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

By Andrew Horton, Joanna E. Rapf

A wide-ranging survey of the topic that celebrates the range and complexity of movie comedy from the ‘silent’ days to the current, this authoritative consultant deals a world standpoint at the renowned style that explores all features of its formative social, cultural and political context

  • A wide-ranging choice 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 in addition comedian motion pictures from Europe, the center East, and Korea
  • Essays discover sub-genres, performers, and cultural views resembling gender, politics, and historical past as well as person works
  • Engages with diverse strands of comedy together with slapstick, romantic, satirical and ironic
  • Features unique entries from a various staff of multidisciplinary foreign contributors

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 earlier than sundown (2004) (pages 196–216): Leger Grindon
Chapter 10 The View from the guy 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 area (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 differences (pages 432–453): Jane Park
Chapter 21 Comedy “Italian variety” and that i soliti ignoti (Big Deal on Madonna highway, 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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American Comedy Gets Some Manners: Flora Finch, John Bunny, Mr. & Mrs. W. Griffith in America. Besides being the inspiration for Mack Sennett’s ‘‘French’’ character in Those Awful Hats and The Curtain Pole, Linder influenced the ‘‘Jones family’’ comedy series which Griffith directed at Biograph in 1908 and 1909 (Bitzer 1971: 71). According to Tom Gunning: The comic structure of the Jones films revolves around the proper domesticity of a bourgeois household, with Mr. Jones’ infractions of propriety providing the narrative disequilibrium.

Frequently associated with ‘‘pathos and loss,’’ and often painful to see today, it was and continues to be debatable just how harmless or harmful this comedy was. Humor can lessen social tensions as well as inflame them and, equally paradoxically, the comedy of this time could work towards social advancement while perpetuating injury. Even as middle-class media habitually treated aliens and racial groups with derision, some ethnic performers used the same stereotypes to challenge misconception and draw attention to social injustice.

40 Kristen Anderson Wagner to be lowbrow entertainment. With so few silent comedies surviving today, it makes sense that so few silent comedians, male or female, would be remembered. The lack of availability of films featuring silent comediennes has certainly contributed in a significant way to their current obscurity, and yet it is clear that this is not the only reason for their continued neglect. Also a factor is the longstanding and deep-rooted cultural bias against women performing comedy. The idea that femininity is incompatible with humor dates back to before the nineteenth century and lingers to the present day.

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