By Andrew Horton
The character of comedy has many thinkers, from Plato to Freud, yet movie comedy has no longer got a lot theoretical recognition lately. The essays in Comedy/Cinema/Theory use a variety of serious and theoretical ways to discover this curious and interesting topic. the result's a stimulating, informative publication for somebody drawn to movie, humor, and the paintings of bringing the 2 together.Comedy continues to be a relevant human preoccupation, regardless of the vagaries in shape that it has assumed over the centuries in several media. In his creation, Horton surveys the background of the research of comedy, from Aristophanes to the current, and he additionally bargains a standpoint on different similar comedian kinds: published fiction, comedian books, television sitcoms, jokes and gags.Some essays within the assortment specialize in common matters bearing on comedy and cinema. In vigorous (and usually funny) prose, such students as Lucy Fischer, Noel Carroll, Peter Lehman, and Brian Henderson hire feminist, post-Freudian, neo-Marxist, and Bakhtinian methodologies. the remainder essays carry theoretical issues to endure on particular works and comedian filmmakers. Peter Brunette, William Paul, Scott Bukatman, Dana Polan, Charles Eidsvik, Ruth Perlmutter, Stephen Mamber, and Andrew Horton offer assorted views for examining the 3 Stooges, Chaplin, Jerry Lewis, Woody Allen, Dusan Makavejev, and Alfred Hitchcock's sole comedy, Mr. and Mrs. Smith, in addition to the ordinary style of cynical humor from japanese Europe.As editor Horton notes, an over-arching conception of movie comedy doesn't emanate from those essays. but the range and originality of the contributions replicate very important and turning out to be curiosity within the topic, and either scholars of movie and common moviegoers will appreciate the implications.
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Rabelais and His World, trans. Helene Iswolsky. : MIT Press. Barber, C. L. 1959. Shakespeare's Festive Comedy. Princeton: Princeton University Press. Bazin, André. 1982. The Cinema of Cruelty, trans. Saline D'Estrec. New York: Seaver Books. Bermel, Albert. 1982. Farce: From Aristophanes to Woody Allen. New York: Simon and Schuster. Brunette, Peter, and David Wills. 1989. Screen/play: Derrida and Film Theory. Princeton: Princeton University Press. Cook, Albert. 1949. The Dark Voyage and the Golden Mean: A Philosophy of Comedy.
All we know is that she can outargue, outcurse, and outthink (she is a computer expert) the males who surround her. Is she a New Woman or a Tough Man? It can be said that the elasticity of the Hollywood system is evident here. The potentially threatening force presented (black/strong/intelligent female) is allowed a certain amount of "free play" but is ultimately integrated into the traditional patriarchal social and aesthetic norms of a "happy" romantic ending. Finally, a feminist perspective could aid us in viewing such a film as an update of the screwball comedy tradition.
Dan Georgakas, Douglas Gomery, Srdjan Karanovic, and Jacek Fuksiewicz, who have read different versions of proposals and chapters and made useful comments. To all of the contributors. They have patiently supported the project through its evolution with good humor and cheer, especially Lucy Fischer, who initially helped me to focus the concept of this work. To Ernest Callenbach, my editor, who deserves an Aristophanic Award for his large-hearted and clear-sighted guidance of the anthology through the numerous stages at the University of California Press.