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A significant number of Americans get some of their "news" about politics and national affairs from comedy shows. Is "infotainment" a debasement, or a replacement, for traditional news outlets?
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'Satiric TV in the Americas' focuses on Latin American TV satire in order to understand their critical role in challenging the status quo, traditional journalism, and the prevalent local media culture. It introduces the notion of 'critical metatainment' as negotiated dissent, a key concept for the study of postmodern satire.
Television comedies. --- Comedies, Television --- Comedy programs --- Comedy programs, Television --- Comedy television programs --- Television comedy programs --- Television programs --- 2000-2099 --- America --- America. --- Social conditions --- Humor. --- Americas --- New World --- Western Hemisphere
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Offers a variety of perspectives on the sitcom genre and its influence on American culture.
Television comedies --- Comedies, Television --- Comedy programs --- Comedy programs, Television --- Comedy television programs --- Television comedy programs --- Television programs --- History and criticism. --- Programs, Television --- Shows, Television --- Television shows --- TV shows --- Television broadcasting --- Electronic program guides (Television) --- Television scripts
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Steve Neale and Frank Krutnik take as their starting point the remarkable diversity of comedy's forms and modes - feature-length narratives, sketches and shorts, sit-com and variety, slapstick and romance. Relating this diversity to the variety of comedy's basic conventions - from happy endings to the presence of gags and the involvement of humour and laughter - they seek both to explain the nature of these forms and conventions and to relate them to their institutional contexts. They propose that all forms and modes of the comic involve deviations from aesthetic and cultural conventions and n
Comedy films. --- Comedy films--History and criticism. --- Comic, The. --- History. --- Television comedies. --- Television comedies--History. --- Comedy films --- Television comedies --- Comic, The --- Film --- Music, Dance, Drama & Film --- Ludicrous, The --- Ridiculous, The --- Comedy --- Wit and humor --- Comedies, Television --- Comedy programs --- Comedy programs, Television --- Comedy television programs --- Television comedy programs --- Television programs --- History and criticism --- Comedy films - History and criticism --- Television comedies - History --- History and criticism.
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Archie Bunker. Jed. Laverne and Shirley. Cliff Huxtable. Throughout the entire history of American prime-time television only four sitcoms have been true blockbusters, with Nielsen ratings far above the second- and third-rated programs. Weekly, millions of Americans of every age were making a special effort to turn on the set to see what Archie, Jed, Laverne, and Cliff were doing that week. The wild popularity of these shows-- All in the Family , The Beverly Hillbillies , Laverne & Shirley (and its partner Happy Days ), and The Cosby Show --left commentators bewildered by the tastes and prefer
Situation comedies (Television programs) --- #SBIB:309H1521 --- #SBIB:309H520 --- Radio- en/of televisieprogramma’s met een amusementsfunctie en/of esthetische functie --- Audiovisuele communicatie: algemene werken --- Television comedies --- Comedies, Television --- Comedy programs --- Comedy programs, Television --- Comedy television programs --- Television comedy programs --- Television programs --- Mass communications --- Television play --- United States --- United States of America
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Comedy films --- Television comedies --- Motion pictures --- History and criticism. --- History. --- Cinema --- Feature films --- Films --- Movies --- Moving-pictures --- Audio-visual materials --- Mass media --- Performing arts --- Comedies, Television --- Comedy programs --- Comedy programs, Television --- Comedy television programs --- Television comedy programs --- Television programs --- Comedy videos --- History and criticism
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Steve Neale and Frank Krutnik take as their starting point the remarkable diversity of comedy's forms and modes - feature-length narratives, sketches and shorts, sit-com and variety, slapstick and romance. Relating this diversity to the variety of comedy's basic conventions - from happy endings to the presence of gags and the involvement of humour and laughter - they seek both to explain the nature of these forms and conventions and to relate them to their institutional contexts. They propose that all forms and modes of the comic involve deviations from aesthetic and cultural conventions and n
791.43-1 --- Comedy films --- Comic, The --- Television comedies --- #SBIB:309H1326 --- Comedies, Television --- Comedy programs --- Comedy programs, Television --- Comedy television programs --- Television comedy programs --- Television programs --- Ludicrous, The --- Ridiculous, The --- Comedy --- Wit and humor --- 791.43-1 Filmkunst. Films. Cinema--?-1 --- Filmkunst. Films. Cinema--?-1 --- History and criticism. --- History. --- Films met een amusementsfunctie en/of esthetische functie: genres en richtingen --- Comic, The. --- History and criticism --- History --- CDL --- 791.43
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791.43-22 --- #SBIB:309H1521 --- #SBIB:309H1326 --- Filmcomedies --- Radio- en/of televisieprogramma’s met een amusementsfunctie en/of esthetische functie --- Films met een amusementsfunctie en/of esthetische functie: genres en richtingen --- 791.43-22 Filmcomedies --- Comedy films --- Comic, The --- Television comedies --- Wit and humor --- Comedies, Television --- Comedy programs --- Comedy programs, Television --- Comedy television programs --- Television comedy programs --- Television programs --- Ludicrous, The --- Ridiculous, The --- Comedy --- History and criticism --- 791.43 --- CDL
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#SBIB:309H1521 --- #SBIB:309H525 --- #SBIB:AANKOOP --- Radio- en/of televisieprogramma’s met een amusementsfunctie en/of esthetische functie --- Sociologie van de audiovisuele boodschap --- Comedy films. --- Comedy. --- Comic, The. --- Television comedies. --- Comedy --- Comedy films --- Comic, The --- Television comedies --- Comedies, Television --- Comedy programs --- Comedy programs, Television --- Comedy television programs --- Television comedy programs --- Television programs --- Ludicrous, The --- Ridiculous, The --- Wit and humor --- Comedy videos --- Motion pictures --- Comic literature --- Literature, Comic --- Drama
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This book is the first sustained critical analysis of Cult British TV comedy from 1990 to the present day. The book examines 'post-alternative' comedy as both 'cult' and 'quality' TV, aimed mostly at niche audiences and often possessing a subcultural aura (comedy was famously declared 'the new 'rock'n'roll' in the early '90s). It includes case studies of Vic Reeves and Bob Mortimer and the sitcom writer Graham Linehan. It examines developments in sketch shows and the emergence of 'dark' and 'cringe' comedy, and considers the politics of 'offence' during a period in which Brass Eye, 'Sachsgate' and Frankie Boyle provoked different kinds of media outrage. Programmes discussed include Vic Reeves Big Night Out, Peep Show, Father Ted, The Mighty Boosh, The Fast Show and Psychoville. Cult British TV Comedy will be of interest to both students and fans of modern TV comedy.
Cult films --- Television comedies --- Comedies, Television --- Comedy programs --- Comedy programs, Television --- Comedy television programs --- Television comedy programs --- Television programs --- Cult classics --- Cult movies --- Motion pictures --- Cult television programs --- televisie --- televisieseries --- televisiereeksen --- comedy --- Groot-Brittannië --- twintigste eeuw --- eenentwintigste eeuw --- Reeves Vic --- Mortimer Bob --- Linehan Graham --- 791.46 --- Film and Media --- Television --- SOCIAL SCIENCE / Popular Culture --- Electronic, holographic & video art --- British Television. --- Cult TV. --- Post-alternative comedy. --- TV Comedy.
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