Week 4
This week in class we discussed the concept of nostalgia, which I thought was really interesting when looking at that in terms of camera setups in Television shows. I initially thought single-camera shows created a certain intimacy with the viewer, as if inviting us into a more personal or realistic world. However, after our discussion, I realised that the traditional multi-camera sitcom format cultivates a deep sense of nostalgia. As Winckler (2024) puts it, “television’s repetitive, reliable and ritualistic rhythms allow viewers to reconnect with a pre-modern sense in which time was experienced mostly as a cycle of seasons and festivals.” This helped me understand why shows like WandaVision are so effective. By mimicking the aesthetics and structure of classic sitcoms, the show taps into an aesthetic that is both comforting and familiar.
We also explored the use of laugh tracks and how they may or may not work against the genre, and how it feels inauthentic and authentic at the same time. On one hand, they contribute to the nostalgic atmosphere by reinforcing genre conventions that audiences associate with older shows. On the other, they can feel artificial, breaking the illusion of realism. This made me think more critically about how stylistic choices influence audience perception, both visually and emotionally. In another example that we watched in class, Kevin Can F**k Himself, the jump from stylistically sitcom-esque to drama-esque visuals demonstrates how lighting and the number of cameras can drastically change the mood and interpretation of a scene. From comedic and lighthearted to serious and emotionally raw, and highlighting the contrast between the protagonist’s public and private realities.
This discussion has made me more aware of how we might approach future studio projects. I think it’ll be important to consider how certain elements such as laugh tracks, lighting and camera angles shape the tone, mood and interpretation of the the production. Whether we choose to evoke the feeling of nostalgia or to disrupt it, being aware of these tools can help us to create a more emotionally resonant content.
Reference/s:
- Winckler, R. (2024). Sitcom as refuge, sitcom as prison: Nostalgia, anti-nostalgia, and the embedded multi-camera sitcom in WandaVision and Kevin Can F**k Himself. The Journal of Popular Culture, 57(4), pp.221-232. https://doi.org/10.1111/jpcu.13337Links to an external site.