Унылая субстанция и доставляющие лулзы. «Теория Большого взрыва» и культура исследовательского университета
The article analyses three issues. Firstly, how the culture of research universities in the series ‘The Big Bang Theory’ is designed based on the Honor Code Handbook of the California Institute of Technology. Secondly, the author observes the culture of pranks and jokes as an element of the tradition of American research universities — in comparison to cultural traditions of Russian universities. Third, he demonstrates, that one of the main patterns of constructing comic situations in the series is explaining the incommensurability of conceptual frameworks — the common language and the language of science.
The study is devoted to the hermeneutics of the series, as the most important component of modern cultural industries and media production in the framework of their philosophical, sociological and cultural-political analysis and interpretation. The research material was more than 60 series and more than 80 thematically related films. Series are considered as analytical models of various conditions: power, society, future, everyday life, apocalypse, metaphysics, politics, war, sex, madness, etc. The book will be interesting to everyone who deals with the phenomenon of mass culture and mass consciousness in the 21st century.
In this paper, I propose a hypothesis about possible audience responses to the Matthew Weiner’s TV show Mad Men. In particular, I focus on several types of visual pleasure and model two readings of the show, a progressionist one and a critical one. The progressionist reading consists in regarding Mad Men as a source of criticism of certain social norms specific to the American society of the 60s and overcome by the 2000s. The critical reading sees in the show attacks on both norms of the 60s and of the 2000s. I verify this hypothesis through the close reading of several scenes that touch upon issues of gender, class, and environment.
In this paper, I propose a theoretical model of the audience reaction on the Matthew Weiner’s TV show Mad Men. It specifies four kinds of visual pleasure and offers two testable implications. First, under progressivism approach the viewer takes the show as a source of criticism of certain social norms specific to the American society of the 60s overcome by the 2000s. Second, under critical approach the viewer interprets the show as the attack on both norms of the 60s and of the 2000s. I test these approaches by analyzing a number of scenes that involve issues of gender, class, and environment. I find that the second approach is more plausible because both the filmmaker and the viewer belongs to the same epoch.