Download PDF by Andrew Horton, Joanna E. Rapf: A Companion to Film Comedy

By Andrew Horton, Joanna E. Rapf

ISBN-10: 1118327829

ISBN-13: 9781118327821

ISBN-10: 1444338595

ISBN-13: 9781444338591

A wide-ranging survey of the topic that celebrates the diversity and complexity of movie comedy from the ‘silent’ days to the current, this authoritative advisor bargains a world point of view at the renowned style that explores all elements of its formative social, cultural and political context

  • A wide-ranging number of 24 essays exploring movie comedy from the silent period to the present
  • International in scope, the gathering embraces not only American cinema, together with local American and African American, but additionally comedian motion pictures from Europe, the center East, and Korea
  • Essays discover sub-genres, performers, and cultural views equivalent to gender, politics, and historical past as well as person works
  • Engages with diversified strands of comedy together with slapstick, romantic, satirical and ironic
  • Features unique entries from a various crew of multidisciplinary overseas contributors

Content:
Chapter 1 The Mark of the Ridiculous and Silent Celluloid (pages 13–38): Frank Scheide
Chapter 2 Pie Queens and Virtuous Vamps (pages 39–60): Kristen Anderson Wagner
Chapter three “Sound got here alongside and Out Went the Pies” (pages 61–84): Rob King
Chapter four Mutinies Wednesdays and Saturdays (pages 85–110): Frank Krutnik
Chapter five Jacques Tati and Comedic functionality (pages 111–129): Kevin W. Sweeney
Chapter 6 Woody Allen (pages 130–150): David R. Shumway
Chapter 7 Mel Brooks, Vulgar Modernism, and comedian Remediation (pages 151–171): Henry Jenkins
Chapter eight Humor and Erotic Utopia (pages 173–195): Celestino Deleyto
Chapter nine Taking Romantic Comedy heavily in everlasting Sunshine of the Spotless brain (2004) and ahead of sundown (2004) (pages 196–216): Leger Grindon
Chapter 10 The View from the fellow Cave (pages 217–235): Tamar Jeffers McDonald
Chapter eleven The replica of Mothering (pages 236–247): Lucy Fischer
Chapter 12 it is advisable to be the King (pages 249–272): Charles Morrow
Chapter thirteen No Escaping the melancholy (pages 273–292): William Paul
Chapter 14 The Totalitarian Comedy of Lubitsch's To Be or to not Be (pages 293–314): Maria Dibattista
Chapter 15 darkish Comedy from Dr. Strangelove to the Dude (pages 315–339): Mark Eaton
Chapter sixteen Black movie Comedy as important side (pages 341–364): Catherine A. John
Chapter 17 Winking Like a One?Eyed Ford (pages 365–386): Joshua B. Nelson
Chapter 18 Ethnic Humor in American movie: The Greek americans (pages 387–406): Dan Georgakas
Chapter 19 Alexander Mackendrick (pages 407–431): Claire Mortimer
Chapter 20 Tragicomic variations (pages 432–453): Jane Park
Chapter 21 Comedy “Italian type” and that i soliti ignoti (Big Deal on Madonna road, 1958) (pages 454–473): Roberta Di Carmine
Chapter 22 “Laughter that Encounters a Void” (pages 474–493): Najat Rahman
Chapter 23 Laughter is Ten occasions extra robust than a Scream (pages 495–520): Paul Wells
Chapter 24 Theatrical sketch Comedy (pages 521–543): Suzanne Buchan

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Example text

The robust slapstick of the Commedia dell’Arte centered largely upon Arlecchino’s lechery, doltish behavior, crude pranks, bumbling attempts at thievery, and agile grace. A coarse and cloddish servant and thief, Arlecchino spent much of his time lusting after the female characters. Arlecchino wore a mask of animal fur in keeping with an earthy personality, and his costume was made up of patches. In contrast to his stupidity, shabby appearance, and lecherous behavior, Arlecchino was capable of performing astounding feats as an acrobat and tumbler.

French philosopher Henri Bergson made this same point in his 1900 essay ‘‘Laughter,’’ arguing that ‘‘laughter has no greater foe than emotion . . [H]ighly emotional souls, in tune and unison with life, in whom every event would be sentimentally prolonged and re-echoed, would neither know nor understand laughter’’ (Bergson 1956: 63). Given the stereotype of women as ‘‘highly emotional souls,’’ this line of thinking leaves little room for them to participate in comedy. The unruly and aggressive nature of comedy is also seen by many as a reason why women are incapable of having a sense of humor.

Hammond, M. (2000) ‘‘Cultivating Pimple’’: performance traditions and the film comedy of Fred and Joe Evans, in Pimple, Pranks and Pratfalls: British Film Comedy Before 1930 (eds. A. Burton and L. Porter), Flicks Books, Trowbridge, pp. 64–5. Jacobs, L. (1939) The Rise of the American Film: A Critical History, Teachers College Press, New York, NY, pp. 212, 213, 268, 277. Massa, S. (2008) Keystone revisited. pdf (accessed May 18, 2012). McKernan, L. htm (accessed May 18, 2012). The Mark of the Ridiculous and Silent Celluloid 37 McKernan, L.

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A Companion to Film Comedy by Andrew Horton, Joanna E. Rapf


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