Sitcom as refuge, sitcom as prison

Nostalgia, anti‐nostalgia, and the embedded multi‐camera sitcom in WandaVision and Kevin Can F**k Himself

Bibliographic Data

ID10195064
AuthorsReto Winckler (0000-0002-6348-1118, City University of Hong Kong Hong Kong, corresponding author)
Year2024
Volume57
Issue4
Pages221-232
Publication date2024-04-26
Open AccessYes
TypeARTICLE
VenueThe Journal of Popular Culture (JOURNAL)
Journal identifiersISSN: 0022-3840 • E-ISSN: 1540-5931
PublisherWiley (PUBLISHER • GB)
DOI10.1111/jpcu.13337
OpenAlexW4395693403
LanguageEN
Citations received2
References cited25

This article claims that the recent trend in television and web streaming drama series to feature segments shot in the style of a multi‐camera sitcom, a phenomenon which is termed “embedded sitcom,” reflects the current popularity of nostalgia in popular culture. Situating the sitcom in the context of television history and theories of nostalgia, the article argues that embedded sitcom reveals the nostalgic quality of the sitcom genre as well as of the medium of television, and negotiates a larger cultural conflict between the lucrative potency of nostalgia for past media formats and a wariness of nostalgia as politically regressive

Advertising · Aesthetics · Art · Context (archaeology · Drama · Popularity · Sociology · Style (visual arts · Visual arts · Cinema and Media Studies · History · Media, Gender, and Advertising · Nostalgia and Consumer Behavior · Psychology · Social Psychology

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