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 point of view at the renowned style that explores all points 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 in addition comedian motion pictures from Europe, the center East, and Korea
- Essays discover sub-genres, performers, and cultural views corresponding to gender, politics, and background as well as person works
- Engages with varied strands of comedy together with slapstick, romantic, satirical and ironic
- Features unique entries from a various workforce 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 fellow Cave (pages 217–235): Tamar Jeffers McDonald
Chapter eleven The copy of Mothering (pages 236–247): Lucy Fischer
Chapter 12 you'll want 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 part (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 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 instances 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
Slapstick ﬁlms, particularly silent comedies, are Pie Queens and Virtuous Vamps 41 particularly violent, with everything from pies to the actors themselves being thrown about in wild brawls. This behavior is certainly at odds with perceived notions of how proper women should behave, and the resulting contradiction contributes to the idea that women are not suited for comedy. The idea that women were too morally upright, too emotional, and too passive to enjoy comedy was deeply engrained in American thinking by the beginning of the twentieth century, and the result is a general perception that women are not as funny as men.
In keeping with Aristotle’s discussion of the comic mask ‘‘that excites laughter’’ by being ‘‘something ugly and distorted without causing pain,’’ John Bunny’s round and animated face was particularly capable of conveying his thoughts and feelings when reacting to the moment. Very much a physical comedian, Bunny’s humor was based more on comedy of manners than slapstick. In the handful of surviving pictures from the 174 he made, Bunny sometimes plays a likable and sympathetic character despite his ﬂaws.
I did not have to read books to know that the theme of life is conﬂict and pain. Instinctively, all my clowning was based on this. (Chaplin 1964: 224, 226) Mack Sennett’s post-Keystone comedies lost their vitality, in part, because a growing middle-class audience encouraged a change in approach and content that this ﬁlmmaker’s art could not effectively address. Chaplin’s silent comedy remained vital because he played off the dialectical and often painful encounters the tramp had with a society of which he was not a part.
A Companion to Film Comedy by Andrew Horton, Joanna E. Rapf