You should use this site as there are tons of useful things for you guys to look at for both revision and for case studies and coursework.
Homework October 10th
Year 12
- Comment on someone else's blog and what they have written.
- Find and post information about the film industry and how it is run.
- Go on UKtribes.com - password 'iblametheparents' and post images and comments about what tribe you are.
- Comment on someone else's blog.
- Prepare presentations for next week!
- Go on UKtribes.com - password 'iblametheparents' and post images and comments about what tribe you are.
Gavin and Stacey Case Study
Rob Miller | Monday September 17, 2012
Categories: Courses, GCSE, OCR GCSE, Key Concepts, Audience, Media Language, Narrative, Representation & Stereotyping, Television, Situation Comedy, Television Comedy, Television Situation Comedy, Hot Entries
Gavin and Stacey is a British Situation Comedy made by Independent Production Company, Baby Cow Productions for BBC Wales between 2007 and 2010. Only 20 episodes were written and as such, and similar to Fawlty Towers in the 1970s (12 episodes) the Sitcom is already developing iconic status and is subject to many repeats and re-runs on channels including BBC3 (the original broadcast channel) and Gold. Calls for its return to the screen are apparent from a host of loyal fans via internet campaigns.
Filmed primarily in Cardiff and Barry it traces the long distance relationship between Gavin (who lives in Billericay, Essex) and his girlfriend Stacey who lives in the Vale of Glamorgan. Although Gavin and Stacey is set in, and frequently intercuts between Billericay and the Vale of Glamorgan, Cardiff acts as the on location and studio base (BBC Wales) for the programme. Some scenes are filmed on location in Barry while even the Billericay scenes are entirely filmed in Cardiff. As such it is exclusively a BBC Wales production. Common to all Situation Comedies Gavin and Stacey themselves are the main characters while supporting characters are friends and family to both protagonists who often meet on specific occasions e.g. the Christmas Special and at Gavin and Stacey’s wedding. The two central supporting characters are Nessa (Ruth Jones) who is Stacey’s best friend and Smithy (James Corden) who is the best pal and confidant to Gavin. Jones and Corden created and wrote Gavin and Stacey and while it was reported in 2012 that a 4th series was going to be written, time conflicts between Jones and Corden currently has prevented this from taking place.
Typical narratives represent difficult interpersonal relationships and embarrassing situations – in the first episode Stacey travels up from the Vale of Glamorgan with her best friend Nessa to meet Gavin for the first time in London’s west end (they have been communicating online and by telephone for some time). Gavin has Smithy with him and they arrange a double date. Gavin and Stacey are pleased with each other’s physical representation on first meeting while Smithy awkwardly baulks when he sees the overweight, underdressed, aggressive, smoking, swearing Nessa (Smithy is himself larger than life) and makes no secret of this. The evening progresses as they get drunk in a bar with both couples booking into one hotel room where they have sex. The representations are deliberately grotesque (but not sexually graphic) which is one of the key appeals of the programme. Throughout the series Gavin and Stacey’s relationship develops and while they become a stable couple everyone around them seems to have problems and issues e.g. Nessa becomes pregnant with Smithy’s baby but they are not together and she starts seeing another man – a coach driver. Audiences are introduced to a range of characters, many of whom are played by well known television actors and comedians.
This star marketing includes critically acclaimed comedian Rob Brydon who play Stacey’s morally upstanding protective Uncle Bryn West whose homosexual past experiences are occasionally referenced as a point of humour in binary opposition to his straight laced image. Larry Lamb (Eastenders plus a raft of successful villainous roles in crime drama) plays Mick Shipman; Gavin’s chirpy, happy go lucky father while the iconic Alison Steadman (glittering stage, screen and film career including the cult production Abigail’s Party) plays his fussy, blustering, over protective mother. The show resisted the American tradition of cameo guest appearances of transitory characters (see Bruce Will in Friends) but allowed for a brief appearance of ex deputy Labour Party leader John Prescott in the final programme. Other well known names have bought controversy to the show and potentially added to the initial decision to broadcast in the first instance on BBC3 – three characters deliberately have the surnames of well known British serial killers Fred and Rosemary West (Stacey West), Harold Shipman (Gavin Shipman) and the ‘Yorkshire Ripper’ Peter Sutcliffe (Dawn Sutcliffe is a close friend of Mick and Pam, Gavin’s parents whose role in the series seems to be to constantly row openly with her husband in front of them). Many of these characters are seen as dysfunctional and the role of Gavin and Stacey as a couple is often to bring a sense of normality to situations that have the potential to erupt – Gavin is level headed and sensible but they are not in the series without their own problems including splitting up and getting back together again and experiencing problems conceiving which is eventually resolved.
Gavin and Stacey achieved significant critical success including winning the Best British Comedy Award in 2008 which saw the programme moved from digital only niche channel BBC3 to BBC2 – the BBC saw Gavin and Stacey initially as experimental and were unsure of its success which is common for programmes that challenge mainstream conventions and explore risqué subject matter. Themes of infidelity are common and swearing and graphic sexual references are regular features in each episode making the Sitcom more ‘adult’ entertainment. It did, however develop a loyal target audience turning Gavin and Stacey from a programme with a cult following to a programme with a regular target audience of between 2 and 4.6 million (Source: BARB). As such it was moved to BBC2 and repeated which gave it a secure footing on a channel that has a reputation for broadcasting unusual but quality comedy and then ultimately it was moved to BBC1.
BBC1 broadcasts more mainstream comedy and as such, being moved to this channel was a signifier of its critical and commercial success for the broadcaster. BBC3 broadcast Series 1 and 2 at 9.30pm and 10pm while the Christmas Special and Series 3 was scheduled at 9pm on BBC1. Although moved to a more family orientated, mainstream channel, post watershed 9pm scheduling suggested the BBC were still cautious in terms of the narrative content and played safe in this regard. Outnumbered (MediaEdu case study) took the same approach with the Sitcom broadcast as 10pm and even 11pm as a result of the ‘alternative’ family structure presented in the programme. Both Gavin and Stacey and Outnumbered however represent secure family units but perhaps not as secure and as mainstream as long running BBC1 Sitcom successes such as My Family. Ex American President George Bush (1989 – 1993) once stated that he would like all Americans to be more like the clean cut representations in the family drama The Waltons (1972- 1981) rather than in The Simpsons – the fact of the matter was however that like Gavin and Stacey, although dysfunctional families are represented The Simpsons are still a loving family unit that importantly are still together.
Gavin and Stacey retains an independent feel – although following standard Sitcom genre conventions and in familiar 30 minute standard, scheduled format it explores taboo subjects through hyper real character representation. The role of Baby Cow Productions anchors the more niche independent status of the programme; formed in 1999 by ‘off the wall’ comedian Steve Coogan, Baby Cow’s portfolio of programmes challenge mainstream conventions including Noel Fielding’s The Mighty Boosh and Saxondale. Unusually however and subject to scrutiny at the time BBC Worldwide bought a 25% stake in Baby Cow Productions in 2008 while Gavin and Stacey was also commissioned by the giant American broadcaster NBC (part of the conglomerate NBC Universal) for an American version to be made – a script was optioned by withdrawn but now ABC, another American broadcasting network have suggested an interest in developing a pilot episode for a new American version. This conflict of independent and mainstream, critically and commercial success is not unusual however for cutting edge, challenging comedy – an American version of The Office was made and Trollied (MediaEdu case study) is unusual in that it is a Sitcom that is avant garde in format but scheduled on Sky One, a mainstream channel that is not known for its scheduling of this type of genre programming.
Other identifiable genre conventions employed by Gavin and Stacey include familiar locations, regular characters (main, supporting) each with their own storyline. To ensure audience identification and retain entertainment values each character is a cultural stereotype, often hyper real like the fussy Pam Shipman, the bossy and vulgar Nessa and the odd, unusual and morally correct Bryn.
Audiences need these stereotypes to maintain interest and appeal to their expectations of situation comedy. Sitcoms tend to have lower production values which is only the case with Gavin and Stacey in reference to the visual representations and mise-en-scene – significant cost implications would be apparent in the programme as a result of star marketing. Filmed in Wales some audience cultural capital would be required to understand some local references (perhaps yet another reason why it was initially scheduled on BBC3) but effectively, and like every Sitcom both UK and US the humour is generic and often found in familiar domestic situations. A non fan and non Welsh person would very quickly pick up on the narrative as links are clear and apparent and although multi stranded are easy to follow.
The ‘look’ of Gavin and Stacey resists use of hand held camera and surprisingly suggests medium production values with evening interior shots carefully lit to replicate the environment of a domestic lounge while many exterior shots use high key lighting to focus on character. Characters are often framed centrally in long shot and medium shot with additional use of close up to identify emotion but this is not as excessive as in some situation comedies. Frequent use of the two shot and shot reverse shot allow audiences to understand relationships with character while static cameras film characters in interior locations and tracking shots are used in many exterior, on location shoots. Although the mise-en-scene is carefully arranged to replicate urban and domestic environments there is no verite camera work as identified earlier via hand held with more traditional methods of filming employed. Sound however is mainly diegetic and Gavin and Stacey does not use ‘canned laughter’ to punctuate the comedy which is common with many mainstream British and American situation comedies.
In a domestic comedy audiences can escape, relate or identify with the representations – there is an emphasis in Gavin and Stacey on character relationships (Mick and Pam’s marriage is often explored through key scenes) and also emphasis on moral dilemmas. Audience appeals also include star marketing but also the unusual, difficult nature of the black comedy. Awkward situations are commonplace as in The Office and the role of the audience, like a car crash is to watch and not watch; voyeurism plays a key role as we see situations we are familiar with, or know people who have been experiencing similar predicaments. On this level it could be argued that catharsis could be an additional appeal of Gavin and Stacey with audiences able to work through their own problems by watching characters in similar situations. Multiple characters allows for personal identity to develop (female audiences may relate to Stacey while male audiences may relate to Gavin) while older viewers also have the opportunity of relating to older characters like Mick and Pam. Unusual characters like Bryn and Smithy’s mother (played by Pam Ferris) arouse audience interest as she has narcolepsy.
The audience itself of Gavin and Stacey is not the stereotypical Sitcom audience – while there is an element of ‘middle class, middle England’ the programme suggests an educated audience of 25-45 (there are many subtle references), male skew living in urban areas. In terms of socio economic and psycho graphic categorization Gavin and Stacey appeal to a B, C1, aspirer and individualist demographic who are not necessarily pre existing fans of the Sitcom format; they may have heard about the programme (like Trollied) as interesting and unusual and as a result may respond with viewing figures. Undoubtedly Gavin and Stacey does attract a mainstream audience that are familiar with the domestic Sitcom format but arguably the primary target audience tire of this conveyer belt approach to this genre that has brought to the screens mainstream texts such as Keeping Up Appearances and more recently Roger and Val. Gavin and Stacey, in terms of genre marketing works on the concept of similarity and difference with familiar narratives containing narrative arcs that can be picked up on and identified by the audience but with unusual narrative content and challenging characters.
Gavin and Stacey does have a linear narrative and follows a traditional 3 act structure – although sometimes there may not appear to have obvious resolution the Sitcom follows a classic 3 act structure with ‘the problem’ explored at the beginning of the programme and then followed throughout the 30 minute format.
Narrative themes common to Sitcom as identified before include interpersonal relationships, infidelity, sexuality, loyalty, friendship and social class (the Shipmans are aspirational working class with middle class pretentions) but themes are only explored for the purposes of entertainment values.
Gavin and Stacey departs to a lesser extent from the tradition of British Sitcom of focusing on social class (see Keeping Up Appearances) by frequently referencing the background of the protagonists but not making this the focus of the narrative. The representation of characters in Gavin and Stacey is exaggerated but it is not their social class that is foregrounded – instead it represents both functional and dysfunctional hyper real characters in familiar environments.
Mini Glossary of Terms
· Genre Conventions: Typical features that allow audiences to identify genre.
· Mainstream Conventions: Traditional and popular, normally consumed by mass audiences.
· Star Marketing: The use of stars to promote a programme.
· Production Values: How much money is spent on a television programme for example and how this can be identified.
· Demographic: A detailed breakdown of the target audience.
· Three Act Structure: Most Sitcoms are commonly broken into three parts – at the beginning the characters, setting and problem are introduced, the second part (and longest part of the programme) involves the narrative chain of cause and effect while the final part (Act 3) involves some sort of resolution or ‘end’.
· Protagonists: Central characters.
· Binary Opposition: Where two very different things/characters are deliberately placed against each other so audiences construct meaning.
· Linear: This is where a storyline is in chronological sequence.
· Diegetic: Sound that is coming from the scene.
· Mise-En-Scene: Everything in the shot – lighting, colour, setting / location, costume, body language, movement, eye contact, object and props.
· Anchors: Confirms meaning.
· Hyper Real: Exaggerated representations.
· Cultural Stereotype: Commonly found representations that are deliberately encoded for entertainment values.
· Sitcom: Situation Comedy
· Independent Production Company: An organisation that makes programmes that are commissioned (bought) by broadcasters.
· Iconic: Something, or somebody that has elevated status.
· Intercuts: Where the camera switches between two scenes.
· Critically Acclaimed: Has received awards and nominations and is well received by audiences.
· Transitory Characters: Characters that make a one off appearance in the show.
· Dysfunctional: An environment where things just don’t work properly or how they should.
· Critical Success: See critically acclaimed.
· Niche Channel: A channel with a small audience share.
· Risque: Something that may cause controversy.
· Cult Following: Where a programme has small but loyal audience deeply committed to the programme.
· Post Watershed: Broadcast after 9pm.
· Scheduling: Techniques used to decide the time to broadcast a programme inlcuding what it comes before and after.
· Independent: Free from the control of large corporations or organisations.
· Pilot Episode: A trial, one off episode to test audience reaction.
· Avant Garde: Something that is experimental and innovative.
· Cultural Capital: The knowledge, skills and experience that effect an audiences’ consumption of a text.
· Multi Stranded: Where the narrative is based around a number of characters each with their own storyline.
· Hand Held Camera: Portable cameras that provide a more ‘jerky’, realistic representation
· High Key Lighting: Lighting that completely illuminates a scene.
· Two Shot: Two characters either side of the frame – helps audiences understand character relationships.
· Shot Reverse Shot: One character (character a) is in the frame and the camera is placed behind the shoulder of another character he/she is communicating with. When conversation is exchanged the camera is placed behind character a. and the camera cuts between them – another way of establishing character relationships and also conflict.
· Tracking Shot: A smooth take of objects or characters moving through space (has the reverse effect of hand held) helping with narrative continuity.
· Verite Camera Work: Realistic camera work (normally hand held) seeking to make the scene/shot as authentic as possible to help with audience identification.
· Black Comedy: Difficult comedy that audiences find it awkward to laugh about because it borders being offensive and can contain morally abhorrent representations.
· Voyeurism: The pleasure of looking at other people.
· Catharsis: Where audiences can use the drama they see unfolding on the screen as a way of working through their own problems.
· Narcolepsy: A disorder that commonly involves the sufferer suddenly falling asleep in any given situation/environment without warning.
· Genre Marketing: Where audiences are marketed to via their enjoyment of a specific genre.
· Socio Economic Categorisation: A way of categorising audiences based on their occupation and class e.g. A (landed gentry), B (doctors/lawyers), C1 (teachers, middle managers), C2 I(skilled manual workers), D (unskilled manual; workers), E (students/pensioners/prisoners/unemployed).
· Psycho Graphic Categorisation: A way of segmenting audiences via their personality type (Aspirers, Mainstreamers, Individualists, Carers, Succeeders).
· Narrative Arcs: Storylines or themes that repeat through a series.
· Narrative Themes: Social issues that are explored in a text.
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