Introduction
A sitcom is short for a situational comedy. It is a genre in film that involves a comedy performance where recurring characters in the show play out funny storylines. The main element of a sitcom is that it happens in a common environment such as a home or a school or workplace involving relatable characters. Sitcoms are tailored to depict everyday life situations in a humorous way to entertain the audience. When sitcoms were first introduced they were presented over the radio, but today they are predominantly on television. Most of the sitcoms are recorded in front of a live studio audience. Their characteristics may vary depending on the country. British sitcoms are produced for British television and they comprise of one or more series of up to six episodes (Medhurst, 2007).
They are normally written by one or two writers and they run for only thirty minutes for each episode. This timeline is deemed as sufficient for the film to run and express its entertainment value to the audience, whose aim is to gain maximum entertainment and fun from the production. Besides, Sitcoms express British humor in a nontraditional way so as to pass across various messages. They can be political social or even economical. However, the mode of presentation depends on the theme of a sitcom production, and as reiterated before, the theme could touch on a political, social, or economic agenda; this solely depends on the production and its entrenched genre of production. This paper seeks to find out the extent to which sitcoms act as a mirror to society.
Body
Sitcoms have been established as part of a staple diet for audiences all over Britain. Every entertainment channel has at least one sitcom on broadcast daily and they have been known to boost television network ratings. The main characteristic of a sitcom is that it is humorous. Sitcoms are a genre of comedy and are therefore, expected to contain a high level of humor throughout. They tell their story through several related or unrelated pieces of humor and are meant to make the audience laugh (Malk, 2002).
Besides, they should be filmed in front of a live studio audience. This characteristic was upheld initially but in recent times it is being phased out as more angles for cameras and background laughs can be added later during editing. Some sitcoms have a cued laugh every time a character makes a funny remark. This characteristic is used predominantly in the sitcom industry although; other genres of comedy have tried to incorporate it. The characters used have to recur with incorporation of new visiting characters on and off, for example family members or workmates are retained throughout a season (Bowes 1990).
In America, the sitcom is written by a group of writers and this provides different angles and ideas for shows. They are therefore, able to come up with full seasons of at least twelve episodes. British sitcoms on the other hand, are only written by around two writers and this limits the number of episodes per season. The duration of the typical sitcom is thirty minutes. They should also contain suspense and comic surprise as well as a happy ending or lesson at the end of every episode (Mills, 2004)
The main function of a sitcom or any form of comedy is to bring pleasure to the audience and make them laugh. Sitcoms do present various ideological implications and these can be seen in how they try to make the audience laugh. The laughter is derived from the audience relating to the same situations, but because either the fortune or misfortune is not directly happening to the audience, they can afford to laugh. Sitcoms help audiences find humor in everyday situations that would not otherwise be funny. By having recurring character, the audience is able to grow a form of attachment to each one individually, and with time be able to see themselves in those same shoes since the environment is derived from everyday situations such as family life, school life and the work place. Sitcoms do mirror society by showcasing various stereotypes and normal day social issues.
Sitcoms especially, in the United Kingdom have been used by authors to comment on social issues that are not easy to talk about for example homosexual unions and the rights of the gay people. Sitcoms offer an avenue to air out opinions about what the society is thinking, but is afraid to say out loud and by presenting these social concerns in a humorous way they make it easier for the audience to discuss the issue.
Sitcoms explore stereotypes; these are expressed in how teenagers are expected to behave and how in every work place there will always be different characters for example, the boss’ pet as well as the overachiever. All these are characters that can be pin pointed in the average workplace. Another type of stereotype is the racial stereotype and an example of this is the depiction of middle aged Irish men as drunkards as well as African Americans big bodied women being depicted as sassy divas (Gray, 1994). This helps to put a stop to racism as all races are able to get comfortable with each other. Others bring out issues affecting society such as bullying in school and they pass out a message against it by putting the audience in the victim’s shoes.
The most represented social class in Sitcoms is the middle class. This is because it makes up most of the society and it is therefore, relatable to the audience. Some gender problems are represented in sitcoms; these are gender inequality and gender role stereotypes. By showing these problems it opens up the eyes of society so that they can correct their mistakes (Beeden, & de Bruin, 2010). Most comedies are based on fiction and this is where sitcoms stand out since the jokes are usually about real life situations; that are happening to everybody’s life. It is a reflection of what is going on around the world.
Over the years, sitcoms have been evolving and more and more acts are ready to handle more controversial topics that were previously considered taboo. Some of these topics include atheism, homosexuality and speaking out about the government, or making jokes about the royal family. Sitcoms are safe and they follow the same pattern over decades however, they are able to accommodate enough surface variation such that they can be repackaged as new products (Malk, 2002). They share corporate ideals sold by the economic society as well as the government ideals. They express the family set up at home unit and also as a workplace unit.
As a mirror, it holds up images of what we expect a perfect family to be. In other instances it presents a reflection of ourselves in worse off situations therefore making us relax and feel relieved from our own troubles. The mirror presents an escape from the reality of dysfunctional families and the lack of love in today’s society. By doing so it may also teach about what is lacking and what needs to be done to improve our relationships. It has been by a great extent a mirror reflection of society with a dose of humor.
Over the past decades, sitcoms have been referred to as a foggy mirror to the society. This is due to its inability to reflect on the real issues of the society. The foggy nature of sitcoms is arrived at on the fact that they cannot be counted on real issues that affect the society. However, they give some reflection of the society though not as vivid as expected (Neale & Krutnik, 2000). Moreover, a sitcom is a situation comedy, that is to say, it’s not real but only rely on the context of the situation. Over the past few decades, several personalities have given various points to its disapproval. Nonetheless, sitcom still remains a debatable issue that attracts public outcry. One cannot stand up to fully discredit sitcom due to the fact that it plays some particular roles in the society.
The extent of disapproval is quite relative; it depends on regions, race, age, context and so forth. However, a majority of people may want to discredit sitcoms; there are those who support it to the depth. Just like the case of its disapproval, the proponents have valid reasons for its support. Referring to sitcom as a foggy mirror of the society is basically pointing out the factors that make it unable to address real life issues. From the definition of sitcom, it is clear that it is a type of comedy that only exist between individuals who share a common environment be it a workplace or home (Palmer, 1987). Furthermore, these characters often have a humorous dialogue; something that cannot exist between human beings at all times.
The major assumptions of sitcom characters are that they are not real, as a matter of fact; people have argued that they are simply acting. Humorous dialogue between people who share a common environment is something that exists but not always. Psychologists have argued that people who share the same environment can be the worst enemies ever. The element of sitcoms being related to foggy mirror of the society is because people have different personalities. The difference in personalities automatically gives rise to difference in like and dislikes.
Humor is solely based on likes; and the ability of an individual to laugh comes on a point of humor. It’s therefore, unclear if all the characters of sitcoms have the same personality that gives them a point of convergence on humor (Rose, 1985). In particular cases, sitcoms are enhanced by laugh tracks. People are simply tolerating sitcoms, they don’t love it. These are just but a few of the factors that makes sitcom be referred to as a foggy mirror of the society.
Sitcoms greatly depend on regions and physical locations. In a nutshell, the American sitcom is totally different from the British sitcom. Even though these two countries have their own likes, their sitcoms will also differ depending on their physical location and context. Even though other countries also have their own sitcoms, the United States of America and United Kingdom seem to rule the global platform on sitcoms (Neale & Krutnik, 2000). Countries across the World play or broadcast sitcoms from these two countries, they form the World’s largest producers of sitcoms. However, there are particular differences that are currently evident in the American and British sitcom. Furthermore, these two nations have totally different profiles; therefore, expecting similar sitcoms from them would be one of the most difficult things ever.
There are various differences in the UK and the American sitcoms. People around the world love American sitcoms compared to the British. As a matter of fact, several British televisions opt for American sitcoms. Moreover, the global reception is relatively warm on American sitcoms; this can be asserted by worldwide viewership. The American sitcom, “How I Met Your Mother,” is an example of sitcoms that received the highest viewership across the world. Consequently, the sitcom won position nine Emmy Awards ahead of the British sitcoms. Besides the Emmy Awards, it was also nominated for 72 others awards both at the American and global scene (Wagg, 1998).
Furthermore, the structure of American sitcom greatly differs from the British Sitcoms. The American sitcoms are made of episodes that last 20 to 30 minutes even though, the actual story can only run for approximately 22 minutes leaving the remaining eight minutes or so for commercials or advertisements (Purdie, 1993). Since the television network also needs to make extra cash and inform the viewers about what is available for them to purchase, the American systems greatly suites both the viewers and the broadcasting houses.
Conclusion
Over the past years, critics of sitcoms have been referring to it as an aesthetic of social issues. This situation is held on the fact that it doesn’t give a clear impression to pressing social issues. In several occasions, sitcoms have given rise to contentious social issues. Others critics argue that sitcoms are actually eroding the social virtues of the society, a fact that is agreeable to some extent. In the United Kingdom for example, the sitcom, “At Home with Julia,” was criticized for having disrespect to the office of the prime minister. These are just but a few of some of the social issues that come with sitcoms (Neale & Krutnik, 2000).
References
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Bowes, M. (1990) 'Only When I Laugh', in Goodwin, A. & Whannel, G. (eds.) Understanding Television. Routledge: London.
Gray, F. (1994). Women and Laughter. Macmillan - see part II on sitcoms.
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Medhurst, A. (2007). A National Joke: Popular Comedy and English Cultural Identities. Routledge: London.
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Neale, S. & Krutnik, F. (2000) ‘Broadcast Comedy & Sitcom’ in Buscombe, E. (ed.) British Television: A Reader. Clarendon Press.
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Purdie, S. (1993) Comedy: The Mastery of Discourse. Harvester.
Rose, B.G. (ed.) (1985), TV Genres: a handbook and reference guide, Greenwood Press: Westport, Connecticut – see chapter on sitcom. Primarily American but a useful point of Comparison
Wagg, S. (ed.) (1998) Because I Tell A Joke Or Two: Comedy, Politics and Social Difference. Routledge: London.
