Women in Comedy

From UBC Wiki

Almost every female comic has been asked the question: “What is it like being a woman in comedy?” As stand-up comic Aparna Nancherla claims, “What is it like to be a woman in comedy? I would say it's 1% jokes & 99% answering this question.”[1] The discussion of “women in comedy” has been a prevalent topic for many decades.[2] What once began as a solely male-driven field has since evolved into a flourishing industry with a considerable amount of female representation. However, even though society seems to be progressing in terms of the amount of female representation in comedies, there is still a lot that needs to be done to achieve gender equality within the industry.[3]

History[4][5]

Pre 1950s

Before the 1950s, comedy was a predominantly male driven field. There were a select few females actresses who were featured in multiple films throughout the 1930s and 1940s. However, they often played the stereotypical character of the femme fatal. Some famous actresses from this time included Katharine Hepburn[6] and Joan Crawford[7]. The closest that women got to being comedians in the pre-1950 era, were actresses who starred in screwball comedies such as Carole Lombard in My Man Godfrey (1936)[8] and Jean Arthur in Easy Living (1937)[9]

1950s

The 1950s was a significant decade for the progression of women in comedy. Specifically, the introduction of personalized televisions into people’s homes set the stage for weekly programs to be created. Most famously, the I Love Lucy (1951-1957)[10] show was a ground-breaking program for female comedians worldwide. Lucille Ball was the first female comedic lead on television and set the stage for many female TV personalities to follow.[11] Similarly, Phyllis Diller had her first stand-up show in 1955,[12] which paved the way for many other female stand up comics such as Joan Rivers and Ellen DeGeneres.

1960s

The 1960s opened the door for more female comedians not just in front of the camera but also behind it. Treva Silverman[13] is one of the first female writers who got her start in the 1960s writing for shows such as Captain Nice (1967) and The Monkees (1966-1967). Additionally, more female driven sitcoms were introduced such as The Carol Burnett Show (1967-1978)[14]

1970s

The 1970s was triumphed by the extremely popular sitcom The Mary Tyler Moore Show (1970-1977).[15] Mary Tyler Moore became a comedy icon for many inspirational women such as Michelle Obama and Oprah Winfrey.[16] Additionally, 1975 was the birth of the iconic sketch comedy series, Saturday Night Live (1975-Present).[17] The original cast of SNL showcased various funny women such as Jane Curtin, Laraine Newman and Gilda Radner. These three iconic women paved the way for many other famous women to make their debut on the SNL stage. Some examples include Tina Fey, Amy Poehler and Kristen Wiig.

1980s

The 1980s opened up even more opportunities for female comedians such as the popular talk show, The Joan Rivers Show (1989-1993).[18] Additionally, one of the first female ensemble shows debuted in 1985 called The Golden Girls (1985).[19] The Golden Girls was ground-breaking because it proved that funny women did not need a leading man to co-star in their sitcom.

1990s

By the 1990s, an increased number of women were performing their own solo stand-up acts, such as Ellen DeGeneres. There was an increased number of women led comedic television series, such as Sex and the City (1998-2004).[20] Additionally, there were multiple female driven comedic films being made such as Clueless (1995).[21]

2000s

In addition to an increase of female led films, TV and stand-up shows, women were also beginning to debut in comedic talk shows. Some examples included: The Ellen DeGeneres Show (2003-present)[22] and Chelsea Lately (2007-2014).[23]

2010s

The 2010s kicked off with one of the most successful comedies of all time: Bridesmaids (2011).[24] Bridesmaids is often regarded as one of the most popular comedies of all time and the most popular female driven comedy to date. The conception of the movie began when comedians Kristen Wiig and Annie Mumolo challenged themselves to write a female ensemble comedy that defies the stereotype of a classic female led rom-com plotline. The film was so successful, it grossed over $100 million in it’s first 23 days at the box office. [25] The success of Bridesmaids opened the floodgates for many more female ensemble comedies such as Pitch Perfect (2012),[26] Ghostbusters (2016)[27] and Rough Night (2017).[28]

Present Day

By looking back at the history of women in comedy, it is easy to think that women have succeeded in the struggle for gender equality in the industry. Women have come so far from barely having a presence in male-driven screwball comedies, to being the stars of their own sitcoms, talk shows, movies and stand-up tours. However, there is still a long way to go in terms of gender equality since there are still negative stereotypes that surround women in the field of comedy.[29]

Most female comedians exploit the use of self-deprecation humour and their sexuality in order to provoke laughter from their audiences.[30] This is why there is often controversy amongst audiences about whether or not women comedians are progressing or regressing feminism in the comedy industry.[31]

Audience Reception[32]

Women audiences are supportive of the progression of women in comedy and often identify with strong female characters such as Leslie Knope from Parks and Recreation (2009-2015)[33] and Liz Lemon from 30 Rock (2006-2013).[34] However, most viewers will choose a male character as their favourite because they claim that they are the funniest. This ambivalence is caused by:

1. Audiences are still adhering to the stereotype that men are funnier than women.

2. Women showrunners are giving their best jokes to men.

In both cases, there is still a tendency to conform to the negative stereotype that women comedians aren’t funny, even in today’s society.

References

  1. @aparnapkin. “Aparna Nancherla.” Twitter, 02 Nov. 2016, https://www.twitter.com/aparnapkin/status/794008469263290370?lang=en
  2. Bing, Janet M. “Is Feminist Humor an Oxymoron?” Women and Language, vol. 27, no. 1, 2004, pp. 22–33.
  3. Mills, Brett, and Sarah Ralph. “I Think Women Are Possibly Judged More Harshly with Comedy: Women and British Television Comedy Production.” Critical Studies in Television: The International Journal of Television Studies, vol. 10, no. 2, 2015, pp. 102–117. Manchester University Press, doi:http://dx.doi.org/10.7227/CST.10.2.8.
  4. Armstrong, Jennifer Keishin. “Guest Post: The Evolution of Women in Comedy: From Mary Tyler Moore to Amy and Mindy.” IndieWire, 17 July 2013, http://www.indiewire.com/2013/07/guest-post-the-evolution-of-women-in-comedy-from-mary-tyler-moore-to-amy-and-mindy-208902/.
  5. Mizejewski, Linda. “Women and Comedy: History, Theory, Practice by Peter Dickinson Et Al. Eds.” Women's Studies, vol. 45, no. 4, 23 May 2016, pp. 404–407., doi:10.1080/00497878.2016.1162618.
  6. IMDb. “Katharine Hepburn.” IMDb.com, http://www.imdb.com/name/nm0000031/.
  7. IMDb. “Joan Crawford.” IMDb.com, http://www.imdb.com/name/nm0001076/?ref_=nv_sr_1.
  8. IMDb. “My Man Godfrey.” IMDb.com, http://www.imdb.com/title/tt0028010/?ref_=nm_flmg_act_11.
  9. IMDb. “Easy Living.” IMDb.com, http://www.imdb.com/name/nm0000795/.
  10. IMDb. “I Love Lucy.” IMDb.com, http://www.imdb.com/title/tt0043208/?ref_=nv_sr_1.
  11. Karlin, Lily. “Why Lucille Ball Was More Revolutionary Than You Think.” The Huffington Post, HuffPost, 27 Apr. 2015, http://www.huffingtonpost.ca/entry/lucille-ball-revolutionary_n_7138476.
  12. Horowitz, Susan. Queens of Comedy: Lucille Ball, Phyllis Diller, Carol Burnett, Joan Rivers and the New Generation of Funny Women. Routledge, 2005.
  13. IMDb. “Treva Silverman.” IMDb.com, http://www.imdb.com/name/nm0798988/.
  14. IMDb. “The Carol Burnett Show.” IMDb.com, http://www.imdb.com/title/tt0061240/.
  15. IMDb. “The Mary Tyler Moore Show.” IMDb.com, http://www.imdb.com/title/tt0065314/.
  16. Bradley, Laura. “How Mary Tyler Moore Inspired Michelle Obama to Dream Big.” HWD, Vanity Fair, 26 Jan. 2017, http://www.vanityfair.com/hollywood/2017/01/mary-tyler-moore-michelle-obama.
  17. IMDb. “Saturday Night Live.” IMDb.com, http://www.imdb.com/title/tt0072562/.
  18. IMDb. “The Joan Rivers Show.” IMDb.com, http://www.imdb.com/title/tt0124948/?ref_=nv_sr_2.
  19. IMDb. “The Golden Girls.” IMDb.com, http://www.imdb.com/title/tt0088526/?ref_=nv_sr_1.
  20. IMDb. “Sex and the City.” IMDb.com, http://www.imdb.com/title/tt0159206/?ref_=fn_al_tt_1.
  21. IMDb. “Clueless.” IMDb.com, http://www.imdb.com/title/tt0112697/?ref_=nv_sr_1.
  22. IMDb. “The Ellen DeGeneres Show.” IMDb.com, http://www.imdb.com/title/tt0379623/?ref_=fn_al_tt_1.
  23. IMDb. “Chelsea Lately.” IMDb.com, http://www.imdb.com/title/tt1002838/?ref_=nv_sr_1.
  24. IMDb. “Bridesmaids.” IMDb.com, http://www.imdb.com/title/tt1478338/?ref_=fn_al_tt_1.
  25. Rankin, Seija. “Bridesmaids 5 Years Later: The Movie's Secret to Becoming a Cultural (and Feminist) Sensation.” E! News, E! News, 11 May 2016, http://www.eonline.com/ca/news/763895/bridesmaids-5-years-later-the-movie-s-secret-to-becoming-a-cultural-and-feminist-sensation.
  26. IMDb. “Pitch Perfect.” IMDb.com, http://www.imdb.com/title/tt1981677/?ref_=nv_sr_1.
  27. IMDb. “Ghostbusters.” IMDb.com, http://www.imdb.com/title/tt1289401/?ref_=fn_al_tt_2.
  28. IMDb. “Rough Night.” IMDb.com, http://www.imdb.com/title/tt4799050/?ref_=fn_al_tt_1.
  29. Mills, Brett, and Sarah Ralph. “I Think Women Are Possibly Judged More Harshly with Comedy: Women and British Television Comedy Production.” Critical Studies in Television: The International Journal of Television Studies, vol. 10, no. 2, 2015, pp. 102–117. Manchester University Press, doi:http://dx.doi.org/10.7227/CST.10.2.8.
  30. Mendes, Kaitlynn, et al. “Commentary and Criticism.” Feminist Media Studies, vol. 10, no. 4, 10 Dec. 2010, pp. 477–490., doi:10.1080/14680777.2010.514173.
  31. Bing, Janet M. “Is Feminist Humor an Oxymoron?” Women and Language, vol. 27, no. 1, 2004, pp. 22–33.
  32. Swink, Robyn Stacia. “Lemony Liz and Likable Leslie: Audience Understandings of Feminism, Comedy, and Gender in Women-Led Television Comedies.” Feminist Media Studies, vol. 17, no. 1, Feb. 2017, pp. 14–28., doi:10.1080/14680777.2017.1261832.
  33. IMDb. “Parks and Recreation.” IMDb.com, http://www.imdb.com/title/tt1266020/.
  34. IMDb. “30 Rock.” IMDb.com, http://www.imdb.com/title/tt0496424/?ref_=nv_sr_1.