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two, a timely re-presentation of current debates ‘situation’ itself acts as the conduit for the branch of Republicanism) leads to a more
around size zero and the (usually) female humour (i.e. Betty as the incongruous personal subversively creative climate within broadcast
recourse to dieting and/or bingeing (note assistant of Daniel Meade); stock characters (and media (and the arts generally), as a means of
Amanda, the bitchy receptionist, losing ‘control’ don’t we just love that ever so clear-cut depiction representing disquiet and opposition amongst
by stuffing sweets and gaining weight – horrors of heroes and villains?) and limited settings. segments of the viewing population. The very
– when faced with a dilemma about the identity The economic context of the exportability
‘kitsch’ nature of the production of Ugly Betty
of her biological parents). Of course, the show is of American and British sitcoms is crucial here
affords, perhaps, ‘safe’ oppositional readings of
founded on contrast. – and worthy of your exploration. The idea for
the issues raised – it is surely no coincidence that
Betty, played by the not-at-all ‘ugly’ America the series arose from a hugely successful 1999
the series has been so popular with marginalised
Ferrera, is set up to provide comic ‘difference’ Columbian ‘tele-novela’ (the television novel
groups, as well as the more ‘mainstream’ viewer
to those around her at Mode – including her genre described above, popular with viewers
(and has also been successfully exported to
clothing, make-up, body language and modes in Latin and South America, versions of which
Mexico, Spain, Germany, Russia, India and Israel,
of speech. Her ethical behaviour, in contrast to, are also viewed by Betty’s family in a neatly
which must say something about ‘universal’
for example, the self-absorbed, power-seeking ‘postmodern’ nod to the original, with cameo
themes of the underdog winning through).
indulgences of Wilhemina, is a key component appearances as a maid by the show’s creator,
Whether or not we find the baseline of the
of the weekly narrative – and we are invited, Salma Hayek) Yo Soy Betty, La Fea (‘I am Betty, the
narrative ultimately regressive (i.e. these are
naturally, to root for Betty every time. Ugly One’). Criticised by some as nowhere near
the kinds of issues in terms of objectification of
All the exterior scenes are filmed in green as subversive as the original, which is said to be a
women that feminists were arguing about back
screen, allowing the Production Design team much stronger parody of racial and social issues
in the 1970s), the series has nevertheless allowed
to perfect the almost fairytale-like backdrops of in Latin America, Ugly Betty has nevertheless
a space for debate and reflection about some of
New York and Queens – the CGI fakery lending managed to provoke critical debate in terms
the key issues of our times.
a further layer of nuance to the overall theme of some of contemporary America’s values and
As these prompts suggest Ugly Betty can
of deceptive appearances. The camerawork ideologies around ‘sensitive’ issues such as gay
provide you with savvy media know-how
and use of sound is also worthy of analysis children (the depiction of Justin, as a younger
during the course of your study – the text is
and, again, it is in the symbolic contrast of and equally camp version of the character, Marc
deserving of close textual analysis (MED 1); you
the ‘sophisticated’ world of Mode versus the
St James); the inept bureaucracy and perceived
could follow up any number of the suggested
Ferrera homestead that the camera and
injustice of new immigration laws as represented
contextual issues (for example, casting, the
soundtrack reiterates what we should know
by Ignacio and the farcical scenes in Series 1
inevitable merchandising industry created
– that slick camera angles and stylish transitions
with his ‘immigration officer’, who turns out to be
around the series, including faux-pearl necklaces
cannot compete with the retro furnishings and
an impersonator; not to mention transsexuality
and knitted ponchos) for a MED 5 research
reassuring Latino rhythms of ‘real’ people.
and attitudes towards ‘difference’ generally, as
depicted in the storyline of Daniel’s brother/sister,
assignment or focus on developments around
Genre Alex/Alexis (resulting in the show winning a real-
genre (MED 2 or MED 4), even studying some of
Although some critics have analysed Ugly life gong at the Gay and Lesbian Alliance Against
the often-neglected theories on humour such
Betty as a prime example of a new development Defamation Media Awards!).
as the ‘superiority theory’ or the ‘incongruity
within television genre – the ‘television novel’, These political contexts firmly place the
theory’. Look them up – and avoid the trap of
20+ part series that extend a single plot arc text within contemporary American culture –
dismissing texts that seem lightweight or just
across half-a-year (think Lost, The Sopranos, arguably, the generic formula of sitcom allowing
too corny to be worth analysis. They’re often the
24, Desperate Housewives), the commonplace a far more radical ‘take’ on these issues than
ones that speak the loudest about our zeitgeist,
scheduling label is that of a mainstream drama or documentary, for example, would allow.
allowing us to laugh at the increasingly bizarre
workplace sitcom, inevitably relying on the Some may argue that a particularly regressive
preoccupations of our time.
specific generic conventions (sometimes regime at any specific time (in this instance, the Sally Brady is Project Leader for Gifted and Talented at Villiers
constraints?) of this established format. The notably right-wing policies of Bush’s particular
Park Educational Trust and an examiner for AQA Media Studies.
14 MediaMagazine | February 2008 | english and media centre
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