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The aesthetics of post-broadcast comedy television
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Hemingway, Tom (2021) The aesthetics of post-broadcast comedy television. PhD thesis, University of Warwick.
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Official URL: http://webcat.warwick.ac.uk/record=b3759969
Abstract
This study explores issues surrounding authorship, temporality, and style in relation to post-broadcast comedy television, asking whether streaming services like Netflix have achieved what could be recognised as a ‘house style’ in their original comedies or whether there is a persistence of recognisable broadcast comedy forms. Chapter One focuses on instances of revived programming using Netflix’s fourth season of Arrested Development. By comparing this to the broadcast original, one can see the ways in which Netflix adapted the show to better suit a streaming viewing experience. This is evident in terms of its visual, narrative, and comedic style. Chapter Two examines authorship using Netflix’s Love and Prime Video’s One Mississippi. By situating Love against the rest of Judd Apatow’s career in film and television, one can better understand the aesthetic relationship between the auteur’s brand image and that of a company like Netflix. This is then compared to One Mississippi before reflecting on the implications of both shows’ respective cancellations. Chapter Three explores the popular adult animation sub-genre on Netflix, framing BoJack Horseman’s episode, ‘That’s Too Much, Man!’ within a wider discussion regarding the anti-hero figure in ‘quality’ television. Both BoJack Horseman and this chapter’s other case study, F is For Family return to established threads from previous chapters, such as the role of the auteur. Chapter Four focuses on the ways in which Netflix comedy specials play with established tropes of the stand-up sub-genre. This chapter features critical engagement with the content and style of comedy being delivered through an exploration of Hannah Gadsby and Dave Chappelle’s stand-up work. The results of my study demonstrate recurring tropes such as hyper-reflexivity or unconventional narrative structures which are recognisable as features of post-broadcast comedy television. However, the broadcast antecedents of these streamed programmes are not shunned but instead acknowledged and built upon.
| Item Type: | Thesis (PhD) | ||||
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| Subjects: | N Fine Arts > N Visual arts (General) For photography, see TR P Language and Literature > PN Literature (General) > PN1990 Broadcasting |
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| Library of Congress Subject Headings (LCSH): | Television comedies -- History and criticism, Television -- Aesthetics, Streaming video, Video-on-demand | ||||
| Official Date: | November 2021 | ||||
| Dates: |
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| Institution: | University of Warwick | ||||
| Theses Department: | Department of Film and Television Studies | ||||
| Thesis Type: | PhD | ||||
| Publication Status: | Unpublished | ||||
| Supervisor(s)/Advisor: | Wheatley, Helen, 1974- | ||||
| Sponsors: | University of Warwick. Centre for Arts Doctoral Research Excellence | ||||
| Format of File: | |||||
| Extent: | 287 leaves : illustrations | ||||
| Language: | eng |
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