Traded as a format between Britain and the US, the sitcom has traditionally been
understood as closely connected to its socio-cultural context (Tueth, 2005; Wagg,
1998) and as being characterised by its humorous intent (Eaton, 1978; Mills, 2009).
Current format studies of sitcoms illustrate the variety of ways in which the final
texts relate to their local contexts, offering either comparative analyses between
versions or singular critiques of programmes focusing on their suitability for their
particular market (Beeden & de Bruin, 2010; Ducray, 2012). While doing well to
showcase the nations involved, what is missing is an understanding of the industrial
specifics involved. This project seeks to understand how industrial factors impact the
format process, specifically what role industry understandings and expectations of
genre play. Therefore, to meet the goal of this project, this study is guided by the
question of how genre is expressed in industrial discourses surrounding sitcom
remakes between Britain and the US and presents its findings in terms of
identification, origination, work, and intention. These aspects of the remake process
are shown to be framed in terms of genre. As such, genre is significantly utilised as a
framing device (Bielby & Bielby, 1994) within the statements surrounding comedy
remakes. The publicly made statements under study are a part of the discursive
formation of genre for these programmes (Mittell, 2004) and, therefore, their
examination contributes to understanding these programmes generically.
Understandings of comedy within the statements examined are utilised and
expressed with regard to familiarity and a negotiation between similarity and
difference. This study is focused on only one remake relationship – that between
Britain and the US – and only considers one genre: scripted television comedy. The
findings of this study demonstrate the utility of utilising this method for future
studies of the relationship between remakes and genre.

Taking laughter seriously

Genre framing in discourses surrounding comedy television remakes between the UK and the US

Through an examination of how generic “cults” are presented in three specific episodes of The Simpsons, South Park, and King of the Hill, this article illustrates how humorous prejudice is reproduced through popular entertainment. It argues that a generic “cult” stereotype has developed over time in mass media and is reproduced in these programs for comedic effect. After demonstrating how specific correlations between historic fears about specific groups have found their way into these programs, it concludes with a discussion of the political significance of these programs’ satire.

The Humorous Reproduction of Religious Prejudice: "Cults" and Religious Humour in The Simpsons, South Park, and King of the Hill

In this paper we address the value and importance of using humour in videogames. We show how humour can facilitate character interaction, support gameplay, and augment players' intrinsic involvement. We outline humour theories: superiority, incongruity and relief. We then review some videogames, and discuss the roles that humour plays. In the last part of the paper, we discuss more specifically the role of humour in videogames, drawing on the theory of humour to highlight specific functions of humour and how it can benefit the design of videogames. We hope that this paper will contribute to a better understanding of humour and that future designers and educators will be able to use humour to enhance videogames and delight players.

Humour theory and videogames: laughter in the slaughter

Dr. Lilly Pad was conducting an Eye Test. She would hold up a brown letter ‘‘E’’ and ask the kids what it was: a ‘‘Brownie.’’ She’d hold up another, with a red letter ‘‘E’’ and say ‘‘Are youIRed E?’’ Lots of word play. There was a teenager sitting in a corner. He hadn’t been saying anything before this, but during this game, he was the first to get it, each and every time. An ‘‘I’’ written in the color black? A black eye. Every time Dr. Lilly Pad held one up, he got it. He showed us who he was and what he knew, and afterwards the staff told us that that was when they learned who this kid was.V Dr. Chester Drawers (personal communication, 2008) In this Clinical Perspectives column, we consider what clowns might teach us about working with children and adolescents and what roles clowning might play in pediatric mental health. After all, laughter, joy, and play are an essential part of childhood, and clowns are a nearly ubiquitous source of laughter, now even performing on a regular basis in some hospitals. Mental health providers must be either formally or intuitively attuned to a child’s laughter, in part because most of the disorders of childhood and adolescence will in some way affect the core human behavior of laughter. Children who do not smile because they are anhedonic or who do not engage in developmentally expected types of play because they are anxious may find themselves in our offices. The ease with which a child smiles or laughs is a natural part of an assessment of a child’s affect. How a child engages in play and jokes gives us insight into their development. Attention to such characteristics may also be crucial to the therapeutic process. 1

But Seriously: Clowning in Children's Mental Health.

THE .tudy 0/ hurno"l has spanned rna", than a do2en cenluries' and has drawn the Interest 0/ re"" .. hen from a wide van.ty 0/ fields: ..... tIuopohgy. communication, phih$opIty. experimental oodaI psychology. wucat;on. and socIoIo!wTho uso. 01 humor &nd thot hu· ITIOI" response has been SU99O'sted 10 be ", .. ted CO a ..... rlety 0/ oociaI &nd commurDcation functlons llor exo.mp/lo. thotnopy; eduarotion. peBUIa$Ion, and oodaIInA .. "",,~ I However, despite the Inkrest in and lhot '''!!9O's\ed oocioII Importance of hwnor. we ..... no closon 10 dewbping a 9I!ner.>lized theory 0/ humor ttwon we we ... In thot fnI century A n. when QulntHIan complained that no one hid ye1 explained whm laughter war., lhough many had tried IMon .... Il. 1983~ Some 8pp ..... d"'.10 lho 5ludy of hwnor ha .... focuoed on lhe cognltiw. DClMty IowoIved In !he reSpOlU<! 10 humor . .....tillo 01 ...... two"" foc: ..... d on the e,,_ooIaspectI 0/ thal respan"'" Although both «>gnitiw; and .. flecliw; on..n ... tlons h;we laid im"", ... ",grotmdworic foo' tho deve""""",ntOl' a more 9"nerilllill><! theory 0( humor, often lhe mosI basic .... umptlons of ttoo.se 1ho><orIe. """" not been .... led preciselyOf ~ emptr\cally; Tho purpooe 0/ this chapter is CO state Iormally and precisely some of the moot basic assumptlons ........ d by a nwnber 0/ humor theories. and 10 demonsmo(e the ulilfty 0/ mdr\(: mu~idimeouional S<OI1I-.g (MMDS) rnod<!ls lor the explicalion &nd _ 0( \hr;o$c ......... ptions from 8 cognitive perspec. 1!Ye. To accomplish the"" ob;ectives. the r"""""""r 0/ this chapter wiD be

Taking laughter seriously

Citations

Genre framing in discourses surrounding comedy television remakes between the UK and the US

The Humorous Reproduction of Religious Prejudice: "Cults" and Religious Humour in The Simpsons, South Park, and King of the Hill

Humour theory and videogames: laughter in the slaughter

But Seriously: Clowning in Children's Mental Health.

Incongruity in Humor: The Cognitive Dynamics

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