New PDF release: 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 range and complexity of movie comedy from the ‘silent’ days to the current, this authoritative consultant bargains a world viewpoint at the renowned style that explores all features 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 heritage as well as person works
  • Engages with diversified 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 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 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 differences (pages 432–453): Jane Park
Chapter 21 Comedy “Italian kind” 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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Additional resources for A Companion to Film Comedy

Sample text

An urbane, articulate, intelligent, and sensitive man, Bert Williams spoke perfect English, but the comic conventions of the day compelled him to perform in blackface and speak in dialect when playing a melancholy loser who could evoke an audience’s sympathy while generating laughter. His salary as a Ziegfield 26 Frank Scheide headliner equaled that of the President of the United States, but Bert Williams had to take a freight elevator while on tour when allowed to stay in the same hotel with the rest of his troupe.

This resulted in an intimate narrative with a moderate tempo very different from the rapid pacing of a chase filmed in more distancing long shots. By 1911 Bunny’s stout figure and round expressive face were comically contrasted with the thin and sometimes dour countenance of the physically plain Flora Finch, who was frequently cast as his wife. A Cure for Pokeritis (1912) begins with an exhausted and disheveled George Brown (Bunny) departing a loser from a poker game. Returning to his middle-class home Brown is confronted by his wife (Finch), and vows never to play poker again.

The perils of advertising are appreciated by Harold Lloyd’s character in Safety Last (1923), when he is forced to change places with a ‘‘human fly’’ that he hired to climb a skyscraper for a department store promotion. Pragmatism and a pronounced work ethic enable a misunderstood southern engineer to overcome seemingly unbeatable obstacles in Buster Keaton’s Civil War comedy The General (1927), while single-handedly retrieving his beloved locomotive from the north after it has been stolen by Yankees.

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

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