In Week Four’s reading by Ben Lamb, titled Narrative Form and the British Television Studio 1955–1963, I was particularly interested in the portion of the reading that spoke about how the material design of studio production coincides with the mise-en-scène of fictional narrative forms in sitcoms and studio dramas. This reading spoke about the role of set design and how its basic conventions are transferable across studio dramas and sitcoms. In the case of sitcoms, conservative approaches to set design see the set act as merely a back-drop that provides an identity to the on screen narrative. However, as these types of production are dialogue based, further meaning provided by mise-en-scène has the set and props play a subservient role in the conveyance of narrative. 

As described by the reading, studio-shot dramas and sitcoms are forms of light entertainment, thus sharing similar visual aesthetics. While the role of material design in studio productions is an important element of mise-en-scène, as it provides the narrative with an identity by providing a setting, its main function is to act as supplementation to on screen action performed by the characters. Key features of studio dramas and sitcoms see minimal engagement with spatial depth and have character engagement occur in close proximity. By having action played out in the foreground of the shot, with the use of minimal camera movement and utilisation of mid-shots, it ensures that there is a primary focus on character interaction and dialogue. I particularly found Lamb’s explanation about the occupation of a shot’s foreground as being an important element that maintains character simplicity. With little attention placed on spatial depth and or object within the space, script meaning is tainted by additional action that could possibly provide extra meaning to the text. Lamb speaks about this as being key features seen in Dixon of Dock Green. However this is also consistent with many examples of other sitcoms and studio dramas.