By Andrew Horton, Joanna E. Rapf
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 consultant bargains a global standpoint at the renowned style that explores all elements 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 corresponding to gender, politics, and historical past 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 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 sooner 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 could 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 side (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 type” 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 comic strip Comedy (pages 521–543): Suzanne Buchan
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Extra info for A Companion to Film Comedy
His costume and personality changed dramatically over the years, particularly in France. By the seventeenth century the patches on Arlecchino’s clothing had merged into a symmetrical pattern and his mask was a black strip. Now called ‘‘Harlequin’’ and ‘‘Columbine,’’ the former servants had become the lovers. Their lusty animal desires having been replaced with romantic yearning, Harlequin and Columbine were now associated with magic, fantasy, and romance rather than low comedy. At this time another Commedia dell’Arte Italian servant dating back to the 1500s was undergoing a transformation in both character and name.
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). By identifying the waking ﬁgure as the director rather than the ﬁlm character, this caption further blurs the distinctions and raises questions concerning how one is to separate Max Linder from his screen persona. It is interesting to contrast Linder’s work with that of the English ﬁlmmaker Fred ‘‘Pimple’’ Evans, a music hall performer and fantasist comedian who began making motion pictures in 1910.
It’s not surprising that ‘‘the fairer sex’’ would be considered too delicate to engage in such behavior. Adding to this is the fact that comedy can be literally aggressive and even violent. Standup comedians often interact with their audiences directly, hurling barbs along with jokes. 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.