Universität Wien

124264 KO Critical Media Analysis (2025W)

The Comedy of Situations: Aesthetics, Cultural Identity and Politics in Anglophone Sitcoms

6.00 ECTS (2.00 SWS), SPL 12 - Anglistik
Continuous assessment of course work

Registration/Deregistration

Note: The time of your registration within the registration period has no effect on the allocation of places (no first come, first served).

Details

max. 30 participants
Language: English

Lecturers

Classes (iCal) - next class is marked with N

  • Thursday 09.10. 14:15 - 15:45 Helene-Richter-Saal UniCampus Hof 8 3G-EG-21
  • Thursday 16.10. 14:15 - 15:45 Helene-Richter-Saal UniCampus Hof 8 3G-EG-21
  • Thursday 23.10. 14:15 - 15:45 Helene-Richter-Saal UniCampus Hof 8 3G-EG-21
  • Thursday 30.10. 14:15 - 15:45 Helene-Richter-Saal UniCampus Hof 8 3G-EG-21
  • Thursday 06.11. 14:15 - 15:45 Helene-Richter-Saal UniCampus Hof 8 3G-EG-21
  • Thursday 13.11. 14:15 - 15:45 Helene-Richter-Saal UniCampus Hof 8 3G-EG-21
  • Thursday 20.11. 14:15 - 15:45 Helene-Richter-Saal UniCampus Hof 8 3G-EG-21
  • Thursday 27.11. 14:15 - 15:45 Helene-Richter-Saal UniCampus Hof 8 3G-EG-21
  • Thursday 04.12. 14:15 - 15:45 Helene-Richter-Saal UniCampus Hof 8 3G-EG-21
  • Thursday 11.12. 14:15 - 15:45 Helene-Richter-Saal UniCampus Hof 8 3G-EG-21
  • Thursday 18.12. 14:15 - 15:45 Helene-Richter-Saal UniCampus Hof 8 3G-EG-21
  • Thursday 08.01. 14:15 - 15:45 Helene-Richter-Saal UniCampus Hof 8 3G-EG-21
  • Thursday 15.01. 14:15 - 15:45 Helene-Richter-Saal UniCampus Hof 8 3G-EG-21
  • Thursday 22.01. 14:15 - 15:45 Helene-Richter-Saal UniCampus Hof 8 3G-EG-21
  • Thursday 29.01. 14:15 - 15:45 Helene-Richter-Saal UniCampus Hof 8 3G-EG-21

Information

Aims, contents and method of the course

The sitcom (short for ‘situation comedy’) is a staple of television programming. Originating in the radio variety show of the 1930s and 40s and moving to television in the 1950s and 60s, to this day it remains one of television’s most popular genres. The sitcom offers a broad spectrum of texts: some more drama-heavy and narratively complex than others. Often disparaged as the epitome of mass entertainment, it has also been praised for its innovative formula, making it an essentially televisual art form.

In this course, we will examine the aesthetics, cultural identities and politics of the Anglophone sitcom. We will take a look at cultural classics, such as I Love Lucy (CBS, 1951-1967) and Steptoe and Son (BBC, 1962-1974), as well as more recent examples like The Big Bang Theory (CBS, 2007-2019) and Alma’s Not Normal (BBC, 2020-2024). In addition, we will scrutinize various subgenres such as the ‘mockumentary’ (The Office (BBC, 2001-2003); Modern Family, ABC, 2009-2020), the animated sitcom
(The Simpsons (Fox, 1989 – present); BoJack Horseman (Netflix, 2014-2020)) as well as the innovative comedy drama Kevin Can F*** Himself (AMC, 2021-2022). While analyzing the aesthetics, cultural function, and formulaic composition of
the sitcom, the course also looks at how the genre negotiates crucial aspects of British as well as American cultural identity.

Further, this course will offer a comprehensive overview of the different theories of humour, ranging from Aristotle to Freud, all the way to contemporary theorists like Nicholas Holm.

The main methods of this class will be close reading in context, film analysis and critical discourse analysis.

At the end of this course:
• You should be able to express core aspects of Humour theories.
• You should be able to closely read and interpret televisiual media texts based on content and style as well as be able to discuss and evaluate them both in spoken word and the written word.
• You should be able to recognise and critically evaluate discourses and their representation in televisual media texts.
• You should enhance your academic writing skills as well as your ability to critically evaluate other’s writing and give productive feedback on such.
• You should be able to compose small analyses and essays, knowing the necessary formal constraints and the particularities to each.
• You should be able to easily connect theoretical concepts to concrete audiovisual examples and assess the consequences.

Assessment and permitted materials

1. Participation and Attendance (10pts):
o Active engagement in class discussions, screenings, and group activities.
o Regular attendance is mandatory, as the course relies heavily on in-class interactions and media analysis.
2. Reflections (24 pts):
o Writing at minimum 5 session reflections in the course Moodle and 3 responses to others (each ca. 100-150 words).
o Reflections should demonstrate critical thinking, personal engagement with the material, and connections to broader themes in Cultural
Studies.
3. Midterm Essay (30pts):
o A 1000-word essay analysing one critical aspect (e.g. gender, race, class, sexuality, age etc.) in a British or American sitcom of your choice.
o The essay should apply at least one humour theory (which we will discuss in class) and discuss how the sitcom manages to reflect or challenge cultural norms, identities, or power dynamics.
o Due by Week 7.
4. Final Essay (36pts):
o A 2000-word final essay that elaborates on a specific topic related to a British or American sitcom of your choice.
o Students may choose to expand on their midterm essay topic or explore a new area of interest.
o The essay should include:
- A clear thesis statement.
- Analysis of primary texts (meaning the sitcom of choice).
- Engagement with at least one humour theory, two critical aspects (e.g. gender, class, race, age, sexuality etc.).
- A conclusion that summarises the main arguments and reflects on the significance of the aspects chosen for analysis.
o Due by the end of Week 13.

The maximum number of absences is 2. If you cannot make it to class, please notify me beforehand.

The plagiarism detection software Turnitin will be used on the written assignments.

As per the departmental guidelines, this class places heavy emphasis on honing critical AI literacy, meaning developing the skills needed to critically assess and evaluate the merits and demerits of LLM-generated content, as well as understanding the ethical pitfalls of generative AI usage. Thus, the use of AI to entirely replace your research and/or writing process is strictly forbidden!

One of the goals of this class is to build and improve your academic writing skills in a sustainable way that will allow you to write comfortably in an academic register for years to come. You would be doing both yourself a disservice, by robbing yourself of the arduous process of learning to write, and me, by making me read and grade a machine’s predictive text.

If AI tools are used inappropriately in individual tasks, papers, and theses, the procedure for “non-assessment due to use of unauthorised aids” will apply!

Minimum requirements and assessment criteria

Students must fulfill and pass each of the 4 course requirements (regular attendance and participation, reflections, midterm essay, final essay) and score at least 60 points altogether in order to pass this course.
Grading scale:
1: 100-90 points
2: 89-80 points
3: 79-70 points
4: 69-60 points
5: 59-0 points

The course requirements will be discussed in detail during the first session.

Examination topics

This is an interactive course with continuous assessment (“prüfungsimmanente Lehrveranstaltung”). In addition to handing in two essays throughout the term and regular session reflections. Participants are expected to read all set texts and actively participate in class throughout the semester as well as hand in tasks and assignments on time.
There will be no written exam.

Reading list

Creeber G, editor. The television genre book. Third edition. London: BFI 2015.
Bore, Inger-Lise Kalviknes. “Sitcom Audiences and Genre Developments: Everybody Hates Chris, Miranda and Gavin & Stacey.” Screen Comedy and Online Audiences, 1st ed., vol. 1, Routledge, 2017, pp. 87–104, https://doi.org/10.4324/9781315770574-6.
Bratslavsky, Lauren, and Marian Meyers. “Negotiating Identity and Working Class Struggles
in NBC’s Superstore.” Neoliberalism and the Media, 1st ed., Routledge, 2019, pp. 209–28, https://doi.org/10.4324/9781315106045-13.
Butler, Jeremy G. The Sitcom. Routledge, 2019.
Holladay, Holly Willson, and Chandler L. Classen. Television Sitcom and Cultural Crisis. Routledge, 2024.
Hunt, Leon. Cult British TV Comedy : From Reeves and Mortimer to “Psychoville.” 1. publ., Manchester Univ. Press, 2013.
Lockyer S, Pickering M. Beyond a joke: the limits of humour. Houndmills, Basingstoke, Hampshire: : Palgrave Macmillan 2005.
Medhurst, Andy. A National Joke : Popular Comedy and English Cultural Identities. Routledge, 2007.
Miller, Toby. Television: Critical Concepts in Media and Cultural Studies. 1. 1. publ., Routledge, 2003.
Mills, Brett. Comedy verite: contemporary sitcom form. Screen 2004;45:63–78. doi:10.1093/screen/45.1.63
---. Television sitcom. London: BFI 2005.
Mittell, Jason. Genre and Television : From Cop Shows to Cartoons in American Culture. Routledge, 2004.
Morreale, Joanne. Critiquing the sitcom: a reader. 1st ed. Syracuse, N.Y.: : Syracuse University Press 2003.
Nardi, Carlo, et al. “The Mockumentary Sitcom: The Discomfort of Fake Realism.” Music in Comedy Television, 1st ed., Taylor & Francis Group, 2017, pp. 73–87, https://doi.org/10.4324/9781315639284-6.
Neale S, Krutnik F, NetLibrary, Inc. Popular film and television comedy. London: Routledge 1990.
Pugh, Tison. The Queer Fantasies of the American Family Sitcom. Rutgers University Press, 2018.
Rowe KK. Roseanne: unruly woman as domestic goddess. Screen 1990;31:408–19. doi:10.1093/screen/31.4.408
Savorelli, Antonio. Beyond Sitcom : New Directions in American Television Comedy. 2010.
Tueth MV. Fun City: TV’s Urban Situation Comedies of the 1990s. Journal of Popular Film and Television 2000; 28: 98–107. doi:10.1080/01956050009602829.
Wickham, Phil. Understanding Television Texts. 1. publ., BFI, British Film Inst., 2007.


Association in the course directory

Studium: BA 612, BEd 046/407
Code/Modul: BA07.3; BEd 08a.2, BEd 08b.1
Lehrinhalt: 12-4260

Last modified: We 01.10.2025 14:46