#WokeTV Beyond the Hashtag: One Day at a Time and The Baby-Sitters Club as Woke Classic Television

IF 0.5 3区 艺术学 0 FILM, RADIO, TELEVISION
Summit P. Osur
{"title":"#WokeTV Beyond the Hashtag: One Day at a Time and The Baby-Sitters Club as Woke Classic Television","authors":"Summit P. Osur","doi":"10.1080/01956051.2022.2051419","DOIUrl":null,"url":null,"abstract":"ABSTRACT The twenty-first century TV landscape is dominated by high-gloss quality dramas, experimental single-camera comedies, and auteur dramedies. These shows use nihilism and irony to signify their inclusion in the newest pantheon of sociopolitical relevance: Woke TV. A textual analysis of One Day at a Time (Netflix/Pop, 2017–2020) and The Baby-Sitters Club (Netflix, 2020–), however, challenges the ironic detachment that typifies Woke TV. By leaning into the nostalgia of the TV remake, these shows offer a blueprint for a more earnest and active version of the genre that relies not on detachment, but on an audience’s emotional engagement with contemporary social, political, and economic issues. One Day at a Time embraces the artistic conservatism of the multicamera sitcom to, in true Woke TV fashion, shed light on the institutional structures that underpin hegemonic capitalist power and white supremacy. Similarly, The Baby-Sitters Club employs the sincere and earnest framework of the kids’ show to advocate for optimism, responsibility, and fairness in private and civic discourse. Taken together, these two shows exemplify a more populist taxonomy of the Woke TV genre that co-opts, rather than rejects, the traditions of televisual genre and format.","PeriodicalId":44169,"journal":{"name":"JOURNAL OF POPULAR FILM AND TELEVISION","volume":"67 1","pages":"69 - 79"},"PeriodicalIF":0.5000,"publicationDate":"2022-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"JOURNAL OF POPULAR FILM AND TELEVISION","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1080/01956051.2022.2051419","RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"FILM, RADIO, TELEVISION","Score":null,"Total":0}
引用次数: 0

Abstract

ABSTRACT The twenty-first century TV landscape is dominated by high-gloss quality dramas, experimental single-camera comedies, and auteur dramedies. These shows use nihilism and irony to signify their inclusion in the newest pantheon of sociopolitical relevance: Woke TV. A textual analysis of One Day at a Time (Netflix/Pop, 2017–2020) and The Baby-Sitters Club (Netflix, 2020–), however, challenges the ironic detachment that typifies Woke TV. By leaning into the nostalgia of the TV remake, these shows offer a blueprint for a more earnest and active version of the genre that relies not on detachment, but on an audience’s emotional engagement with contemporary social, political, and economic issues. One Day at a Time embraces the artistic conservatism of the multicamera sitcom to, in true Woke TV fashion, shed light on the institutional structures that underpin hegemonic capitalist power and white supremacy. Similarly, The Baby-Sitters Club employs the sincere and earnest framework of the kids’ show to advocate for optimism, responsibility, and fairness in private and civic discourse. Taken together, these two shows exemplify a more populist taxonomy of the Woke TV genre that co-opts, rather than rejects, the traditions of televisual genre and format.
#唤醒电视超越标签:一天一次和保姆俱乐部作为唤醒经典电视
摘要:21世纪的电视领域以高画质电视剧、实验性单镜头喜剧和导演喜剧为主。这些节目用虚无主义和讽刺来表明它们被纳入了最新的社会政治相关的万神殿:觉醒电视。然而,对《一天中的一天》(Netflix/Pop, 2017-2020)和《保姆俱乐部》(Netflix, 2020 -)的文本分析挑战了wake TV典型的讽刺超然。通过借鉴翻拍电视剧的怀旧之情,这些电视剧提供了一个更认真、更活跃的版本,它不依赖于超然,而是依赖于观众对当代社会、政治和经济问题的情感参与。《一天一天》采用了多镜头情景喜剧的艺术保守主义,以真正的觉醒电视风格,揭示了支撑资本主义霸权和白人至上的制度结构。同样,《保姆俱乐部》也采用儿童节目的真诚和诚挚的框架,在私人和公民话语中倡导乐观、责任和公平。总而言之,这两部剧体现了一种更加民粹主义的觉醒电视类型的分类,即接受而不是拒绝电视类型和格式的传统。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
求助全文
约1分钟内获得全文 求助全文
来源期刊
JOURNAL OF POPULAR FILM AND TELEVISION
JOURNAL OF POPULAR FILM AND TELEVISION FILM, RADIO, TELEVISION-
CiteScore
0.60
自引率
0.00%
发文量
11
期刊介绍: How did Casablanca affect the home front during World War II? What is the postfeminist significance of Buffy the Vampire Slayer? The Journal of Popular Film and Television answers such far-ranging questions by using the methods of popular culture studies to examine commercial film and television, historical and contemporary. Articles discuss networks, genres, series, and audiences, as well as celebrity stars, directors, and studios. Regular features include essays on the social and cultural background of films and television programs, filmographies, bibliographies, and commissioned book and video reviews.
×
引用
GB/T 7714-2015
复制
MLA
复制
APA
复制
导出至
BibTeX EndNote RefMan NoteFirst NoteExpress
×
提示
您的信息不完整,为了账户安全,请先补充。
现在去补充
×
提示
您因"违规操作"
具体请查看互助需知
我知道了
×
提示
确定
请完成安全验证×
copy
已复制链接
快去分享给好友吧!
我知道了
右上角分享
点击右上角分享
0
联系我们:info@booksci.cn Book学术提供免费学术资源搜索服务,方便国内外学者检索中英文文献。致力于提供最便捷和优质的服务体验。 Copyright © 2023 布克学术 All rights reserved.
京ICP备2023020795号-1
ghs 京公网安备 11010802042870号
Book学术文献互助
Book学术文献互助群
群 号:481959085
Book学术官方微信