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Produktbild: Nervous Laughter | Darrell Y. Hamamoto
Produktbild: Nervous Laughter | Darrell Y. Hamamoto

Nervous Laughter

Television Situation Comedy and Liberal Democratic Ideology

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Nervous Laughter examines 40 years of situation comedy, decade by decade, providing the first truly panoramic view of TV's most popular dramatic form. Within this context, Hamamoto traces what he describes as the dominant liberal democratic ideology implicit within situation comedy and explains its enduring popularity. "Critically analyzing four decades of television situation comedies from The Honeymooners to The Bill Cosby Show, Hamamoto shows how the sitcom reflects, explains, legitimates, and challenges the society in which it is grounded, illuminating the power of laughter both to reaffirm and to question existing social structures. . . . Hamamoto offers a well-researched and refreshingly lucid study, immensely readable for its astute scholarship. Indispensable for students and scholars of television, popular culture, and comedy." Choice

Produktdetails

Erscheinungsdatum
17. Mai 1989
Sprache
englisch
Seitenanzahl
192
Autor/Autorin
Darrell Y. Hamamoto
Verlag/Hersteller
Produktart
gebunden
Gewicht
437 g
Größe (L/B/H)
235/157/15 mm
ISBN
9780275928612

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Portrait

Darrell Y. Hamamoto

DARRELL Y. HAMAMOTO is a Professor of Sociology at National University and serves as program coordinator for the School of Arts and Sciences. His critical pieces and photographs have appeared in Rock and Roll Confidential, Pulse! , Film Quarterly, Guitar Player, L. A. Weekly, The Orange Country Register, and The Journal of Popular Film and Television.

Pressestimmen

?Hamamoto explores the vast wasteland of television and provides a provocative reading of the social and political significance of a neglected mediated text. Critically analyzing four decades of television situation comedies from The Honeymooners to The Bill Cosby Show, Hamamoto shows how the sitcom reflects, explains, legitimates, and challenges the society in which it is grounded, illumining the power of laughter both to reaffirm and to question existing social structures. Arguing for a more democratic use of the media, Hamamoto advocates a liberal democratic policy, even polemically titling a chapter on the sitcoms of the Reagan '80s as Neoconservative Death Valley Days.' What seems an overemphasis on relevant but forgettable series uike I Married Dora and Gung Ho and an underplaying of the popular All in the Family and Cheers detracts only slightly from this solid and fascinating work. Hamamoto offers a well-researched and refreshingly lucid study, immensely readable for its astute scholarship. Indispensable for students and scholars of television, popular culture, and comedy.?-Choice

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