television program, the camera image is in high resolution with clear faces and shots that depend on the amount of people that are taking part in the scene and the surrounding environment. This allows the viewer to gain a clear understanding of the background story as well as a feel for the main characters involved and their roles and personalities throughout the episode.
On the other hand, when flashbacks occur to help the audience member visualize the internal struggle, confusion, and mindset of either the murderer or team member that is trying to solve the case, the camera resolution is often pixilated with dim lighting or even a sepia undertone. This visual cue serves to mimic the confusion and partialness of the thoughts and actions that are happening within the flashback. In Chicago Hope, the screen picture is not completely in focus, and many extras can be seen walking in front of the camera. Furthermore, background noise is present in an aim to recreate the hustle and bustle of an emergency room. This was especially perfect for the episode “Lamb to Slaughter,” because the main argument of the doctors was that the emergency room is an extremely chaotic setting in which details can easily be lost and words or actions can be largely misconstrued. In essence, the difference in visual image on the screen serves to invite the viewer into the mind of the characters by mocking the hazy nature of ones thoughts and comparing it to the clear and unwavering truths of arguments and dialogue.
Moreover, the corpse itself is extremely important in procedurals. Without romanticizing the body in question, the show would appear largely scientific and gross, and thus call for a smaller fan base. By allowing drama to radiate through the non-moving corpse as well, the audience can identify with either the body itself, or the story that surrounds it. The use of realistic props and effects such as sound effects of veins or bones cracking and blood splattering act as devices to draw the viewer in and keep them interested while the scientific or technical part of the episode is taking place.
All in all, both CSI and Chicago Hope have characteristics of procedurals that add to the enjoyment and interest of their viewers.
Essay 2 outline
For essay two, I am interested in writing about reality television, since I find myself tuning to it more often times than not. The appeal of reality television comes in many different forms, and its most entertaining aspect is different for each viewer. Some believe that the ability to connect with cast members or contestants allows for an intriguing and intimate connection to the program; others are pulled by the fast-paced and unpredictable aspect of real life drama and controversy that are manifested by the situations and experiences of the characters and cast members. Either way, the genre of reality television is multi-faceted, and can be extremely interesting to analyze.
For this essay, a complete and thorough explanation of what reality television entails is required, which will need to touch upon the various types of reality television that are available for the viewership, as well as characteristics that are associated with the genre. For instance, shows such as Americas Most Smartest Model and Jersey Shore are both examples of reality television, but both are quite different in their formal characteristics. A common balance can be seen between the two, however, and this can be used to define the genre of reality television.
Furthermore, the major critical concerns associated with the genre would include aspects such as the representation of truth and authenticity, the exhibition of arguments, and depiction of characters and situations, and revelations of the characters and cast members. Additionally, the history of the genre of reality television will be explored. It would also be interesting to look at the similarities and differences between documentary television and reality television as we discussed earlier in class as the history of reality television may have stemmed from the documentary style of television.
Lastly, some shows that can be used to exemplify the genre include television programs such as Teen Mom, Jersey Shore, The Real World, and the classic, An American Family. The various aspects, considerations, and constraints associated with the genre of reality television can be explored equally in each of the shows through explanation of why the shows are considered reality television, and what advantages and enjoyments they bring to the viewership.
Since subgenres also need to be taken into account, research and analysis of the reality television genre can be limited to either a game show type of reality show where contestants are competing for a prize of some sort, or to a dramatic reality television series such as The Hills, or Laguna Beach which bring about characters with various storylines that evolve throughout the series.
Reality television is a broad genre that can be interesting to study and analyze using the tools of critique and consideration that we have learned in class and I believe this will be an interesting paper to do research on and write because I find myself watching and enjoying reality television often. This is because it is relatively easy to jump in at any point since most episodes are recapped at the beginning, and reruns, especially on channels such as MTV are easily viewable.
Beats, Episodes, and Arc
The average Prime-Time Serial, or PTS, often follows certain characteristics, as described by Newman, to effectively create narrative breaks and storyline arcs that engage and absorb the viewership. The multitude of story-telling units known as beats formulate acts that are broken into four pieces, so that a viewer is kept both enraptured during the television show, and tuned to the channel during commercials. By allowing both introductions to new characters and situations, as well as recapping significant aspects and characteristics of the show, beats help to make the storyline a cohesive and interesting piece for the audience (Newman, 17).
In Episode 17, “Two Stories” from the 7th season of House M.D., the apparent ‘A’, ‘B’, and ‘C’ plot structures easily distinguish beats from one another. With one plot each, the beats are set parallel to changes in the plots. For instance, when the storyline shifts from the medical story of a patient that is being treated by Dr. House to a conversation between House and two children whose relationships mirrors that of House and Lisa Cuddy to a class that House is wrongfully presenting a career day lecture to, beats can be easily distinguished, and plot differences can be seen. With a total of 30 beats over the course of 4 acts, there are 7-8 beats per act, each lasting about a minute and a half each, with some shorter or longer than others. The beats remain consistent in characters present and the setting in which the scene is taking place in order to recap characters and personalities. For example, House is the only character present in each beat, and each plot. On the other hand, the doctors in plot ‘A’ are not in plot ‘B,’ much like the kids in plot ‘C’ are not present in plot ‘B’ even though they are part of the same class of students. This separation allows for the viewership to separate the characters based on their storylines and plots, as well as juxtapose the situations and experiences of each plot in order for contrasts and comparisons to be seen.
The major storylines are that of Dr. House and the two children that he encounters while waiting to see a school principle. At the end of the episode, it becomes apparent that the lives and relationship of the young girl and boy sharing a bench with the old, witty, and sarcastic House are not so different from him and his girlfriend, Dr. Cuddy. More interestingly, the storyline of the two children is resolved at the end of the episode, while House’s storyline with Cuddy is not. This is demonstrative of the fact that in the next episodes Cuddy and House’s relationship will continue to be shown and evolve, while the two children from “Two Stories” will probably not be seen again. As a reoccurring theme in House M.D., the ‘B’ and ‘C’ plots are usually resolved while the ‘A’ plot is left half unfinished—the medical aspect of the show comes to an episodic conclusion while the serial nature of the background stories of the doctors is almost a separate narrative. The coinciding of all of these plots as well as both the serial and episodic nature serve to make the show novel and easy to follow for a first time viewer, as well as interesting and engaging to a fan that is familiar with all of the drama and background storyline.
Much like the story lines themselves, character arcs are generally opened in each episode of House M.D. for “subplot” characters, while the main characters (the doctors) are shown through a seasonal journey. This helps to solidify and recap the fact that the doctors will be present in most episodes, and will have the same personalities and characteristics throughout. The other characters however are both introduced and extricated within the same episode in order to keep each new episode fresh and innovative.
When analyzing “Two Stories,” it is clearly evident that even though there is a narrative closure at the end of each episode, a dramatic and long-term story that spans across multiple episodes is also seen in the background amidst the main characters. In the end, this perfect balance allows for an entertaining and thought-provoking show that has the ability to appeal to a wide audience.
Works Cited
Newman, Michael Z. From Beats to Arcs: Toward a Poetics of Television Narrative The Velvet Light Trap – Number 58, Fall 2006, pp. 16-28
“Two Stories”. House M.D. Fox Television, 2010. Web. 02 Mar 2011.<http://www.hulu.com/watch/217830/house-two-stories>
Blog #8 Frontier House
Often times, reality television and documentary television have steadfast connotations that call for extremes when one thinks of various aspects of each program. Reality television, in the modern age, is marked with large bouts of alcoholism paired with some kind of prize or wins and allows for an audience member to see the “naked” truth about an individual or multiple people that have been brought together. Documentaries, on the other hand, are often associated largely with a monotonous narrator spitting out factual evidence about a person or subject. Frontier House navigates the line between reality and documentary by involving different areas of either genre to make a new and entertaining type of program.
In Episode One of Frontier House, the viewership is introduced to different families that come from various backgrounds and have diverse roles on the show. The program is set in the early 1880’s and everything is meant to match the time period. This includes the jobs of the men and women, as well as the dress code. The different families struggle throughout the episode with the lack of luxury and the adaptation to a lifestyle that calls for one to be extremely hardworking, efficient, and resourceful. The documentary aspect of the show is apparent in the factual evidence that lies around the tasks that need to be completed by each family member, the setting, and the manner in which each cast member has to behave. On the other hand, the sole modern camcorder that is allowed opens a window in the reality of the thoughts, emotions, and hardships that the cast members undergo as the try and adapt to their completely novel environment. Drama between the adults arises from talk about sex and contraception, and some females find the lack of hygiene and make-up tumultuous to their daily regimen. The audience is allowed a “real-life” look into the struggles of families that must live in a harsh and ever-changing environment, while still being able to learn about the history, geography, and society of the Frontier.
It quickly becomes apparent that the “self-conscious sense of a normative family life” that is offered by reality television shows such as An American Family and The Osbournes is a bit different from what is seen on Frontier House (Kompare,100). Since the families are taken out of their regular homes and placed in a different setting where evolution and adaptation of household rules and behavior is required, the show becomes altogether different. The “visual evidence, expository narration, and the authority of experts” that is offered on Frontier House makes it a completely difference experience for viewers, one that lies on many borders (Rymsza-Pawlowska, 35).
In the end, there is no doubt that the meshing of both a documentary and a reality television show in Frontier House serves to meet the objectives of both genres successfully. By using a camcorder to unveil the hidden truths and revelations of various cast members, a truth and actuality can be seen amidst the entertaining and education facts offered by the premise of the show.
Works Cited
Kompare, Derek. “Extraordinarily Ordinary: The Osbournes as An American Family.” Reality TV: Remaking Television Culture. Ed. Susan Murray and Laurie Ouellette. New York: NYUP, 2004. 97-116. Print.
Rymsza-Pawlowska, Malgorzata. “Frontier House: Reality Television and the Historical Experience.” Film & History 37.1 (2007): 35-42. Print.
Blog #7: America’s Most Smartest Model
Although it may seem cruel, nowadays television isn’t just about an entertaining pastime where an audience member can lose him or herself in a comedy or drama, because that just doesn’t cut it. To be fully and thoroughly entertained, humiliating reality television has become a must. The laughter, embarrassing moments, and sense of superiority that a viewer can gain from watching reality shows that are based off of humiliation allows for an entanglement and interaction that cannot be matched by merely watching a storyline unfold.
In the episode of America’s Most Smartest Model that we watched in class, it was immediately apparent that exaggeration, stereotypical roles, and embarrassment were going to be used throughout the show to highlight the quirks and qualities of certain cast members. The stereotypical bimbo blondes, lack of minorities, built boy-toys, and juxtaposition with a highly renown and classy host served to embellish the fact that the characters are meant to be the source of entertainment and comedy. There is no reason or requirement for jokes or pranks because the sheer stupidity of the models on the show validates the reason for sitting down to watch it—the viewership is able to feel an arrogant sense of dominance and supremacy that is actually quite satisfactory.
Furthermore, perhaps the most important and extensive definition of the show as a humiliating and embarrassing experience was it’s versatile nature. Sure, there were challenges that showcased the surprisingly low IQ of many of the participants, but there was a modeling aspect as well that showcased a career that takes dedication, persistence, training, and brains in business. The drama created by competition and the opportunity to win a cash prize brings out the worst in people, allowing for a more entertaining and interactive show. The fact that real photographers and an actual fashion stylist host and add to the show only serve to emphasize the amateur and aloof nature of a majority of the contestants on the television show. Moreover, the stark differences between the characters themselves bring out traits that can be commented upon. The aggressive and competitive nature of some of the male models that are relatively knowledgeable about the various random facts that they are tested on are opposed with a few contestants that are oblivious to the everyday workings of daily life (“AMSM”). The placing of these contestants on the opposite ends of the intelligence spectrum allow for comparisons and contrasts to be made in the form of poking fun at the cerebrally challenged and sympathizing with the more “normal” characters makes for a riveting show that can be enjoyed by a large audience base.
Essentially, the humiliating aspect of certain reality television shows allow for a competitive nature and cash prize to emphasize the qualities in contestants that can be deemed comedic and entertaining. Audience members enjoy feeling smarter and better off than the cast members on screen because it boosts self-esteem and lets the viewer see a different, more exaggerated side of people. In the end, embarrassment and humiliation make the television show a hit, because in our twisted society today, jokes pointed towards others tend to be the funniest.
Works Cited
“Governor of Presidents”. America’s Most Smartest Model. VH1, 2007. Web. 16 Feb 2011. <http://www.hulu.com/watch/118970/americas-most-smartest-model-governor-of-presidents#s-p2-so-i0>
Blog#6- Interesting…
“The members of any given category do not create, define, or constitute the category itself. A category primarily links discrete elements together under a label for cultural convenience. Although the members of a given category may all possess some inherent trait that binds them together, there is nothing intrinsic about the category itself. Think of our contemporary understanding of racial differences— while people who are categorized under the label of “black” might have dark skin (although certainly this is not always true), there is nothing inherent about dark skin that makes it a racial category. Eye color or hair color have no categorical equivalents to skin color; although these are all defining physical characteristics of human bodies, only some are considered culturally salient categories. We can accept the distinction between a biological trait (like skin color) and the cultural category that activates it into a system of differentiation (namely race)—these are related, but not identical, physical and conceptual elements. If we shifted the same biological bodies into another cultural system of difference, other physical traits could become activated as operative categories of differentiation (such as height). The physical elements do not change, but the category does, suggesting that the category itself emerges from the relationship between the elements it groups together and the cultural context in which it operates.”
Often times, comparisons and contrasts are the easiest way to understand the various aspects of groupings and cohesive units. The use of familiar objects and ideas can help to solidify opinions and studies that may seem foreign or confusing. In Mittel’s article “A Cultural Approach to Television Genre Theory,” Mittel’s use of racial categorization to explain how to define genre is both interesting and unusual. His comparison of two ideas that are on opposite ends of the spectrum actually help to alleviate confusion about what genre is and how genre is composed of intertextuality.
Perhaps the most important line, “the members of any given category do not create, define, or constitute the category itself,” serves to exemplify the true purpose of having genres and how to literally define what a genre is and what it entails. Without having more than one type of person, whether it be hair color, skin color, race, or any kind of lifestyle, categories and groupings cannot be made. There is no need for a group if all things are the same, because groups are made for categories and separate identities to be organized. For instance, if every person on Earth looked and acted the same way, they would have no name, title, or label, because there would be no need. The differences that we encounter each and every day demonstrate the contrasting qualities that human beings have in various aspects and attributes. Physical, mental, and emotional differences allow for separate groups to be made for various purposes, and categories allow for these separations to be made more distinct.
In essence, genre works the exact same way. If all movies had the same ideas, plots, summaries, and targeted the same audience, there would be no reason for the concept of a genre. The fact that there are both large and minute differences between different texts in television and cinema allow for the concept of genre and the categorization that entails allows for a viewer to be selective of what they choose to watch. Having multiple texts is key. Both a sitcom that follows a conservative laugh track and fourth wall approach and a modern sitcom that uses hand-held cameras and awkward silences, the concept of genre would not exist. One by itself is just a solitary, boring text. Nothing can be compared, and no choices can be made as to what is preferred to watch. As soon as both types of sitcoms are brought to the table a genre is created, with each sitcom type being a different category that is based on different ideas and production styles and serve to target and appeal to different audiences.
Although race and television genre are quite random in comparison, the concept of multiplicity and categorization are key to understanding what genre is and why it exists. Having more than one text is crucial to being able to identify, define, and analyze various different texts because the comparisons and contrasts that are made are the key to understanding television in its entirety.
Works Cited
Mittell, Jason. “A Cultural Approach to Television Genre Theory.” Cinema Journal 40.3 (2001): 3-24. Print.
Blog #5: Everybody Loves Raymond
Everybody Loves Raymond is a popular television show that aired from 1996-2005, and starred comedian Ray Romano (IMDb). The show aired after Seinfeld strayed away from many generic qualities of sitcoms and before The Office UK presented its deviations from the conventional sitcom’s audio and visual cues. While encompassing the “theatrical physical structure” with a “fourth wall” as the audience, an episodic nature, and a relatable family setting, Everybody Loves Raymond both follows and contradicts various aspects of a general sitcom (Darlington).
The show, which revolves around the life of Ray Barone, includes his wife, three, children, parents, and brother. The episodic nature of the show allows the viewing audience to jump in on any episode, as each character has his or her own familiarity that stays stagnant throughout the series. Ray’s nagging, yet loyal wife, and three young children add to the comedic nature of Ray’s struggles with his ever-present, domineering parents and his jealous brother (Everybody Loves Raymond, CBS). The fact that each character has his or her stereotypical attributes and personalities makes it easy for a viewer to watch any episode without feeling lost. The personalities of characters never change, but the situations that they come into contact with in each episode allow for an interesting show that is wrapped up within each episode. Furthermore, the comedic and easy-going nature of the show adds to a viewer’s spontaneous interest. Everybody Loves Raymond is able to portray a familiar close-knit family setting with various issues and experiences while deviating from the narrative complexity of other television shows that keep them from getting high ratings.
Also, Everybody Loves Raymond demonstrates the “fourth wall” structure of a sitcom where the audience is, in fact, the last angle on the screen that is never displayed. Although the audience never interacts with the cast, they still are included in the laugh track and perspective shots to make is appear as though the audience is sitting on the set while watching it being filmed. Static cameras allow for shots to be in the point of view of the audience at all times, often times using the entire scene and all of the characters in it to obtain shots of both the person speaking and the reactions of those characters affected. The Office, on the other hand, is known for a hand-held camera that allows a different type of shooting. Mostly reactions are captured, and humor is not as easily understood since it is fast-paced and largely sarcastic. The laugh track provides entertainment and cues for laughter, which are absent from shows such as The Office, where, instead, awkward silences call for uncomfortable pauses that are intended to be comedic.
Other programs similar to the sitcom genre of Everybody Loves Raymond include George Lopez, Fresh Prince of Bel-Air, and 8 Simple Rules, where families are shot throughout the series with characters that stay relatively stagnant, but experiences and situations change from each episode to the next. These shows are also as episodic as Everybody Loves Raymond, allowing the viewership to jump in at any time to watch any episode that they desire without feeling lost or confused at any background information.
Works Cited
Darlington, Tania. Week 5 Blog Post. 1 February 2011. Web. 3 February 2011. <https://writingabouttv.wordpress.com/>
Everybody Loves Raymond. CBS Studios Inc., 2010. Web. 03 Feb. 2011. <http://www.everybodylovesray.com/>.
“Everybody Loves Raymond.” Web. 3 Feb. 2011. <http://www.imdb.com/title/tt0115167/>.
Writing About Television - Course Blog 