The focus of this work is on the formal construction of jokes within the popular form of entertai... more The focus of this work is on the formal construction of jokes within the popular form of entertainment, the televised workplace situation comedy. The narrative universe of a sitcom is a product of industry, and so it is created to have a mass appeal as well as to reinforce social norms. However, the smaller units of humor transmission within the sitcom, the jokes, enforce the reality of the constructed universe. What seems unremarkable to a character will seem absurd to an audience, and so the joke can be an instrument of challenging boundaries and social change. Parallel to this analysis will be an exploration of the worlds created within these shows: how they operate and differ from our reality, how they reflect our society and in turn, how our society is informed by the power of these shared imaginary worlds. What is the impact on the collective imaginary and our relation to narratives when the barriers between them breech? Specific objects of interest areThe Mary Tyler Moore Show (1970-1978), Murphy Brown (1988-1998), and 30 Rock (2006-2013). Despite the 40 year span of these works, each premise is centered around a white female protagonist living in a metropolitan area, balancing her domestic life with a career in the industry of television production. This dissonance of the boundary crossing examined is reflected in the shows within these shows (a live local news show, a weekly news magazine, and live variety show, respectively) revealing the both liberating and limiting act of constructing an aesthetic object that must present as authentic and authoritative.
A short essay concerning autonomy and the disabled experience though the lens of the 1948 Disney ... more A short essay concerning autonomy and the disabled experience though the lens of the 1948 Disney cartoon "Donald's Dream Voice."
The focus of this work is on the formal construction of jokes within the popular form of entertai... more The focus of this work is on the formal construction of jokes within the popular form of entertainment, the televised workplace situation comedy. The narrative universe of a sitcom is a product of industry, and so it is created to have a mass appeal as well as to reinforce social norms. However, the smaller units of humor transmission within the sitcom, the jokes, enforce the reality of the constructed universe. What seems unremarkable to a character will seem absurd to an audience, and so the joke can be an instrument of challenging boundaries and social change. Parallel to this analysis will be an exploration of the worlds created within these shows: how they operate and differ from our reality, how they reflect our society and in turn, how our society is informed by the power of these shared imaginary worlds. What is the impact on the collective imaginary and our relation to narratives when the barriers between them breech? Specific objects of interest areThe Mary Tyler Moore Show (1970-1978), Murphy Brown (1988-1998), and 30 Rock (2006-2013). Despite the 40 year span of these works, each premise is centered around a white female protagonist living in a metropolitan area, balancing her domestic life with a career in the industry of television production. This dissonance of the boundary crossing examined is reflected in the shows within these shows (a live local news show, a weekly news magazine, and live variety show, respectively) revealing the both liberating and limiting act of constructing an aesthetic object that must present as authentic and authoritative.
A short essay concerning autonomy and the disabled experience though the lens of the 1948 Disney ... more A short essay concerning autonomy and the disabled experience though the lens of the 1948 Disney cartoon "Donald's Dream Voice."
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Papers by Devlin Grimm
Parallel to this analysis will be an exploration of the worlds created within these shows: how they operate and differ from our reality, how they reflect our society and in turn, how our society is informed by the power of these shared imaginary worlds. What is the impact on the collective imaginary and our relation to narratives when the barriers between them breech?
Specific objects of interest areThe Mary Tyler Moore Show (1970-1978), Murphy Brown (1988-1998), and 30 Rock (2006-2013). Despite the 40 year span of these works, each premise is centered around a white female protagonist living in a metropolitan area, balancing her domestic life with a career in the industry of television production. This dissonance of the boundary crossing examined is reflected in the shows within these shows (a live local news show, a weekly news magazine, and live variety show, respectively) revealing the both liberating and limiting act of constructing an aesthetic object that must present as authentic and authoritative.
Drafts by Devlin Grimm
Parallel to this analysis will be an exploration of the worlds created within these shows: how they operate and differ from our reality, how they reflect our society and in turn, how our society is informed by the power of these shared imaginary worlds. What is the impact on the collective imaginary and our relation to narratives when the barriers between them breech?
Specific objects of interest areThe Mary Tyler Moore Show (1970-1978), Murphy Brown (1988-1998), and 30 Rock (2006-2013). Despite the 40 year span of these works, each premise is centered around a white female protagonist living in a metropolitan area, balancing her domestic life with a career in the industry of television production. This dissonance of the boundary crossing examined is reflected in the shows within these shows (a live local news show, a weekly news magazine, and live variety show, respectively) revealing the both liberating and limiting act of constructing an aesthetic object that must present as authentic and authoritative.