宋飞

IF 0.2 0 FILM, RADIO, TELEVISION
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引用次数: 1

摘要

《宋飞正传》(1989-1998)由喜剧演员杰瑞·宋飞和他的朋友、同样是单口相声演员的拉里·大卫共同创作,在NBC播出了九季。这部剧最初是围绕杰瑞(宋飞,饰演他自己的一个版本)设计的,但他的三个朋友,乔治(杰森·亚历山大饰演,大体上以拉里·大卫为原型)、伊莱恩(朱莉娅·路易斯-德雷福斯饰演)和克莱默(迈克尔·理查兹饰演)也会同样突出。这四个未婚的角色会聚集在杰里位于上西区的公寓里或附近的餐馆里,对他们在社交和职业生活中遇到的挑战表示同情,他们会在失败的关系、疯狂的父母、令人讨厌的熟人和古怪的老板中交谈和策划自己的方式。电视评论家几乎立刻就发现了这部剧的质量,但更多的观众却迟迟没有发现《宋飞正传》。这部试播剧在试播观众中获得了臭名昭著的低得分,NBC在其深夜频道介入为其黄金时段节目提供资金之前,打算放弃这部剧,为第一季的四集节目提供了微薄的预算。第二年,NBC仍然谨慎地支持,订了12集,到了第三季,也就是第一个完整季,这部剧开始流行起来。第四季包括一个连载的、自我参照的情节,讲述了杰瑞和乔治为NBC创作了一部情景喜剧,该剧获得了唯一的艾美奖喜剧类最佳剧集奖。到第五季,它在尼尔森收视率中排名第三,此后的每一季都是第一或第二。这部剧的语言进入了文化时代精神,像“汤纳粹”和“海绵价值”这样的术语仍然是美国词汇的一部分。这一被炒得沸沸扬扬的大结局最终吸引了历史上第四多的观众——超过7500万观众。这一集没有一个幸福的结局,而是四个角色更应得的命运,他们因为九季的自私行为而受到惩罚。评论家和粉丝对大结局的评价褒贬不一,令人失望。总的来说,《宋飞正传》被认为是电视史上最伟大的情景喜剧之一,它因其复杂而交织的情节以及在日常生活细节中找到幽默的喜剧风格而备受赞誉,它被亲切地称为“什么都没有的节目”。然而,正如《宋飞正传》(Seinfeld)的多方面学术研究所揭示的那样,这个绰号具有误导性。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Seinfeld
Co-created by comedian Jerry Seinfeld, and his friend, also a stand-up comic, Larry David, Seinfeld (1989–1998) ran for nine seasons on NBC. The show was initially designed around Jerry (Seinfeld, playing a version of himself), but his three friends, George (played by Jason Alexander and based loosely on Larry David), Elaine (Julia Louis-Dreyfus), and Kramer (Michael Richards) would feature just as prominently. The four unmarried characters would gather at Jerry’s Upper West Side apartment or the neighborhood diner to commiserate on the challenges of their social and professional lives, talking and scheming their way through failed relationships, crazy parents, annoying acquaintances, and eccentric bosses. Television critics picked up on the show’s quality almost immediately, but a larger audience was slow to find Seinfeld. After the pilot scored infamously low with a test audience, NBC was about to pass on the show before its late-night division stepped in to fund it for primetime programming, providing a budget for a meagre four-episode first season. The next year, NBC remained cautiously supportive with a twelve-episode order, and by season three, the first full season, the show was catching on. Season four, which included a serialized, self-referential plot about Jerry and George creating a sitcom for NBC, won the show its only Emmy Award for Outstanding Comedy Series. By season five, it reached third in the Nielsen ratings, finishing either first or second in every season thereafter. The language of the show entered the cultural zeitgeist, and terms like “soup Nazi” and “sponge-worthy” remain part of the American lexicon. The much-hyped final episode ultimately scored the fourth largest audience for a series finale in history—over 75 million viewers. The episode eschewed a happy ending in favor of a more deserved fate for the four characters, who are punished for their nine seasons of selfish behavior. The finale received mixed reviews from critics and fans, and is remembered as a letdown. Overall, Seinfeld is considered one of the greatest sitcoms in television history, lauded for its writing, which was groundbreaking for its complex and interwoven plots, and for its comedic style, finding humor in the minutiae of daily life—it was known affectionately as a “show about nothing.” However, as the multifaceted scholarship on Seinfeld reveals, that nickname is misleading.
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来源期刊
CiteScore
0.40
自引率
50.00%
发文量
53
期刊介绍: Journal of Italian Cinema & Media Studies is an English-language forum for theoretical, methodological and critical debate on Italian film and media production, reception and consumption. It provides a platform for dialogue between academics, filmmakers, cinema and media professionals. This peer-reviewed journal invites submissions of scholarly articles relating to the artistic features, cultural themes, international influence and history of Italian film and media. Furthermore, the journal intends to revive a critical discussion on the auteurs, revisit the historiography of Italian cinema and celebrate the dynamic role played by new directors. The journal includes a book and film review section as well as notes on Italian film festivals abroad and international conference reports. The profound transformation undergone by the rapidly expanding media environment under the impact of digital technology, has lead scholars in the field of media studies to elaborate new theoretical paradigms and methodological approaches to account for the complexities of a changing landscape of convergence and hybridization. The boundaries between cinema and media as art forms and fields of inquiry are increasingly hybridized too. Taking into account this evolving scenario, the JICMS provides an international arena for critical engagement with a wider range of issues related to the current media environment. The journal welcomes in particular contributions that discuss any aspects of Italian media production, distribution and consumption within national and transnational, social, political, economic and historical contexts.
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