情景喜剧是避难所，情景喜剧是监狱：怀旧、反怀旧以及《WandaVision》和《Kevin Can F**k Himself》中的嵌入式多镜头情景喜剧

IF 0.2 4区社会学 Q4 CULTURAL STUDIES

Journal of Popular Culture Pub Date : 2024-04-26 DOI:10.1111/jpcu.13337

Reto Winckler

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引用次数: 0

摘要

本文认为，近来电视和网络流媒体剧集的发展趋势是以多机位情景喜剧的风格拍摄片段，这种现象被称为 "嵌入式情景喜剧"，它反映了当前流行文化中怀旧情绪的流行。文章将情景喜剧置于电视史和怀旧理论的背景下，认为 "嵌入式情景喜剧 "揭示了情景喜剧类型以及电视媒体的怀旧特质，并探讨了怀旧过去媒体形式所带来的丰厚利润与怀旧作为政治倒退的警惕性之间的更大文化冲突。

本文章由计算机程序翻译，如有差异，请以英文原文为准。

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Sitcom as refuge, sitcom as prison: Nostalgia, anti-nostalgia, and the embedded multi-camera sitcom in WandaVision and Kevin Can F**k Himself

This article claims that the recent trend in television and web streaming drama series to feature segments shot in the style of a multi-camera sitcom, a phenomenon which is termed “embedded sitcom,” reflects the current popularity of nostalgia in popular culture. Situating the sitcom in the context of television history and theories of nostalgia, the article argues that embedded sitcom reveals the nostalgic quality of the sitcom genre as well as of the medium of television, and negotiates a larger cultural conflict between the lucrative potency of nostalgia for past media formats and a wariness of nostalgia as politically regressive.

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来源期刊

Journal of Popular Culture Multiple-

CiteScore

0.40

自引率

0.00%

发文量

期刊介绍： The popular culture movement was founded on the principle that the perspectives and experiences of common folk offer compelling insights into the social world. The fabric of human social life is not merely the art deemed worthy to hang in museums, the books that have won literary prizes or been named "classics," or the religious and social ceremonies carried out by societies" elite. The Journal of Popular Culture continues to break down the barriers between so-called "low" and "high" culture and focuses on filling in the gaps that a neglect of popular culture has left in our understanding of the workings of society.