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 advisor bargains a world standpoint at the well known style that explores all elements 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 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 various strands of comedy together with slapstick, romantic, satirical and ironic
- Features unique entries from a various staff of multidisciplinary overseas 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 you should 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 american citizens (pages 387–406): Dan Georgakas
Chapter 19 Alexander Mackendrick (pages 407–431): Claire Mortimer
Chapter 20 Tragicomic modifications (pages 432–453): Jane Park
Chapter 21 Comedy “Italian sort” 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 strong than a Scream (pages 495–520): Paul Wells
Chapter 24 Theatrical comic strip Comedy (pages 521–543): Suzanne Buchan
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Additional info for A Companion to Film Comedy
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. (2000) How to make Ben Hur look like an epic, in Pimple, Pranks and Pratfalls: British Film Comedy Before 1930 (eds. A. Burton and L. Porter), Flicks Books, Trowbridge, p. 7. Robinson, D. pdf (accessed May 18, 2012).
The bedroom footage identifying Max’s experiences as a dream is not included in the French version of Max tor´eador, which concludes with a very different narrative perspective involving the triumphant matador being carried away by a crowd. David Robinson found the ﬁnal subtitle in the alternative German version of this motion picture of particular interest. After falling out of bed Max gets to his feet and says, ‘‘ ‘That is the best dream of my life . . ’ He then retires again and pulls the sheets over his head as the ﬁlm comes to an end’’ (Robinson 2008: 194).
278. F. (2008) Introducing Bert Williams: Burnt Cork, Broadway, and the Story of America’s First Black Star, Basic Civitas Books, New York, NJ, pp. vi, 298. Gilbert, D. , New York, NY, pp. 61–2. Gunning, T. W. Grifﬁth and the Origins of the American Narrative Film: The Early Years at Biograph, The University of Illinois Press, Champaign, IL, pp. 41–4, 132, 141. 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.