Sitcoms typically follow a basic structure: they set up an incomplete situation and disrupt expectations for comedic effect, undermining ideas of normalcy. This structure allows sitcoms to deal with varied social groups and genres through hybridization. Sitcoms are also economically efficient for networks, using limited characters and reusable sets to keep costs low while enabling flexible scheduling and repeat airings.

1. Situation Comedy

2. • Sitcoms work by setting up a stereotypical, but
incomplete, situation and then filling in the gaps to
disrupt our expectations.
• The humour of sitcom often arises from the undermining
of a shared set of ideas about what constitutes ‘normal’.

3. • The basic structure of sitcom not only allows it to deal with a
seemingly endless variation in terms of social groupings or cultural
conflicts, but it also allows it to merge easily with other TV genres in
order to reinvigorate and infect the genre further.
• We have examples of hybrid sitcoms which cross over into the crime
series (Police squad, The Thin Blue Line), the medical drama (Scrubs,
Green Wing), the war drama (MASH, Blackadder goes forth), science
fiction (Red Dwarf) and soap opera (Friends), as well as examples
where sitcoms has borrowed from non fiction forms (The Office,

4. • Tend to be between 24 and 30 minutes long. With self contained narratives (Series
form);
• Have regular characters and familiar locations, often interiors;
• Are often ‘centred’ narratives (based around an individual or pair), with other characters
subordinated to the protagonist(s);
• Tend to use stereotypes for minor characters;
Basic Form Elements

5. • Features circularity of narrative: the situation and character are
returned to their original states;
• Have synchronising motifs: repeated actions, catchphrases
costumes etc.

6. • Are commonly set in the domestic
and work based environments.
Often the workplace will function
as a surrogate for the home, or
the two will intermingle;
• Features families or symbolic
families as common elements or
themes;
• Have a ‘classical’ narrative
structure within episodes:
equilibrium, disequilibrium,
resolution;

7. • Originated in the 1920s on radio
• It was largely adapted in the
1950s in America and developed
the idea of team writing.
• Came to Britain in the 1950s as a
form of escapism after war but
was soon developed to suit the
British audience
• American sitcoms about american
dream escapist
• British Sitcoms are more dreary
and realistic – often a critique on
society of the time
History Of the Sitcom!

8. • Sitcoms were developed from a dynamic relationship
between the demands of the institution and the
pleasures of its audiences.
• The limited characters and locations of sitcom serve an
economic function, keeping costs down by efficiently
reusing the same resources from episode to episode,
series to series. The locations are also generally studio
sets, again reducing cost and allowing greater control.
Sitcoms and Institution

9. • The Sitcom was developed for flexible scheduling.
• The self contained nature of sitcoms allow schedulers to show
episodes out of order and play around with schedules to attract the
biggest possible audience.
• The programming also lends itself more readily to repeat
transmission.

10. • The Sitcom was developed for flexible scheduling.
• The self contained nature of sitcoms allow schedulers to show
episodes out of order and play around with schedules to attract the
biggest possible audience.
• The programming also lends itself more readily to repeat
transmission.