The ensemble sitcom, the film comedy, and narrative comedy: A study on the nature of plotting and comic tension in screen narratives. A thesis by creative practice following the journey of two characters across three comedy narratives

This thesis by creative practice critically examines plotting and character behaviour when reworking the TV sitcom to a feature film, and then transposing two of the characters from the film to a half-hour comedy series. It is guided by the question: How can specific elements of character and plotting be manipulated to generate comic tension in three related forms of screen comedy: the TV sitcom, the feature film and the half-hour narrative comedy? To that end, three scripts follow two characters as they journey through different, yet related, screen narratives. Beginning with an examination of the relationship of characters in an ensemble sitcom, both between characters (inter-relational) and between the group and an external ‘reality’ (intra-relational) I find that some comic narratives are best served by a ‘discursive frame.’ I posit that a frame or story ideology maintains a certain degree of entrapment of the group, and which the characters either support, deny, or attempt to demolish, resulting in comic tension. Furthermore, I offer that the collective harbours an echo character who mirrors the fears of the group, as well as a ‘comic antihero,’ aware of the frame and its disempowering effect, yet unable to leave the situation as it affords them some degree of status and identity. Analysing the nature of the midpoint (MP) in film comedies, this thesis posits that plots dealing with a discordant relationship necessitate that the MP initiate a ‘bind’ for the main character/s. These findings are then used to analyse turning points (TPs) in the episodic narrative comedy, illustrating that, of the three TPs which enable the closed narrative structure, the middle TP operates much like a MP, triggering behaviour which alters the direction of the narrative, forcing the plot to return to the emotional stasis; such a response can now be seen as emanating from a form of bind. Critically examining plotting and related character behaviour in short- and long-form screen comedy and then testing the hypotheses in the scripts, this thesis offers new readings for comedy screenwriters as well as theorists.