Seite - 102 - in JRFM - Journal Religion Film Media, Band 02/02

102 | Alexander D. Ornella www.jrfm.eu 2016, 2/2, 99–122 of themselves and their lives in the stories and the people on screen.12 The so- cio-cultural context that gave birth to the show needs to be considered, too: church attendance in the Church of England is at an all-time low,13 and in recent years the Church has been struggling over issues such as homosexuality, the role of women in the Church, and the ordination of women bishops. Thus, draw- ing on Ellis, Rev. (2010–2014) can be understood as working through narratives of clerical masculinities. It draws on a mix of traditional understandings of cleri- cal and secular masculinities, on masculine roles and ideals such as the virtuous leader, the pious man, the father of the community, or the successful careerist. It works with and through them, pokes fun at them, and questions these very understandings in order to show that the male characters in the show them- selves struggle with performing these masculine roles. In particular, Rev. (2010– 2014) works through clerical masculinities in its aesthetic and narrative style as a sitcom, by lampooning them, not taking them quite seriously, and by portraying the men as losers who are very likable nonetheless. The sitcom style is more than mere entertainment and important to consider when reading and interpreting Rev. (2010–2014). Brett Mills argues that “the pleasures of sitcoms are not simple, and certainly require an understanding of complex social conventions and generic rules in order for them to be enjoyed”.14 They can, of course, re-inscribe rather than challenge existing social structures, stereotypes, or heteronormativity.15 Yet they are an important site for both the negotiation and the study of masculinities.16 In particular the comic aspect of sitcoms can be used to subvert hegemonic masculinities or, if not subvert or challenge, then at least show disrespect. What Hanke argues in his analysis of “mock-macho” sitcoms such as Home Improvement (ABC, US 1991–1999) holds true for Rev. (2010–2014) and its presentation of clerical masculinities, too: “By making a mockery of masculinity, these comic narratives simultaneously present men as objects of laughter and as subjects moving between ‘old’ and ‘new’ subject positions. While this process of resubjectification may not signify a change in social structures of hierarchy and inequality, such comic texts can imply a lack of reverence for conventional masculinity, especially as it is defined in terms of competence and infallibility.”17 By poking fun, a sitcom can desta- bilize and call into question existing and seemingly rigid social structures. As a complex genre, the sitcom can invite the audience to respond to social conven- tions represented on screen and can thus be employed for a critical reading of 12 Cf. Hartley 2009, 21. 13 Cf. Archbishop’s Council 2016. 14 Mills 2009, 5. 15 Cf. Mills 2004. 16 Cf. Hatfield 2010. 17 Hanke 1998; cf. also Mills 2009, 5.