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Consuelos guest-starred on the beloved sitcom in 2001. [ABSTRACT FROM AUTHOR]

This paper explores the question of what strategies native Croatian speakers would employ in translating into Croatian wordplay from English video clips. A variety of brief video clips with different forms of wordplay were chosen as material for subtitling, all originally in English and requiring a greater or lesser familiarity with anglophone cultures. For the purposes of this paper, wordplay was considered a language-bound part of culture, requiring those familiar with said culture to utilize the language associated with it in creative ways. The respondents varied from undergraduate and graduate students of the English language to speakers without college-level credentials with a working knowledge of English. The respondents were presented with the clips in original English, subtitled to reduce chances of mishearing words, and briefly instructed on how to approach the translation. The results were then analyzed in regards to whether the respondents were familiar with the content, recognized the relevant forms of wordplay, and the kinds of translation strategies which were used to render them into Croatian. The results were then correlated with the respondents’ demographic data and analyzed in that regard.

This bachelor thesis focuses on viewers' attitudes towards watching foreign English-language audiovisual works in Czech dubbing and in the original version. Combining quantitative and qualitative methods, it examines the reasons for Czech viewers' preference for dubbed and original versions, the extent to which these preferences are exclusive, and whether viewers have a negative or positive attitude towards one or the other. The aim of the thesis is, among other things, to find out whether the level of English language knowledge is an important factor in the choice of the preferred language version and whether dubbing is less attractive for younger audiences than for the older ones. The quantitative data was collected via a questionnaire survey, while the qualitative part of the research consisted of group discussion interviews - focus groups. In order to obtain more specific data, the group discussions included a short clip from the sitcom Red Dwarf in both language versions, on which the participants illustrated their viewing attitudes. Due to its extensive focus, the research also mapped the viewers' opinion on Czech dubbing and its place in television broadcasting.

Sitcoms uppgift är att förmedla humor genom att representera stereotyper i samhället (Millis, 2005). Vissa forskare har en mer positiv ingång till användandet av stereotyper i sitcoms (Marcin, 2011), medan andra ställer sig kritiska till det (Biagi, 2001). Den kritiska ingången motiveras med att stereotyper felrepresenteras. Aktuella debatter har bidragit till diskussioner som påvisar att vi lever i ett “PK-samhälle”, där det inte längre är accepterat att skämta om allt (Sharf, 2023). Syftet med denna studie är att studera och jämföra mottagandet av skämt om stereotyper i sitcoms, i olika generationer och vid olika grader av seriekännedom. Detta görs genom en kombination av semistrukturerade intervjuer och receptionsanalys där fem utvalda scener från tv- serien Friends representerar de olika stereotyperna; etnicitet, objektifiering, genus, kroppsideal samt klass. Dessa används för att kunna läsa av tittarens reaktioner och anledningen till dessa, för att sedan kunna ta reda på hur väl sitcoms har åldrats. Studien utförs med stöd i de teoretiska ramverken: stereotyper, representation, receptionsteori, polysemi, intersektionalitet, humorteorier och fandom. Deltagarna i studien var fyra personer födda 1981-2005, benämns “Generation A”, samt fyra personer födda 1945-1980, benämns “Generation B”. Hälften av deltagarna i varje generation har seriekännedom och andra hälften har inte det. Genom att undersöka mottagande av stereotyper i sitcomen Friends mellan generationer kan det påvisa om sitcomen åldrats väl, samt om mottagandet påverkas av seriekännedom eller ytterligare faktorer. Studien resulterade i att mottagandet varierade på grund av respondenternas tidigare bakgrund och erfarenheter samt seriekännedom. Den humoristiska faktorn utgörs av element som överraskning, igenkänning, att känna sig överlägsen en person eller situation samt att ha undertryckta känslor och rädslor. Vid avfärdade skämt hittades bakomliggande faktorer som avsaknad av seriekännedom, överraskningsmoment samt konsekvenser av problematiska skämt. Viss skillnad kunde ses i hur de olika generationerna resonerade och värderade stereotyper, men båda generationerna enades i att majoriteten av de stereotypa skämten inte hade fungerat i dagens “PK-samhälle”. Den tydligaste avvikandet i mottagandet var på stereotypen klass där samtliga respondenter accepterade skämt om detta. Baserat på resultatet dras slutsatsen att sitcomen inte åldrats väl. The task of the sitcom is to convey humor by representing stereotypes in society (Millis, 2005). Some researchers have a more positive approach to the use of stereotypes in the sitcom (Marcin, 2011), while others are critical of it (Biagi, 2001). The critical input is justified by the misrepresentation of stereotypes. Current debates have contributed to discussions that show that we live in a "politically correct society", where it is no longer acceptable to joke about all topics (Sharf, 2023). The aim of this study is to examine and compare the reception of jokes about stereotypes in sitcoms, in different generations and at different degrees of serial knowledge. This is done through a combination of semi-structured interviews and reception analysis where five selected scenes from the tv series Friends represent the different stereotypes; ethnicity, objectification, gender, body ideals and class. These are used to read the viewer's reactions and the reason for these, in order to then find out how well the sitcom has aged. The study is carried out with support in the theoretical frameworks: stereotypes, representation, reception theory, polysemy, intersectionality, humor theories and fandom. Participating in the study were four people born 1981-2005, labeled “Generation A”, and four people born 1945-1980, labeled “Generation B”. Half of the participants in each generation have serial knowledge and the other half do not. By examining the reception of stereotypes in the sitcom Friends between generations, it can show whether a sitcom has aged well, and whether the reception is influenced by series awareness or additional factors. The result of the study shows that the reception varied due to the respondents' previous background and experiences as well as serial knowledge. The humorous factor consists of elements such as surprise, recognition, feeling superior to a person or situation, and having repressed emotions and fears. If jokes were dismissed, underlying factors such as lack of serial knowledge, elements of surprise and consequences of problematic jokes were found. Some differences appeared in how the generations reasoned and valued the stereotypes, but both generations agreed that the majority of the stereotypical jokes had not worked in today's “politically correct society". The clearest deviation in reception was regarding the stereotype class where all respondents accepted jokes about this. Based on the results, it is concluded that sitcoms have not aged well.

This article proposes to study the political ambiguities of the working-class family sitcom Married… with Children (Fox, 1986-1997) within the overall context of US-American sitcoms from the 1950s to the late 1990s. After a period dominated by middle-class sitcoms like The Cosby Show (NBC, 1984-1992), the late 1980s saw the return of working-class sitcoms (Roseanne, The Simpsons). Notwithstanding its debt to All in the Family (CBS, 1971-1979), Married… with Children reduces the family to a prerequisite of the genre and trivializes politics (increasingly so in the 1990s) in favor of economics, suggesting that the family sitcom is middle-class insofar as its formula requires economic and ideological stability. Special attention is paid to the rare moments when Al Bundy is allowed to take on the role of working-class hero, most symbolically in the Labor Day special and season-opener “We’ll Follow the Sun” (S05E01). Bundy’s failure to fully live out the role reflects an evolution of both the character type and the sitcom genre in relation to a Reageanite context characterized by consumerism and narcissism. The revolutionary potential is resorbed as an exception in a satirical sitcom whose politics remain largely implicit and are mainly directed at the ideological foundations of the genre. Cet article s’intéresse aux ambiguïtés politiqus d’une sitcom étatsunienne centrée sur une famille des classes populaires, Mariés, deux enfants. Alors que ce sont principalement les classes moyennes qui figurent dans les sitcoms des années 1980 comme le Cosby Show, la fin de ces années a vu le retour de séries portant sur des classes plus populaires (Roseanne, Les Simpson). Malgré sa dette évidente à All in the Family, Mariés, deux enfants réduit la famille au statut de convention générique, aborde la politique avec légereté (surtout dans les années 1990) et met en avant les enjeux économiques, démontrant ainsi que la sitcom repose sur une stabilité à la fois économique et idéologique. Al Bundy parvient à endosser le rôle de héros des classes populaires à de rares occasions, notamment lors du premier épisode de la saison 5, “We’ll Follow the Sun” (S05E01). Son incapacité à mener le peuple jusqu’au bout témoigne à la fois de la forme même de la sitcom et de l’évolution du personnage-type dans un contexte reagenien où les valeurs s’effondrent face au consumérisme et au narcissisme. Le potentiel révolutionnaire est alors récupéré et apparaît comme une exception dans cette sitcom dont la dimension politique demeure implicite et relève principalement de la satire des fondements idéologiques du genre.

Ovaj diplomski rad rezultat je proučavanja stereotipa u seriji Teorija velikog praska. Rad je podijeljen u dva dijela. U prvom, teorijskom dijelu rada, definiraju se ključni pojmovi poput stereotipa, vrsta stereotipa, predrasuda, sitcoma. U drugom, istraživačkom dijelu diplomskog rada, analizira se serija Teorija velikog praska – u rasponu od općih informacija o samoj seriji do usporedbi s jednako popularnim Prijateljima. Glavni je cilj ovog rada otkriti stereotipe kojima smo izloženi u seriji, a koji mogu dovesti do iskrivljene slike o sebi i drugima. Posebno se analizira pet glavnih likova koji se pojavljuju u svih dvanaest sezona popularne serije – opisani su njihovi odnosi kako bi se ukazalo na količinu stereotipa prisutnih u seriji. Istraživanje likova provedeno je na temelju epizoda prvih dviju sezona u kojima se na konkretnim primjerima prepoznaju stereotipi. Postavljene su dvije istraživačke hipoteze: prva (H1) da su stereotipi previše zastupljeni u humorističnim serijama te da mogu imati loš utjecaj na gledatelje, i druga (H2) da sama serija ima dvostruki odnos prema stereotipima jer se istodobno „igra“ općepoznatim stereotipima, ali i „provjerava“ njihovu političku (ne)korektnost.