Question 1
Most television shows of the past employed an aspect that Spigel (1998) describes as a theatrical mode of representation. The concept represents scenes in a film that are a simulation of a live theatre. The impression produced by the television is so compelling that it mimics a live theatre. As illustrated by the author, "This can be seen in sit-coms which were broadcast live, filmed live in front of a studio audience, or filmed in the studio without a live audience" (p.24). It is, therefore, a representation of liveliness within a film. In season 2, episode 15 of "Burns and Allen," the speaker between minute 5.07 and 7.22 talks while on stage. The stage space can be seen as illustrated by the drawn curtains in the background. Therefore, this gives the illusion of a live theatre, as explained under the principle of the theatrical mode of representation.
The film also demonstrates a constant shift between the stage and the domestic environment. In the stage set, the speaker does the narration as if they are speaking to a live audience. He also appears to explain some of the happenings within the film. Therefore, this gives the illusion of a live performance as the audience is directly engaged in the film's occurrences. The quick change of characters in the movie remains a significant aspect of the theatrical mode of representation. For instance, George shifts between being a character in the domestic setting and becomes a narrator by providing a short monologue. The ability to walk in and out of the story by characters such as George creates a live performance illusion. Most live performances involve narration and breaking the fourth wall. Lastly, the domestic environment is a modified stage. The presence of vast space provides a sense of watching a live play in the theatre.
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Question 2
"The Honeymooners: is the film selected for this discussion. Two of the most important issues that reveal in the movie include class and gender in the Post World War II era. Towards the beginning of the film, the two characters discuss the boss. One of the characters contends that a boss should be regarded as a human-like any other person. However, the other one feels that the boss should be respected and their wishes satisfied. He does so because bosses belong to a different social class than the rest of the people. After the World War era, a class of wealthy industrialists and capitalists emerge. Such individuals relied significantly on the input of the peasants to have their job done. Therefore, this explains the boss's emphasis and why one of the characters feels that they should have a say in everything.
Gender inequality remains a significant aspect of ubiquity in the film. Several instances reveal that women did not have any position of status in society. Instead, they are left home to cater to the needs of the family. The scene in minute 14 features two women wearing kitchen garments in the domestic setting. The scene is a summary of women and their exclusion from the workplace. Elements of patriarchy and misogyny are also evident in the film. The scene in minute 15 of the film illustrates a man barking orders to the female. He does not want the name "Norton" mentioned in the house. The man shouts and warns the lady without provocation. The fact that the man cannot have a candid and calm conversation with the lady emphasizes females' position in society during this time. Gender inequality remained a significant problem.
Reference
Spigel, L. (1988). Installing the Television Set: Popular Discourses on Television and Domestic Space, 1948–1955. Camera Obscura: Feminism, Culture, and Media Studies, 6(1), 9–46. doi:10.1215/02705346-6-1_16-9
