BFI TV Sitcom Worksheets
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Transcript of BFI TV Sitcom Worksheets
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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
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Sitc
om c
ateg
orie
s
bfi Education 2003
wo
rksh
ee
t1
Pag
e 1
of
1T
V S
itco
m
Exa
mp
les
of s
itcom
s:
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
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
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TV s
itcom
and
gen
der
bfi Education 2003
wo
rksh
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Pag
e 1
of
1T
V S
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
1
2
3
4
5
Mal
e q
ualit
ies
Fem
ale
qua
litie
s
Mal
e ch
arac
ters
Fem
ale
char
acte
rs
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Sitcom characters
bfiE
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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 characters gender is represented throughnarrative, mise en scne, form and style, and character construction:
Name of male character:.......................................................................................................
Narrative: ...............................................................................................................................
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Mise en scne: ......................................................................................................................
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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 scne: ......................................................................................................................
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Form and style: .....................................................................................................................
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Character construction:.........................................................................................................
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Name of sitcom:
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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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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?
Dads Army
The Young Ones
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Cou
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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?
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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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bfiE
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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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Name: ..............................................................................................................................................
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Name: ..............................................................................................................................................
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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 scne.
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 clichs, 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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Cou
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ourt
esy
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tills
(Worksheet 8)
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Sitcom conventions 2
bfiE
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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 partners and identify exceptions to these features.
Form
1 30-minute episodes
2 Series, not serials
3 ....................................................................................................................................................
4 ....................................................................................................................................................
5 ....................................................................................................................................................
Style
1 Studio based
2 Conventional mise en scne
3 ....................................................................................................................................................
4 ....................................................................................................................................................
5 ....................................................................................................................................................
Narratives
1 Circular plots
2 Domestic or workplace situations
3 ....................................................................................................................................................
4 ....................................................................................................................................................
5 ....................................................................................................................................................
Characters
1 Centred on one or two main characters
2 Often stereotypes minor roles
3 ....................................................................................................................................................
4 ....................................................................................................................................................
5 ....................................................................................................................................................
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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 scne.
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 shows target audience?
Make some suggestions about the shows 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 minutes 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 scriptyouve 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 andmeet each other. The WOMAN has a towel around her head - spattered withblood. 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. WEsee a clock upon a wall - it reads NINE THIRTY. The hands suddenly scrollback 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 spikywith his wiry frame housed in combat pants and a T-shirt with a face ofan alien and the word BELIEVE printed upon it.
He is BEN POLEMOUNTER and is becoming more and more frustrated as hetries his damnedest to work a shelf into a bracket.
BEN lets loose a wild roar, like a caveman on his first kill, slammingthe shelf HARD and knocking the entire wall section over into the nextaisle - causing more destruction than needed and letting out a Bruce Lee-style war cry, adopting a Martial Arts stance - twisting and turning andthen ...
A FAT MAN, 40s, huge bushy moustache, large spectacles that magnify hiseyes. Hes in a suit and doesnt appear impressed.
WE CLOSE IN on his name badge ... MANAGER - JUSTIN JOCKLAW.
PULLING BACK BEN straightens, raising his eyebrows and completing thefinal gasp of his shout, pathetically ...
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worksheet 9
Page 4 of 14 TV Sitcom
Developing a sitcom
- 2 -
JOCKLAWThat kind of behaviour isntexpected from an employee ofBlosers Supermarkets. The KwikMart perhaps, but not here.
BENIt ... It wouldnt slot in.
JOCKLAWHmm. Barbara Windsor may saysentences such as those, but my employees do not. And also,was Bruce Lee once an employee here?
BENI dont think so, sir. No. Imean. I woulda known. You know,camera crews and reporters buzzingabout the place. Unless he waswearing a disguise.
JOCKLAW sighs, staring wide with his EYE FILLING THE SCREEN - BEN frownsand jolts back -
JOCKLAWI meant before he was famous?
BENI dont follow you, Mr. Lockjaw -
JOCKLAW- Jocklaw. My name is Jocklaw, not lock jaw. - Anyway, concentrate.Thats all I ask from my staff.Well, as well as work hard.Concentration. Work hard anddont ever steal from me.
BENWhat about the dealings ofillegal 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 tobe written.
JOCKLAW turns, ever thoughtful, scratching his moustache, causing a loadof cornflakes to fall to the floor. He walks away. BEN squats andclutches a handful of the flakes, letting them drop through his fingerslike sand, curling his lip..
BENCrispy. Golden. Flaky. Crispy,golden, flaky pieces of corn.
He twitches and stands, crunching the flakes as he does so ... He tendsto the shelf ...
BEN (V.O.)I hate it here. I really do.Supermarkets suck. Its as ifI were a drink. A supermarketwas a plastic drinking straw -found on the end of aisle 8 andGod or whatever is sipping. Sucking.- No. Thats not it.
(a pause)To have a plastic drinking straw,found at the end of aisle 8, youneed a sucker. God, or whateverisnt a sucker. - Lets turn itaround. Life is the drink. Yeah,man. Life. The supermarket isthe plastic drinking straw,found at the end of aisle 8 and..NO! No that cant be ... That means ...
BEN straightens, thinking ...
BENIm a sucker. Im 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 theshelf as if it were his enemy.
SUDDENLY A LARGE PAIR OF HANDS come into view, GRABBING BEN and spinninghim 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 PULLBACK to see this hulk, 30. He smiles a gold tooth grin.
JUANYoure a nutter.
BENJohn!
JUANIts Juan.
He spits when pronouncing his name. Phlegm slides down BENS forehead. Hedoesnt move - fearful - JUAN bends BENS fingers back.
BEN(feeble)
Juan. Im ...
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 andspitting ...
BENJuan!
A globule of mucus lands upon JUANS eyebrow, dangling ... He issatisfied ...
JUANNice. Thats what I want.Youre not a first-timer,are you, son?
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worksheet 9
Page 7 of 14 TV Sitcom
Developing a sitcom
5
BENBeg your pardon?
JUANSee. Thats what I mean. Youhave to ask. You dont dostuff right first time. Youhave to wait for people totell you that youve donewrong.
BENWell, I wouldnt -
JUAN- Dont argue, son. Illsee you in the chillerlater, my boy.
JUAN grins, his gold tooth sparkles - he turns and spouts ...
JUAN (O.S)Oh, Danny boy! The pipesthe pipes are calling.From glen to glen ...
He whistles And down the mountains sides! rounding a corner. BEN sighs,whatever next.
BENThis is hell. This is purehell from here on.
VOICE (O.S)And what does that mean, Tim?
BEN jolts, spinning around and seeing his idol. A goddess. A bright lightshines from above as a beautiful angel is seen.
She is fantastic. This baby could be Caprice! BEN drops to his knees andthe angel frowns, looking around her, curling her lip ... She removes oneof her wings - snapping it off her back and BIFFS BEN on the head andback with it ...
ANGELGet 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 ajumper. BENS besotted by her, nervous ...
ANGELAAre you all right?
BENHuh? Yes. How are you?
ANGELAFine. What were you saying a minuteago? Something about being pure hell.What does that mean?
BENPure hell. This place ispure hell. Its Sunset Beach,Angela. Total hell and Icant handle it.
She forms the sexiest of sympathetic looks, touching his arm. Animatedhearts appear - replacing his pupils ...
The hearts escape and fly like butterflies. BEN eyes them and shoos themaway. ANGELA frowns, forms her sympathy look again.
ANGELABen. Ben. Believe in yourself.You can achieve anything. Believeits gonna be okay. Look atyour T-shirt. Believe.
He blinks. Hearts disappear. He points to his shirt, seriously.
BENI wear this because I believein the aliens who visit ourplanet, Angela. I believe inthe underground catacombs thathoneycomb our Earth.
She removes her loving hand giving him an odd look, turning away. Hecurls his lip, shaking his head violently, scrunching up his hair ...
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worksheet 9
Page 9 of 14 TV Sitcom
Developing a sitcom
7
BENDamnit! I always say the wrongthings to girls. I always saysay the wrong things to her. Itsat times like these that I wish Iwere a member of BB Mak. Looks are everything. All Id have to dois look at her and she would simplyfall at my feet. - Right you bastardshelf. Youre gonna get it.
BEN leaps into the air - like Bruce Lee from Enter the Dragon, hoveringover the fallen shelf... FREEZE FRAME MATRIX-STYLE ...
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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 putson a coat.
ANGELAI feel absolutely shattered.
BENHave you got a ride tonight?I mean is somebody riding you?Hard. What I mean is have yougot a lift home. Yeah. Have you?
She smiles a blinder, causing an impossible shine. BEN shields his eyesand then lowers them ...
ANGELANo. No I havent. Could yougive me one?
BENYeah! Sure.
ANGELAA lift home. Do you mind? I haveto get home quick as Im seeingBB Mak in concert tonight.
Ben curls his lip with disappointment.
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worksheet 9
Page 11 of 14 TV Sitcom
Developing a sitcom
- 10 -
BENOh, no. Sure, Angela. Of course.
They continue down the stairwell, passing a sign that reads: YOURMANAGEMENT TEAM WILL SMILE WITH YOU - followed by a photograph of JOCKLAWsmiling a cheesy grin. A picture of JUAN smiling and his gold toothglimmering.
A whole assortment of peculiar-looking characters pass by as the wannabelover, BEN, and ANGELA stroll along.
ANGELASo what are you doing tonight?
BENNothing! I mean. Nothing. Mumand Dad are out, so Ive got to fend for myself in the kitchen.
ANGELAAh, poor you. Where?
BENOh, the kitchens in my house.
ANGELANo, where are your parents?
BENOh, out on a romantic meal.Its Mums birthday or something.
ANGELA smiles a bright smile ...
DISSOLVE TO:-INT. RESTAURANT - NIGHT
A glimmering ring sparkles upon the hand of SHE, dressed in designergear and looking sexy. This couple are damn sexy 20s model looksstraight out of a catalogue. HE holds her hand.
HEHappy anniversary, darling.
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worksheet 9
Page 12 of 14 TV Sitcom
Developing a sitcom
- 11 -
SHEOooh, darling. Happy anniversaryto you, too.
HEOpen 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 ...
SHEAh, its from the boy. HappyBirthday? Ah, its the thought.To Dear You, Happy Birthday, hopeyou dont suffer any more fits.
She unwraps it, revealing a book - the title is COMING TO TERMS WITHHAVING FITS
HEWhat is it, darling?
SHEIts a book. Coming to TermsWith Having Fits.
She places the book down, confused, tweaking her nose, touching herslender neck, cheeks and ears. HE touches his jaw ...
HEWhat does it mean?
SHEI have no idea. Ah, he doesmean well.
HEYes. Yes he does mean well.And I hope you dont encounterany more fits, my love. Openmy gift now, darling.
She picks up another gift, wrapped in gold paper. She smirks, deviously... She unwraps it ... Its ... Its ... an oven mitt. She gasps ...
-
bfiE
ducatio
n 2003
worksheet 9
Page 13 of 14 TV Sitcom
Developing a sitcom
12
SHEOh, darling. Darling. I...I... I love you.
HEAnd I love you.
She glances around her, seeing the rest of the people sat at tables arein fact mannequins!! Dressed up too. WAITERS AND WAITRESSES still servethem however ...
She smirks, devilishly, leaning forward and kisses him. He smirks ...
HEOh, darling. Mmm.
She leans forward further, her cleavage in his full view - she whispersto him - hes in awe of her secret words - she looks around again, ducksunder the table - hidden by the table cloth.
His expression says it all ... His face comes over all emotional withpleasure and naughtiness combined ...
HEDarling? Oh, darling, youshouldnt. Not here... Hestrokes 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 fromunderneath ...
HEDARLING! HAVE YOU ENCOUNTEREDA FIT? ARE YOU HAVING A FIT?ARGHHHHHHHHHHHHHHHHHHHHH!
He grabs a fork and stabs it into her head. Stab, stab ...
-
bfiE
ducatio
n 2003
worksheet 9
Page 14 of 14 TV Sitcom
Developing a sitcom
- 13 -
HEGET OFF! GET OFF!
The mannequin heads turn to look. He stands ... Blood covering his groinarea. She gets to her feet, clutching her head in pain. Its bloody andhas a fork sticking out of it.
They retreat to the restrooms screaming in pain.
WE CLOSE IN ON a clock on the wall ... Its NINE OCLOCK. The handsscroll around to show NINE THIRTY.
HE and SHE exit from the restrooms. He has a towel fixed around hiswaist, with traces of blood spattered on it. She has a towel wrappedaround 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 aroundreal fast until it reads EIGHT OCLOCK.
-
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
bfiE
ducatio
n 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 thewrong 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 schedulersintentions.
10 What role does technology play in helping you to chooseyour own schedules?
Tasks
-
Comedy channel
bfiE
ducatio
n 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 SkyDigitalsEPG? 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. (Dont worry if theprogrammes already appear on other channels.)
From this list, build an evenings 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
-
bfiE
ducatio
n 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
gers
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
ys
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
bfiE
ducatio
n 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
n (fe
mal
e)C
hara
cter
s (fe
mal
e)N
arra
tive
idea
s (fe
mal
e)
-
Sitcom familysituations
bfiE
ducatio
n 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.
-
bfiE
ducatio
n 2003
student notes
Page 1 of 1 TV Sitcom
180 ruleAn imaginary axis which governs wherecameras can be placed in order to maintaincontinuity when filming a sequence.
ActcomOne of Taflingers 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 Taflingers 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 Taflingers 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 audiences knowledge ofother media texts.
Glossary
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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 scneThe 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 7.0010.00pm.
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.
