Notes about answering a sitcom question on Roseanne and My Family

Tackle the question first! This one was about narratives, this means the story lines the different characters are given. How do those storylines reflect certain expectations of their gender?

 

Specify the names of the two episodes and their sitcoms at the top of your answer!

 

As to the narratives –in the My Family episode it is a traditional tale of a man and his car and his first love!

 

In both there is also the storyline of the anniversary and the different ways the couples want to spend them!

 

Men are stereotypically represented as their first love being their car and often as loving that car more than their wives of girlfriends. After all they spend long hours cleaning polishing and fixing her and even give her a girl’s name! They even refer to her parts in words normally associated with women – ‘big headlights!’

 

In ‘The Car’ episode in ‘My Family’ there is the traditional gender conflict about the upcoming anniversary and their different hopes and expectation – Susan’s is the ‘romantic weekend in Dorset, walking on the beach’ whereas Ben’s is to avoid just that! merely to stay at home.

 

In the Roseanne episode entitled ‘the anniversary’ Roseanne and husband Dan’s hopes and expectations are even further apart – Roseanne wants the honeymoon she never go in Florida, while Dan wants a cabin in the woods where he can go “huntin’ shootin’ and fishin'”.

 

A very traditional battle ground for the sexes and the eternal material of the sit com episode! Women are always represented as wanting the fantasy, the ideal and the unattainable whereas men are represented as having their feet on the ground and being basically happy with what they’ve got.

 

Thus both Roseanne and Susan are looking for romance and Ben and Dan just want life to continue as it is!

 

Dan is eventually portrayed as the more romantic of the husbands… while Roseanne in line with American ideals of the traditional supportive wife ends up happy to have her romantic anniversary at home!

 

Susan meanwhile, in line with the more brutal and feminist stance of UK sitcoms, constantly undermines her husband in words and actions.

 

In keeping with Todorov’s narrative theory the disruption is eventually resolved and equilibrium restored – in ‘My Family’ in a return to the first scene in which Susan had written in lipstick on Ben’s forehead the word ‘DORSET?’, this time he has written on hers the word ‘SEX’ but in a traditional win for the female side when he looks in the mirror, she has replied ‘NO!’ on his! And everything returns to normal – Susan wins on points though Ben has won the battle because they have not gone to Dorset!

 

In Roseanne their problem has been resolved by the children being removed and the couple sitting down to a nice anniversary meal ‘a deux’ but which descends into farce when they have a fight with the fizzy wine and water from the kitchen tap! Thus confirming their representations as overgrown kids! And again in typical American style the battle is a draw!

 

Remember you must explain which aspects of femininity and masculinity are being represented:

What characteristics do we expect of males?

  • Unreliable
  • Forget birthdays
  • Unromantic
  • Practical
  • Beer drinking
  • Women ogling
  • Chauvinistic
  • Hate housework
  • Hate cooking
  • Distant fathers
  • Breadwinner
  • A bit slow – can’t multi task!
  • Realists
  • In control of the money
  • Make all the important decisions
  • Aggressive
  • Possessive
  • Arrogant
  • Superior
  • Etc

 

What characteristics do we expect of females?…

Narrative Analysis

Narrative is not an arbitrary sequence of events but an ordered progression of events.

 

Todorov’s model

is easily applied to sit-com narratives. It is also clear that one of the main conventions of sit-com is that at the end nothing has really changed – things are back to exactly the way they were at the beginning. Mick Bowes calls this ‘circular narrative closure‘; thus Del Boy’s business ventures are always failures; Alan Partridge never gets his show back again; Victor Meldrew never gets satisfaction from his neighbours. Small changes (characters may get married, have children, grow older, even change cast members (Spin City)) may occur but they are never sufficient to change the essential characterisations.

 

The comedy of frustration‘ as noted by Mick Eaton is a frequently recurring motif in British sit-coms: whether it be Tony Hancock, Steptoe’s son, Mr Rigsby, Basil Fawlty, Edina, Rimmer or Blackadder. These characters are comic because they have aspirations which are never achieved – fame, riches, social status, women, recognition etc. They are trapped and their inability to get out of the situation permanently is poignantly made funny.

 

Watch your chosen sit-coms to see if you have a ‘failure’ there, also watch to see the five stages of Todorov’s model as they occur.

 

Ideological Analysis

Social conflict is one of the main causes of disruption in the narrative. Bazalgette identified, ‘class and gender…sometimes power relations …racial and national difference also…

 

What key social groups appear in the sit-coms you watch? And what kinds of qualities are they associated with? Are many of them negative in the light of ‘normal’ behaviour?

 

Bowes makes the point that not all stereotypes are bad – but we should examine the place of the stereotype in the structure of the programme – is he/ she the ‘target of the humour or the producer of it‘? In Will and Grace, Jack would seem to be the perfect stereotype and yet Will serves as ‘a means of making the prejudices of ‘straight’ people seem odd and laughable.

 

Sit-com as a genre has a role to play in the audience’s understanding of social and cultural values. Humour provides an opening to challenge, disrupt or ridicule dominant views. In a mass medium which is dominated by white middle class male producers, writers and performers the ideological issues raised are very important.