bfi tv sitcom worksheets
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TRANSCRIPT
TeachingTV Sitcom
S E R I E S T E A C H I N G F I L M A N D M E D I A S T U D I E S
James Baker
Educ
atio
n
Series Editor: Vivienne Clark
Sitc
om c
ateg
orie
s
©bfi Education 2003
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Writ
e a
list
of s
itcom
s ag
ains
t th
e nu
mb
ers
bel
ow.
Writ
e th
enu
mb
er o
f ea
ch s
itcom
in o
ne o
r m
ore
of t
he c
ateg
orie
s,th
en d
iscu
ss w
ith y
our
par
tner
or
grou
p w
hy y
ou t
hink
the
sitc
oms
fit t
he c
ateg
orie
s yo
u ha
ve a
ssig
ned
the
m t
o.U
S S
ITC
OM
DO
ME
STI
C
MA
INS
TRE
AM
UK
SIT
CO
M
WO
RK
PLA
CE
NO
N-M
AIN
STR
EA
M
TV s
itcom
and
gen
der
©bfi Education 2003
wo
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t2
Pag
e 1
of
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itco
m
Tow
hat
exte
nt is
TV
influ
entia
l in
the
form
atio
nof
the
ste
reot
ypes
we
reco
gnis
e?
Mak
e a
list
of f
ive
TV s
itcom
s. L
ist
the
mai
nm
ale
and
fem
ale
char
acte
rs in
eac
h an
d id
entif
yth
e q
ualit
ies
of e
ach
of t
hese
cha
ract
ers.
Pro
gram
mes
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Mal
e q
ualit
ies
Fem
ale
qua
litie
s
Mal
e ch
arac
ters
Fem
ale
char
acte
rs
Sitcom characters
©b
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worksheet 3
Page 1 of 1 TV Sitcom
Watch a sitcom and identify one male and one female character in it.Make notes on how each character’s gender is represented throughnarrative, mise en scène, form and style, and character construction:
Name of male character:.......................................................................................................
Narrative: ...............................................................................................................................
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Mise en scène: ......................................................................................................................
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Form and style: .....................................................................................................................
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Character construction:.........................................................................................................
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Name of female character:....................................................................................................
Narrative: ...............................................................................................................................
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Mise en scène: ......................................................................................................................
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Form and style: .....................................................................................................................
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Character construction:.........................................................................................................
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Name of sitcom: ……………………………………………………………………………………
Representations ofBritishness
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worksheet 4
Page 1 of 2 TV Sitcom
Name of sitcom: ……………………………………………………………………………………
Notes .....................................................................................................................................
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Watch a British sitcom and make notes under the questions below.
Characters
Are the characters stereotypes?Do they have stereotypical qualities?To what degree is their ‘Britishness’ a defining feature?Are a range of regional groups featured?Which groups are privileged or marginalised by their regional identities?
● Absolutely Fabulous (above)
● Fawlty Towers (left)
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©b
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worksheet 4
Page 2 of 2 TV Sitcom
Representations of Britishness
Notes .....................................................................................................................................
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Narrative
To what degree is the narrative dependent on regional or national issues?What kind of equilibrium is constructed at the beginning of the text?How is the disruption of equilibrium determined by national or regional forces?
Notes .....................................................................................................................................
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Locations
Where is the programme set?Is it a real location or a construction?What sorts of assumptions are made aboutthe location and its values?How are regional differences indicatedthrough the locations chosen?
● Steptoe and Son
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Page 1 of 1 TV Sitcom
worksheet 4 Representations of Britishness
Notes: ....................................................................................................................................
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Ideology
What sorts of values and attitudes are linked to national identity?Which regional identities are privileged by the text?Which are marginalised?What generalisations can be drawn about national identity from the text?
● Dad’s Army
● The Young Ones
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UK Gold
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worksheet 5
Page 1 of 1 TV Sitcom
In order to understand some of the issues involved with running asuccessful channel in a multi-channel, digital environment, carry out acase study on UK GOLD, one of the most successful of the newbreed of narrowcast channels.
Below are several suggestions for areas you could research in orderto build up your case study.
Who owns UK Gold and what other channels do they run?
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What kinds of programmes are aired on the channel?
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Who watches the channel? Investigate the audience figures.
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What are the most successful programmes and why?
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What kind of advertising does the channel carry?
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Where is the channel positioned on the EPG? Why is this important?
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What kinds of pleasures does the channel offer?
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What scheduling strategies does the channel adopt?
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What other channels are owned by the ‘UK …’ consortium?
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Sitc
om c
onve
ntio
ns 1
©bfi Education 2003
wo
rksh
ee
t6
Pag
e 1
of
1T
V S
itco
m
Thin
k ab
out
the
typ
ical
cha
ract
eris
tics
of t
hesi
tcom
s yo
u w
atch
and
jot
dow
n no
tes
und
erth
e he
adin
gs.
Giv
e ex
amp
les
for
each
poi
ntyo
u m
ake.
Loca
tions
/set
tings
Targ
et a
udie
nce
Cha
ract
ers
Sto
rylin
es a
nd h
ow th
ese
deve
lop
Them
es
Bra
inst
orm
She
et
Why
are
the
y fu
nny?
Sitcom analysis
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worksheet 7
Page 1 of 3 TV Sitcom
Name of sitcom: ……………………………………………………………………………………
Episode title: ………………………………………………………………………………………
Schedule (channel and time): ……………………………………………………………………
Where is this sitcom set?................................................................................................................
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What is the plot of this episode? Give a plot summary below.
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What themes are being addressed in the narrative?......................................................................
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Who is the target audience for this show? Consider age, sex, education, economic status, race, occupation and interests.
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What emotional appeals do the producers of the show use to get its viewers hooked?Consider for example, power, family life, humour, melodrama, vicarious living, emotions. Whyis the programme popular?
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worksheet 7
Page 2 of 3 TV Sitcom
Sitcom analysis
Give a description of each of the main characters: Consider age, gender, sexuality andrelationship to other characters.
Name: ..............................................................................................................................................
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worksheet 7
Page 3 of 3 TV Sitcom
Sitcom analysis
Make some notes on the personal relationships among the characters – ie how each persontreats others in terms of their gender, sexual orientation, race, behaviour etc.
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How are issues relating to gender roles handled? What roles do men play? What roles dowomen play? Consider occupation and status. Are the roles realistic? Are they fair? Do theyaccurately reflect society? Do they conform to or subvert gender stereotypes?
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How are issues of diversity handled? What ethnic groups are represented? How are theyrepresented? Consider occupation and status. Are the roles realistic? Do they conform to orsubvert racial stereotypes?
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Is this sitcom:
■ 1 a ‘domcom’ (domestic comedy set around a family unit)?■ 2 an ‘actcom’ (action comedy – emphasis placed on action rather than characterisation)?■ 3 a ‘dramedy’ (a more serious dramatic comedy)?
Use evidence from your analysis to support this below.
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student notes
Page 1 of 1 TV Sitcom
The conventions ofsitcom
Form
● Episodes tend to be between 24 and 30minutes long, with self-containednarratives.
● Sitcoms tend to be contained withinseries not serials.
● Sitcoms are heavily reliant upon a formulaof repetition in a static situation withchanging events. However within theformula, innovation is necessary toengage the audience and to gratify theirexpectations.
Style
● They are usually studio-based.● The setting is usually a familiar location,
often an interior.● They are usually based in domestic or
workplace environments.● They use a limited number of locations.● They have a conventional mise en scène.
Narrative
● The narrative of a sitcom rarely continuesfrom one episode to the next. Even insitcoms that have ongoing storylines,each episode still tends to commencewith a situation that has to be resolved bythe end.
● Sitcoms are based on a situation usuallyconnected with working or family life.
● Sitcom narratives follow a circularstructure of a starting equilibrium,followed by disequilibrium and a return toequilibrium at the end of the episode.
● Friends
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(Worksheet 8)
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student notes
Page 1 of 1 TV Sitcom
The conventions of sitcom
Characters
● Sitcoms tend to be centred on two maincharacters.
● The comedy in sitcoms grows out of theconflicts characters find themselves in,and the frustrations they experience.
● Sitcoms are heavily reliant uponstereotypes, especially in minor roles.
● Characters in sitcoms are recognisable,plausible types who audiences canidentify with. They often embody a set ofideas, values or clichés, and it is thesetypes that provide the catalyst for thehumour that is central to the situationcomedy.
● The majority of sitcom characters arefrustrated by the situations they findthemselves in and which they cannotescape. The situation can be physical oremotional, and although they often striveto change their situation, they areinevitably doomed to return to a similarstarting point.
Other
● Through presenting us with familiarsituations, sitcoms give us an opportunityto laugh at aspects of ourselves, ourculture and our experiences of humanrelationships, work, family etc.
● Spaced
● The Simpsons
● Fawlty Towers
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ourt
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(Worksheet 8)
Sitcom conventions 2
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worksheet 8
Page 1 of 1 TV Sitcom
To what extent to sitcoms conform to sitcom conventions?
List as many typical features as you can for the TV sitcoms that you watch. This sheetsuggests a number of general categories and offers a few examples to get you started.
Compare your lists to your partner’s and identify exceptions to these features.
Form
1 30-minute episodes
2 Series, not serials
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Style
1 Studio based
2 Conventional mise en scène
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Narratives
1 Circular plots
2 Domestic or workplace situations
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Characters
1 Centred on one or two main characters
2 Often stereotypes minor roles
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Developing a sitcom
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worksheet 9
Page 1 of 14 TV Sitcom
Hand Baskets Only
Imagine that you work for a production company preparing for theshooting of a new sitcom to be broadcast on BBC2. In groups, readthrough the attached script extract from a new sitcom called HandBaskets Only.
● Discuss the features that make the script successful as a sitcom.● Are there any elements that you would change or adapt to improve
the extract?● When you are happy with the script, begin work on the following
tasks, as preparation for production.
Developing the characters
The script contains four main characters:
● Ben Polemounter● Justin Jocklaw● Juan McVie● Angela Mills
Using the script and your knowledge of sitcom, write up somethumbnail biographies of the characters to help your actors getinto role. Then, draw up some appropriate costume designs.Finally, put together a shortlist of actors that you feel would beappropriate for each part. Be prepared to justify your choices.
Task 1
Designing the set
Design the sets for the key locations used in the extract.
● Try to capture the atmosphere of the series in your designsand suggest what important props should be part of themise en scène.
● Do you want to film in the studio or on location? Explain thereasons behind your choice.
● If you are not great at drawing write a detailed specificationfor a designer.
Task 2
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worksheet 9
Page 2 of 14 TV Sitcom
Developing a sitcom
Targeting the audience
Who is the show’s target audience?
● Make some suggestions about the show’s scheduling inorder to reach the appropriate groups.
● What programmes would you like to be shown before andafter Hand Baskets Only?
Task 4
Creating a title sequence
Use the storyboards to design an appropriate title sequence forthe show.
● Make sure that the sequence captures the tone and identityof the show clearly for its target audience.
● If you have the time and digital video editing equipment,storyboard and film a sequence from the script and screen itto the rest of the class, explaining and evaluating yourintentions and outcomes.
Task 5
Finally
If you have time, you could try extending the narrative further byadding the next two scenes to the script. Keep in mind that eachpage, as laid out in the attached script, is about one minute’s worthof screen time.
Developing the style
Discuss the visual style that you wish to adopt for the series (egclassic realism, continuity editing, documentary look, surrealist).
● Explain why your choices are appropriate for the scriptyou’ve been given.
● Do you think the series should be filmed in front of anaudience or given a laughter track? Why or why not?
Task 3
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worksheet 9
Page 3 of 14 TV Sitcom
Developing a sitcom
Script A
Extract from script by Ben Trebilcook
HAND BASKETS ONLY
FADE IN
INT. RESTAURANT - NIGHT
WE see a sexy couple step out from the rest rooms - left and right and
meet each other. The WOMAN has a towel around her head - spattered with
blood. The man has a towel around his waist with traces of blood.
With their model looks, the couple link hands and stroll out of shot. WE
see a clock upon a wall - it reads NINE THIRTY. The hands suddenly scroll
back EVER SO FAST and WE ...
INT. BLOSERS SUPERMARKET - NIGHT
Drilling can be heard, along with sawing and a general cluttering about.
A helluva noise.
A YOUNG GUY, 25 going on 85, white, wearing designer specs - hair spiky
with his wiry frame housed in combat pants and a T-shirt with a face of
an alien and the word BELIEVE printed upon it.
He is BEN POLEMOUNTER and is becoming more and more frustrated as he
tries his damnedest to work a shelf into a bracket.
BEN lets loose a wild roar, like a caveman on his first kill, slamming
the shelf HARD and knocking the entire wall section over into the next
aisle - causing more destruction than needed and letting out a Bruce Lee-
style war cry, adopting a Martial Arts stance - twisting and turning and
then ...
A FAT MAN, 40s, huge bushy moustache, large spectacles that magnify his
eyes. He’s in a suit and doesn’t appear impressed.
WE CLOSE IN on his name badge ... MANAGER - JUSTIN JOCKLAW.
PULLING BACK BEN straightens, raising his eyebrows and completing the
final gasp of his shout, pathetically ...
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worksheet 9
Page 4 of 14 TV Sitcom
Developing a sitcom
- 2 -
JOCKLAW
That kind of behaviour isn’t
expected from an employee of
Blosers Supermarkets. The Kwik
Mart perhaps, but not here.
BEN
It ... It wouldn’t slot in.
JOCKLAW
Hmm. Barbara Windsor may say
sentences such as those, but
my employees do not. And also,
was Bruce Lee once an employee here?
BEN
I don’t think so, sir. No. I
mean. I woulda known. You know,
camera crews and reporters buzzing
about the place. Unless he was
wearing a disguise.
JOCKLAW sighs, staring wide with his EYE FILLING THE SCREEN - BEN frowns
and jolts back -
JOCKLAW
I meant before he was famous?
BEN
I don’t follow you, Mr. Lockjaw -
JOCKLAW
- Jocklaw. My name is Jocklaw,
not lock jaw. - Anyway, concentrate.
That’s all I ask from my staff.
Well, as well as work hard.
Concentration. Work hard and
don’t ever steal from me.
BEN
What about the dealings of
illegal narcotics and firearms?
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worksheet 9
Page 5 of 14 TV Sitcom
Developing a sitcom
- 3 -
JOCKLAW
(thinking hard)
Come back to me on that one.
I think a new rule needs to
be written.
JOCKLAW turns, ever thoughtful, scratching his moustache, causing a load
of cornflakes to fall to the floor. He walks away. BEN squats and
clutches a handful of the flakes, letting them drop through his fingers
like sand, curling his lip..
BEN
Crispy. Golden. Flaky. Crispy,
golden, flaky pieces of corn.
He twitches and stands, crunching the flakes as he does so ... He tends
to the shelf ...
BEN (V.O.)
I hate it here. I really do.
Supermarkets suck. It’s as if
I were a drink. A supermarket
was a plastic drinking straw -
found on the end of aisle 8 and
God or whatever is sipping. Sucking.
- No. That’s not it.
(a pause)
To have a plastic drinking straw,
found at the end of aisle 8, you
need a sucker. God, or whatever
isn’t a sucker. - Let’s turn it
around. Life is the drink. Yeah,
man. Life. The supermarket is
the plastic drinking straw,
found at the end of aisle 8 and..
NO! No that can’t be ... That means ...
BEN straightens, thinking ...
BEN
I’m a sucker. I’m a sucker. No.
NO! NOoooooooooooooooooooo!
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worksheet 9
Page 6 of 14 TV Sitcom
Developing a sitcom
- 4 -
He lets loose a cry of pain and anger like Bruce Lee, stamping on the
shelf as if it were his enemy.
SUDDENLY A LARGE PAIR OF HANDS come into view, GRABBING BEN and spinning
him around ... This guy is big. He wears black trousers and a short-
sleeved white shirt emblazoned with the BLOSER name on the breast pocket
...
WE CLOSE IN on the name badge ... DEPT. MANAGER - JUAN MCVIE - WE PULL
BACK to see this hulk, 30. He smiles a gold tooth grin.
JUAN
You’re a nutter.
BEN
John!
JUAN
It’s Juan.
He spits when pronouncing his name. Phlegm slides down BEN’S forehead. He
doesn’t move - fearful - JUAN bends BEN’S fingers back.
BEN
(feeble)
Juan. I’m ...
JUAN
- Say my name with passion, bitch.
Like you worship it.
BEN gulps ...
BEN closes his eyes and takes a deep breath, coughing up phlegm and
spitting ...
BEN
Juan!
A globule of mucus lands upon JUAN’S eyebrow, dangling ... He is
satisfied ...
JUAN
Nice. That’s what I want.
You’re not a first-timer,
are you, son?
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worksheet 9
Page 7 of 14 TV Sitcom
Developing a sitcom
5 –
BEN
Beg your pardon?
JUAN
See. That’s what I mean. You
have to ask. You don’t do
stuff right first time. You
have to wait for people to
tell you that you’ve done
wrong.
BEN
Well, I wouldn’t -
JUAN
- Don’t argue, son. I’ll
see you in the chiller
later, my boy.
JUAN grins, his gold tooth sparkles - he turns and spouts ...
JUAN (O.S)
Oh, Danny boy! The pipes
the pipes are calling.
From glen to glen ...
He whistles “And down the mountains sides!” rounding a corner. BEN sighs,
whatever next.
BEN
This is hell. This is pure
hell from here on.
VOICE (O.S)
And what does that mean, Tim?
BEN jolts, spinning around and seeing his idol. A goddess. A bright light
shines from above as a beautiful angel is seen.
She is fantastic. This baby could be Caprice! BEN drops to his knees and
the angel frowns, looking around her, curling her lip ... She removes one
of her wings - snapping it off her back and BIFFS BEN on the head and
back with it ...
ANGEL
Get up! What are you doing?
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worksheet 9
Page 8 of 14 TV Sitcom
Developing a sitcom
6 –
BEN blinks. The light returns to its normal dullness and WE see the angel
... now known as ANGELA MILLS, 24. Pretty? Yes. Wearing blue jeans and a
jumper. BEN’S besotted by her, nervous ...
ANGELA
Are you all right?
BEN
Huh? Yes. How are you?
ANGELA
Fine. What were you saying a minute
ago? Something about being pure hell.
What does that mean?
BEN
Pure hell. This place is
pure hell. It’s Sunset Beach,
Angela. Total hell and I
can’t handle it.
She forms the sexiest of sympathetic looks, touching his arm. Animated
hearts appear - replacing his pupils ...
The hearts escape and fly like butterflies. BEN eyes them and shoos them
away. ANGELA frowns, forms her sympathy look again.
ANGELA
Ben. Ben. Believe in yourself.
You can achieve anything. Believe
it’s gonna be okay. Look at
your T-shirt. Believe.
He blinks. Hearts disappear. He points to his shirt, seriously.
BEN
I wear this because I believe
in the aliens who visit our
planet, Angela. I believe in
the underground catacombs that
honeycomb our Earth.
She removes her loving hand giving him an odd look, turning away. He
curls his lip, shaking his head violently, scrunching up his hair ...
©b
fiEd
ucation 2003
worksheet 9
Page 9 of 14 TV Sitcom
Developing a sitcom
7 –
BEN
Damnit! I always say the wrong
things to girls. I always say
say the wrong things to her. It’s
at times like these that I wish I
were a member of BB Mak. Looks
are everything. All I’d have to do
is look at her and she would simply
fall at my feet. - Right you bastard
shelf. You’re gonna get it.
BEN leaps into the air - like Bruce Lee from Enter the Dragon, hovering
over the fallen shelf... FREEZE FRAME MATRIX-STYLE ...
©b
fiEd
ucation 2003
worksheet 9
Page 10 of 14 TV Sitcom
Developing a sitcom
Script B
Extract from script by Ben Trebilcook
HAND BASKETS ONLY
- PAGE 9 -
INT. STAIRWELL/SUPERMARKET - NIGHT
BEN, zipping up a fleece, paces down the stairs alongside ANGELA who puts
on a coat.
ANGELA
I feel absolutely shattered.
BEN
Have you got a ride tonight?
I mean is somebody riding you?
Hard. What I mean is have you
got a lift home. Yeah. Have you?
She smiles a blinder, causing an impossible shine. BEN shields his eyes
and then lowers them ...
ANGELA
No. No I haven’t. Could you
give me one?
BEN
Yeah! Sure.
ANGELA
A lift home. Do you mind? I have
to get home quick as I’m seeing
BB Mak in concert tonight.
Ben curls his lip with disappointment.
©b
fiEd
ucation 2003
worksheet 9
Page 11 of 14 TV Sitcom
Developing a sitcom
- 10 -
BEN
Oh, no. Sure, Angela. Of course.
They continue down the stairwell, passing a sign that reads: YOUR
MANAGEMENT TEAM WILL SMILE WITH YOU - followed by a photograph of JOCKLAW
smiling a cheesy grin. A picture of JUAN smiling and his gold tooth
glimmering.
A whole assortment of peculiar-looking characters pass by as the wannabe
lover, BEN, and ANGELA stroll along.
ANGELA
So what are you doing tonight?
BEN
Nothing! I mean. Nothing. Mum
and Dad are out, so I’ve got
to fend for myself in the kitchen.
ANGELA
Ah, poor you. Where?
BEN
Oh, the kitchen’s in my house.
ANGELA
No, where are your parents?
BEN
Oh, out on a romantic meal.
It’s Mum’s birthday or something.
ANGELA smiles a bright smile ...
DISSOLVE TO:-
INT. RESTAURANT - NIGHT
A glimmering ring sparkles upon the hand of “SHE”, dressed in designer
gear and looking sexy. This couple are damn sexy – 20s model looks
straight out of a catalogue. “HE” holds her hand.
HE
Happy anniversary, darling.
©b
fiEd
ucation 2003
worksheet 9
Page 12 of 14 TV Sitcom
Developing a sitcom
- 11 -
SHE
Oooh, darling. Happy anniversary
to you, too.
HE
Open your gifts.
She sighs a happy sigh and picks up a wrapped gift which is on the table.
It has the word BIRTHDAY printed all over it. She reads the tag ...
SHE
Ah, it’s from the boy. Happy
Birthday? Ah, it’s the thought.
“To Dear You, Happy Birthday, hope
you don’t suffer any more fits.”
She unwraps it, revealing a book - the title is “COMING TO TERMS WITH
HAVING FITS”
HE
What is it, darling?
SHE
It’s a book. “Coming to Terms
With Having Fits”.
She places the book down, confused, tweaking her nose, touching her
slender neck, cheeks and ears. HE touches his jaw ...
HE
What does it mean?
SHE
I have no idea. Ah, he does
mean well.
HE
Yes. Yes he does mean well.
And I hope you don’t encounter
any more fits, my love. Open
my gift now, darling.
She picks up another gift, wrapped in gold paper. She smirks, deviously
... She unwraps it ... It’s ... It’s ... an oven mitt. She gasps ...
©b
fiEd
ucation 2003
worksheet 9
Page 13 of 14 TV Sitcom
Developing a sitcom
12 –
SHE
Oh, darling. Darling. I...
I... I love you.
HE
And I love you.
She glances around her, seeing the rest of the people sat at tables are
in fact mannequins!! Dressed up too. WAITERS AND WAITRESSES still serve
them however ...
She smirks, devilishly, leaning forward and kisses him. He smirks ...
HE
Oh, darling. Mmm.
She leans forward further, her cleavage in his full view - she whispers
to him - he’s in awe of her secret words - she looks around again, ducks
under the table - hidden by the table cloth.
His expression says it all ... His face comes over all emotional with
pleasure and naughtiness combined ...
HE
Darling? Oh, darling, you
shouldn’t. Not here... He
strokes the table, smiling.
CUT TO:-
UNDER THE TABLE:
She jolts, violently, eyes widen, back arches ...
CUT TO:-
ABOVE THE TABLE:
His eyes widen, hands grip the table. He screams ... LOUD! It rocks from
underneath ...
HE
DARLING! HAVE YOU ENCOUNTERED
A FIT? ARE YOU HAVING A FIT?
ARGHHHHHHHHHHHHHHHHHHHHH!
He grabs a fork and stabs it into her head. Stab, stab ...
©b
fiEd
ucation 2003
worksheet 9
Page 14 of 14 TV Sitcom
Developing a sitcom
- 13 -
HE
GET OFF! GET OFF!
The mannequin heads turn to look. He stands ... Blood covering his groin
area. She gets to her feet, clutching her head in pain. It’s bloody and
has a fork sticking out of it.
They retreat to the restrooms screaming in pain.
WE CLOSE IN ON a clock on the wall ... It’s NINE O’CLOCK. The hands
scroll around to show NINE THIRTY.
HE and SHE exit from the restrooms. He has a towel fixed around his
waist, with traces of blood spattered on it. She has a towel wrapped
around her head, also with traces of blood.
They meet, link hands - red and blue flashing lights shine from outside -
obviously police and ambulance vehicles ... They make for the lights,
passing through the restaurant as if nothing has happened.
CLOSING IN ON the clock once more ... the hands scroll around and around
real fast until it reads EIGHT O’CLOCK.
Han
d B
aske
ts O
nly
©bfi Education 2003
wo
rksh
ee
t1
0
Pag
e 1
of
1T
V S
itco
m
Now
try
to
dev
elop
the
ser
ies
furt
her
by
com
ing
up w
ith p
lotli
nes
for
a fu
rthe
r fo
ur e
pis
odes
.Yo
u ha
ve t
he b
asic
situ
atio
n an
d t
he m
ain
char
acte
rs a
lread
y in
pla
ce.
Rem
emb
er t
hat
sitc
om n
arra
tives
tend
to
be
circ
ular
, re
turn
ing
the
char
acte
rs t
o th
e p
oint
at
whi
ch t
hey
star
ted
the
pro
ceed
ings
. U
se t
he t
able
bel
ow t
o d
raw
up
som
e p
ossi
ble
nar
rativ
e st
ruct
ures
for
fou
r m
ore
epis
odes
in t
he s
erie
s.
Initi
al s
ituat
ion
Initi
al s
ituat
ion
Initi
al s
ituat
ion
Initi
al s
ituat
ion
Com
plic
atio
n or
dis
rup
tion
Com
plic
atio
n or
dis
rup
tion
Com
plic
atio
n or
dis
rup
tion
Com
plic
atio
n or
dis
rup
tion
Res
olut
ion
of n
arra
tive
Res
olut
ion
of n
arra
tive
Res
olut
ion
of n
arra
tive
Res
olut
ion
of n
arra
tive
TV scheduling
©b
fiEd
ucation 2003
worksheet 11
Page 1 of 1 TV Sitcom
TV scheduling for terrestrial channels is a sophisticated process,often planned many months in advance by a committee ofprogrammers. The aim of scheduling for the various broadcastchannels is to get the biggest possible share of the availableaudience for as long as possible.
Have a close look at the listings for terrestrial TV channels on a singleday. Carry out the following tasks, then compare your ideas with apartner.
1 Divide the day into blocks, determined by the kinds ofprogrammes shown on the different channels.
2 Work out which groups of people are assumed to bewatching at particular times during the day.
3 What assumptions do TV schedulers seem to make aboutthe audiences’ lifestyles?
4 Are there any programmes which seem to be on at the‘wrong’ time of day? Why do you think this is?
5 Most TV schedules have a number of ‘fixed’ points aroundwhich scheduling takes place. What are these points andwhat kinds of programming fill them?
6 What examples of competition and cooperation betweenschedules can you find? Why do these patterns occur?
7 Which of the channels seems to you to have the mosteffective schedule and why?
8 The following terms are all connected in some way with TVscheduling. Work out what they mean and see if you canprovide examples from your listings:● Prime time● Watershed● Channel loyalty● Hammocking● Stripped scheduling● Stranded scheduling● Zoning
9 Do audiences always behave as schedulers think they do?When you have considered some of the ways in which theschedulers try to get audiences to watch TV, list thestrategies you employ to undermine the schedulers’intentions.
10 What role does technology play in helping you to chooseyour own schedules?
Tasks
Comedy channel
©b
fiEd
ucation 2003
worksheet 12
Page 1 of 2 TV Sitcom
You are part of a team which has been asked to formulate a strategyfor the introduction and promotion of a new digital comedy channelfor age 18-35 audiences. For each of the tasks below, be preparedto explain your thinking and to justify your decisions. When you havecompleted the tasks, prepare a presentation in which you pitch yourconcept to the rest of the class.
Storyboard a trailer
Use the storyboard provided to design a 30-second trailer for the newchannel. Photocopy the sheet if you need to use more shots. Youcannot use clips from the shows you are broadcasting, but you mustproduce a trailer which is eye-catching and in keeping with the brandimage you have created for your channel. When you have finished,determine which other channels you would like the trailer to run on.
1 Name the channelDecide on a name for the channel which is catchy andmemorable, and which communicates its identity clearly tothe target audience.
2 Design the channel logoThis needs to be memorable, easily recognised and tocommunicate the desired channel identity
3 Position the channelWhere would you like to place the channel on SkyDigital’sEPG? Where are the target audience most likely to find itand to return to it?
4 Find the advertisersWhat kinds of companies or products do you think will payto advertise on your channel? Draw up a list of desirableadvertisers.
5 Build a schedule● Draw up a list of the comedy programmes that you would
like to appear on your channel. (Don’t worry if theprogrammes already appear on other channels.)
● From this list, build an evening’s schedule to runweeknights from 7.00pm until midnight. Bear in mind thelifestyles of your target audience and their viewing patterns.(Encrypted channels have an 8.00pm watershed)
● Would you alter the schedule for Saturday and Sundayevenings? What changes would you make and why?
Tasks
©b
fiEd
ucation 2003
worksheet 12
Page 2 of 2 TV Sitcom
Comedy channel
Shotno.
Type of shot& duration
Sound/dialogue
Working title ________________________________________________
Group names ________________________________________________
________________________________________________
________________________________________________
Picture
Sitc
om f
amili
es
©bfi Education 2003
wo
rksh
ee
t13
Pag
e 1
of
1T
V S
itco
m
Sitc
om:.
......
......
......
......
......
......
......
......
......
..Fa
mily
:....
......
......
......
......
......
......
......
......
.....
1Fa
mily
mem
ber
......
......
......
......
......
....
Not
es o
n re
pre
sent
atio
n2
Fam
ily m
emb
er...
......
......
......
......
......
.N
otes
on
rep
rese
ntat
ion
3Fa
mily
mem
ber
......
......
......
......
......
....
Not
es o
n re
pre
sent
atio
n4
Fam
ily m
emb
er...
......
......
......
......
......
.N
otes
on
rep
rese
ntat
ion
Whi
ch m
emb
ers
are
priv
ilege
d b
y th
ete
xt?
Whi
ch m
emb
ers
are
mar
gina
lised
by
the
text
?
In w
hat
way
s ar
e th
e fa
mily
cons
truc
ted
as
abno
rmal
?
Cho
ose
a fa
mily
sitc
om a
nd f
our
mem
ber
s of
the
sitc
om f
amily
. M
ake
note
s on
how
itre
pre
sent
s ea
ch o
f th
em.
Then
dis
cuss
the
que
stio
ns in
the
rig
ht h
and
box
.
Typ
es o
f si
tcom
©bfi Education 2003
wo
rksh
ee
t14
Pag
e 1
of
1T
V S
itco
m
Mak
e a
list
of U
K a
nd U
S s
itcom
s.
Link
the
m t
o th
e ca
tego
ries
on t
he le
ft(c
reat
ed b
y H
artle
y) a
nd r
ight
(cre
ated
by
Tafli
nger
).
●W
hich
set
of
typ
es m
ost
easi
ly a
ccom
mod
ates
the
UK
or
the
US
sitc
om?
●Is
the
re a
ny c
ross
over
bet
wee
n th
e tw
o?
Dom
estic
com
edy
Wor
kpla
ce c
omed
yA
ctco
m
UK
sitc
oms
1...
......
......
......
......
......
......
......
......
......
......
......
......
......
......
......
......
......
.....
2...
......
......
......
......
......
......
......
......
......
......
......
......
......
......
......
......
......
.....
3...
......
......
......
......
......
......
......
......
......
......
......
......
......
......
......
......
......
.....
4...
......
......
......
......
......
......
......
......
......
......
......
......
......
......
......
......
......
.....
5...
......
......
......
......
......
......
......
......
......
......
......
......
......
......
......
......
......
.....
US
sitc
oms
1...
......
......
......
......
......
......
......
......
......
......
......
......
......
......
......
......
......
.....
2...
......
......
......
......
......
......
......
......
......
......
......
......
......
......
......
......
......
.....
3...
......
......
......
......
......
......
......
......
......
......
......
......
......
......
......
......
......
.....
4...
......
......
......
......
......
......
......
......
......
......
......
......
......
......
......
......
......
.....
5...
......
......
......
......
......
......
......
......
......
......
......
......
......
......
......
......
......
.....
Dom
com
Dra
med
y
Har
tley
Tafli
nger
Cha
ract
er t
ypes
©bfi Education 2003
wo
rksh
ee
t15
Pag
e 1
of
1T
V S
itco
m
Wat
ch a
n ep
isod
e of
a s
itcom
and
try
to
div
ide
the
char
acte
rs s
how
n in
to T
aflin
ger’s
thr
ee c
ateg
orie
s.
●W
hich
of
thes
e ch
arac
ter
typ
es s
eem
s to
gen
erat
e th
e m
ost
hum
our?
●W
hich
are
mos
t lik
ely
to b
e st
ereo
typ
es a
nd w
hy?
●W
hat
othe
r ge
nera
lisat
ions
can
be
dra
wn
from
you
r an
alys
is?
Mai
n ch
arac
ters
Sup
por
ting
char
acte
rsTr
ansi
ents
Nam
e of
sitc
om:
......
......
......
......
......
......
......
......
......
......
......
......
......
......
......
......
......
......
......
..
Nam
e of
ep
isod
e: .
......
......
......
......
......
......
......
......
......
......
......
......
......
......
......
......
......
......
.....
Sitc
om lo
catio
ns
©bfi Education 2003
wo
rksh
ee
t16
Pag
e 1
of
1T
V S
itco
m
Sitc
om lo
catio
ns a
re o
ften
use
d t
o co
mm
unic
ate
imp
orta
nt in
form
atio
n ab
out
the
char
acte
rs w
ho a
rem
ost
clos
ely
asso
ciat
ed w
ith t
hem
, su
ch a
s G
ary’
s fla
t in
Men
Beh
avin
g B
adly
or E
dd
y’s
hous
e in
Ab
solu
tely
Fab
ulou
s.
Iden
tify
four
sitc
oms
that
you
wat
ch a
nd m
ake
note
s on
the
key
loca
tions
, w
hich
char
acte
rs t
hese
are
ass
ocia
ted
with
and
the
kin
ds
of v
alue
s or
idea
s th
at t
hey
seem
to
stan
d f
or.
Initi
al s
ituat
ion:
Initi
al s
ituat
ion:
Initi
al s
ituat
ion:
Initi
al s
ituat
ion:
Key
loca
tions
:
Key
loca
tions
:
Key
loca
tions
:
Key
loca
tions
:
Ass
ocia
ted
with
:
Ass
ocia
ted
with
:
Ass
ocia
ted
with
:
Ass
ocia
ted
with
:
Idea
s/va
lues
:
Idea
s/va
lues
:
Idea
s/va
lues
:
Idea
s/va
lues
:
Sitc
om...
......
......
......
......
......
......
......
......
......
......
......
......
......
......
......
.....
Sitc
om...
......
......
......
......
......
......
......
......
......
......
......
......
......
......
......
.....
Sitc
om...
......
......
......
......
......
......
......
......
......
......
......
......
......
......
......
.....
Sitc
om...
......
......
......
......
......
......
......
......
......
......
......
......
......
......
......
.....
Dis
rup
tion
and
res
olut
ion
©bfi Education 2003
wo
rksh
ee
t17
Pag
e 1
of
1T
V S
itco
m
Nor
mal
situ
atio
n:N
orm
al s
ituat
ion:
Nor
mal
situ
atio
n:N
orm
al s
ituat
ion:
Dis
rup
tive
influ
ence
or
grou
ps:
Dis
rup
tive
influ
ence
or
grou
ps:
Dis
rup
tive
influ
ence
or
grou
ps:
Dis
rup
tive
influ
ence
or
grou
ps:
Res
olut
ion
of d
isru
ptio
n:R
esol
utio
n of
dis
rup
tion:
Res
olut
ion
of d
isru
ptio
n:R
esol
utio
n of
dis
rup
tion:
Cho
ose
four
sitc
oms
that
you
kno
w w
ell a
nd f
ill o
ut t
he f
ollo
win
g ta
ble
, us
ing
your
und
erst
and
ing
of t
hety
pic
al e
lem
ents
and
nar
rativ
es e
mp
loye
d b
y th
e se
ries.
W
hat
gene
ralis
atio
ns c
an y
ou m
ake
abou
t th
eki
nds
of d
isru
ptio
n w
hich
driv
e si
tcom
nar
rativ
es a
nd t
he s
trat
egie
s us
ed t
o re
solv
e th
ese?
Sitc
om...
......
......
......
......
......
......
.....
Sitc
om...
......
......
......
......
......
......
.....
Sitc
om...
......
......
......
......
......
......
.....
Sitc
om...
......
......
......
......
......
......
.....
Sitcom stereotypes
©b
fiEd
ucation 2003
worksheet 18
Page 1 of 1 TV Sitcom
Choose any sitcom that you like to watch, and one character from it. Makenotes about him or her under the prompts below.
Appearance/costume
Setting/location
Narrative significance
Values/beliefs
To what degree is the character stereotypical? ..............................................................................
.........................................................................................................................................................
.........................................................................................................................................................
What negative aspects of the stereotype are employed? ..............................................................
.........................................................................................................................................................
.........................................................................................................................................................
What positive aspects of the stereotype are employed? ...............................................................
.........................................................................................................................................................
.........................................................................................................................................................
Name of sitcom ………………………………………………………
Name of character ……………………………………………………
Gen
der
ed s
itcom
©bfi Education 2003
wo
rksh
ee
t19
Pag
e 1
of
1T
V S
itco
m
Imag
ine
that
you
hav
eb
een
com
mis
sion
edto
writ
e tw
o ne
wsi
tcom
s fo
rm
ains
trea
mte
levi
sion
. O
ne o
fth
ese
is t
o b
e b
ased
arou
nd m
ale
and
the
othe
r ar
ound
fem
ale
pro
tago
nist
s.
Use
the
box
es t
ofo
rmul
ate
a co
ncep
tth
at y
ou t
hink
wou
ldfu
nctio
n as
asu
cces
sful
bas
is f
orea
ch s
erie
s.
Rem
emb
er t
hat
the
mos
t su
cces
sful
sitc
oms
func
tion
arou
nd a
‘ci
rcul
ar’
narr
ativ
e st
ruct
ure
in w
hich
the
bas
icsi
tuat
ion
rem
ains
th
e sa
me
wee
k af
ter
wee
k.
Nam
e of
sitc
om:…
……
……
……
……
……
……
……
……
……
……
……
……
Nam
e of
sitc
om:…
……
……
……
……
……
……
……
……
……
……
……
……
Set
ting
and
situ
atio
n (m
ale)
Cha
ract
ers
(mal
e)N
arra
tive
idea
s (m
ale)
Set
ting
and
situ
atio
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Sitcom familysituations
©b
fiEd
ucation 2003
worksheet 20
Page 1 of 1 TV Sitcom
● Choose four sitcom families that you are familiar with. ● Make notes in the boxes below about the nature and situation of
each family, anything that is abnormal about them and how theseabnormalities are resolved.
Sitcom....................................................
Family ....................................................
Nature and situation ..............................
...............................................................
...............................................................
Abnormal features .................................
...............................................................
...............................................................
Resolution of abnormality......................
...............................................................
...............................................................
...............................................................
Sitcom....................................................
Family ....................................................
Nature and situation ..............................
...............................................................
...............................................................
Abnormal features .................................
...............................................................
...............................................................
Resolution of abnormality......................
...............................................................
...............................................................
...............................................................
Sitcom....................................................
Family ....................................................
Nature and situation ..............................
...............................................................
...............................................................
Abnormal features .................................
...............................................................
...............................................................
Resolution of abnormality......................
...............................................................
...............................................................
...............................................................
Sitcom....................................................
Family ....................................................
Nature and situation ..............................
...............................................................
...............................................................
Abnormal features .................................
...............................................................
...............................................................
Resolution of abnormality......................
...............................................................
...............................................................
...............................................................
Sitc
om r
ealis
m
©bfi Education 2003
wo
rksh
ee
t2
1
Pag
e 1
of
1T
V S
itco
m
Cla
ssic
rea
list
Form
and
sty
leN
arra
tive
stru
ctur
eA
udie
nce
effe
ct
Doc
umen
tary
rea
list
Form
and
sty
leN
arra
tive
stru
ctur
eA
udie
nce
effe
ct
Hyp
er-
or s
urre
alFo
rm a
nd s
tyle
Nar
rativ
e st
ruct
ure
Aud
ienc
e ef
fect
Cho
ose
thre
e si
tcom
s w
hich
exe
mp
lify
the
diff
eren
t ap
pro
ache
s ta
ken
by
sitc
om m
aker
s –
the
clas
sic
real
ist
sitc
om;
the
doc
umen
tary
rea
list
sitc
om;
and
the
hyp
er-r
eal o
r su
rrea
l sitc
om.
Fo
r ea
ch t
ype
iden
tify
how
the
diff
eren
t fo
rmal
ele
men
ts a
re u
sed
, th
e d
iffer
ence
s in
the
narr
ativ
e st
ruct
ures
em
plo
yed
and
the
effe
cts
that
the
se h
ave
on t
heir
aud
ienc
es.
©b
fiEd
ucation 2003
student notes
Page 1 of 1 TV Sitcom
180º ruleAn imaginary axis which governs wherecameras can be placed in order to maintaincontinuity when filming a sequence.
ActcomOne of Taflinger’s sitcom categories – asitcom in which action-orientated narrativesdominate.
Centred narrativeA single strand narrative based around oneor two central characters.
ClosureThe point at which narrative strands areresolved and equilibrium restored to asituation.
Continuity editingDominant editing system in fiction film andTV, in which temporal and spatial continuityis maintained for the comprehension of theaudience.
DiegesisThe ‘world’ or environment created within amedia text.
DiscourseAn ideological value system, used to makesense of interaction between individuals ororganisations.
DocusoapA documentary format, heavily influenced bythe narrative structure and values of soapopera.
DomcomOne of Taflinger’s sitcom categories – asitcom in which moral problem narrativesdominate, usually within a family.
Domestic sitcomAny sitcom whose narrative is based arounda family or a surrogate family grouping.
Dominant (ideologies) Those value or belief systems which support the interests of the most powerful groupswithin societies. Often seen as ‘commonsense’ beliefs.
DramedyOne of Taflinger’s sitcom categories – asitcom in which ‘serious’ issues and themesdominate over action.
FormThe structuring conventions of a media text,such as its generic, narrative or ideologicalframework.
EPGElectronic Programme Guide – used by mostof the digital broadcasters to help viewersnavigate through channels on screen.
GalleryThe area of the TV studio from which thedirectorial team control the action and therecording of a programme.
GenreThe categories into which we tend to dividethe diversity of media output in order to spotsimilarities of form and content.
HegemonyThe process and the state through whichdominant ideologies establish themselves asuncontested values.
High key lightingLighting scheme which provides a high levelof set coverage, with large key lights floodinga scene.
HybridA combination of different genres or styles.
IntertextualityThe process of creating meaning throughreference to the audience’s knowledge ofother media texts.
Glossary
©b
fiEd
ucation 2003
student notes
Page 1 of 1 TV Sitcom
Glossary
Low key lightingAn alternative to high key lighting in which acombination of light and shadow is used tocreate a scene.
Mise en scèneThe combined effect of a series of visualelements within the frame of a visual text.
MontageThe effect of juxtaposing a number ofdifferent scenes or sequences throughediting.
Narrative structureThe organisation of story elements intofamiliar patterns in order to make sense of aseries of events.
NarrowcastingThe targeting of a small but specific audiencefor a product. The opposite to broadcasting.
Prime-timeIn television terms, the period of the day inwhich the highest available audience iswatching. On UK television, this is normallyregarded as 7.00–10.00pm.
Public Service Broadcasting The ideological basis of non-commercialbroadcasting, often defined in terms ofReithian ideals – information, education andentertainment.
RepresentationThe processes through which aspects of thereal world are reconstructed for media texts.Most commonly applied to the constructionof particular individuals or social groups.
Rule of thirdsAn informal rule which guides thecomposition of film and TV images so thatthey appear ‘natural’ rather than symmetricalor contrived.
SchedulingThe techniques employed by broadcastersto ensure that the largest available audiencewatches for the longest possible time.
SeriesA TV format which consists of a number ofself-contained episodes being broadcast ona regular basis.
StereotypeAn inflexible and simplified representation ofindividuals based on generalisations about aparticular social group.
StrandingA scheduling process in which the same kindof programme is broadcast in a particularbroadcast slot on a regular basis.
StyleThe combination of visual and otherproduction elements which gives the text adistinct ‘look’ and mode of address.
Synchronising motifs Repeated elements of sitcom style andcontent which are designed to generatelaughter through familiarity and repetition.
SyndicationThe licensing of US TV programmes to localnetworks for repeat showings.
TransparencyA TV rogramme or film is transparent whenthe audience remain unaware of theprocesses of construction.
Workplace sitcomA sitcom based around groups of individualsbrought together by their trade or profession,rather than by family ties.