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Author: search.filters.author.Samavati, SinaSubject: search.filters.subject.Controlled television

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    Contemporary British humour : in contrast to its glorious past and main-stream America
    (Bahçeşehir Üniversitesi Sosyal Bilimler Enstitüsü, 2013-04) Samavati, Sina; Eyüboğlu, Selim
    This particular study is structured upon the nature of British Humour and the means in which it’s televised in contemporary British television as consequential comedy. Through a construction of inevitable mainstream perceptual approach alongside an embodiment of purposefulness against social repression, it tends to contrast the means hired in the past by British humour against the intentionality of televised comedy in the present. It’s an examination of the very existence of the practiced humour that was weaponized so often by literary practitioners as well as contrarians of cultural enforcements. It observes the similarities and disparities of the practiced genre against and alongside, the American main-stream monopoly on televised comedy, where the discourse of television is more often used as a tool against individuality and is employed in the means of submission and selective intentionality. In an environment where the grounds of crossing cultures is considered an easily accessible agenda, an observation of the classical tool that is humour against certain ideological mass representations is the basis of examination that this study reflects upon. Exemplifying influential figures of the past and present of the genre, like Stephen Fry , this observation builds the necessary connection between the evolved British humour of Oscar Wilde, P.G. Wodehouse and Evelyn Waugh and the televised version of humour practiced in contemporary Britain that is a process of development within humour on the discourse of television representation. Providing a critical perspective towards the practice of humour in contemporary television of Britain through using the platform of American mainstream and the so-called alternative televised comedy, the study challenges the apparent intentionality of the content of Britain’s televised approach towards humour.