Chris Comerford explores cinematic digital television as an artistic classification and an
academic object of study, and illuminates the slippage in definitions of previously …

This chapter will argue that original comedy programmes created for streaming services
have adapted their narrative structure in a number of ways to better suit the presumed …

This article argues that the postfeminist gender politics of Friends (NBC, 1994–2004) are
played out via a series of manipulations and reversals of space and mise-en-scène. Arguing …

The contemporary US sitcom is at an interesting crossroads: it has received an increasing
amount of scholarly attention (eg, Mills 2009; Butler 2010; Newman and Levine 2012; …

Abstract In Upstart Crow (BBC Two, 2016–20), writer Ben Elton makes William Shakespeare
into the protagonist of a television sitcom in the British working class tradition. In this chapter …

Abstract Exploring That Funny Feeling sets out to do what its titles suggests: exploring that
funny feeling, or feelings, as they are conveyed through the works of American comedian Bo …

Choreographer Pina Bausch knew about the question's power and used it as a
choreographic technique. In the rehearsal process of Walzer (1982) she asked:“How to hold …

Seeing as they are central to my argument both in this section and the following two, I should
here briefly define what I mean by the terms everyday and epic. Presumably because the …

In this chapter I discuss the interplay between what would conventionally be described as
'foreground'–the central plane (s) of attention–and 'background'–all the stuff further back–in …

This thesis examines the emergence of a trend in American post-millennial television often
described in journalistic discourses with the term 'feminist quality TV'. While the strategic …