Download e-book for iPad: A Companion to Film Comedy by Andrew Horton, Joanna E. Rapf

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 points of its formative social, cultural and political context

  • A wide-ranging selection 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 movies from Europe, the center East, and Korea
  • Essays discover sub-genres, performers, and cultural views equivalent to gender, politics, and background as well as person works
  • Engages with assorted strands of comedy together with slapstick, romantic, satirical and ironic
  • Features unique entries from a various staff 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 prior to sundown (2004) (pages 196–216): Leger Grindon
Chapter 10 The View from the guy Cave (pages 217–235): Tamar Jeffers McDonald
Chapter eleven The copy of Mothering (pages 236–247): Lucy Fischer
Chapter 12 it's essential 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 very important facet (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 ameliorations (pages 432–453): Jane Park
Chapter 21 Comedy “Italian sort” 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 caricature Comedy (pages 521–543): Suzanne Buchan

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Example text

In jail for participating in an illegal poker game, the addicted card player mimes that he is dealing himself a wonderful hand. Far from a poker face, Williams’ countenance exhibits delight at his clearly desirable cards. Williams registers shock, dismay, and then determination when an invisible opponent appears confident about his own hand. In the end our doleful player pushes his chips towards the victor. This woebegone eternal loser cannot win even in his dreams. C. Fields remembered Bert Williams as ‘‘The funniest man I ever saw and the saddest man I ever knew.

The plots for the previous described Bunny and Drew comedies do not bring to mind the silent movie clich´es of Goodness Gracious, nor does it take much imagination to envision how these stories might be adapted for film and television today. The quality motion pictures made between 1908 and 1917 are testaments to their filmmakers’ talents given that studios and audiences were expecting them to produce literally hundreds of physically and often emotionally demanding 10- and 20-minute movies in a very short time.

The humor of the Pimple pictures, in keeping with the rowdy nature of the English music hall, is also rather brash when compared with the whimsical French and Italian comedies. Reflective of a British film industry that was putting too little money in its films, the modest production values of these comedies are particularly glaring when compared to French and Italian pictures. A notable example of his many burlesques, Pimple’s The Whip (1917) is a parody of the popular 1909 horse racing play The Whip, which also was made into an American feature in the year of the Evans production.

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


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