Notes on Editors and Contributors ix
Comic Introduction: “Make ’em Laugh, make ’em Laugh!” 1
Part I Comedy Before Sound, and the Slapstick Tradition
1 The Mark of the Ridiculous and Silent Celluloid: Some Trends
in American and European Film Comedy from 1894 to 1929 15
Frank Scheide
2 Pie Queens and Virtuous Vamps: The FunnyWomen of the Silent
Screen 39
Kristen Anderson Wagner
3 “Sound Came Along and OutWent the Pies”: The American
Slapstick Short and the Coming of Sound 61
Rob King
Part II Comic Performers in the Sound Era
4 Mutinies Wednesdays and Saturdays: Carnivalesque Comedy and
the Marx Brothers 87
Frank Krutnik
5 Jacques Tati and Comedic Performance 111
Kevin W. Sweeney
6 Woody Allen: Charlie Chaplin of New Hollywood 130
David R. Shumway
7 Mel Brooks, Vulgar Modernism, and Comic Remediation 151
Henry Jenkins
Part III New Perspectives on Romantic Comedy and Masculinity
8 Humor and Erotic Utopia: The Intimate Scenarios of Romantic
Comedy 175
Celestino Deleyto
9 Taking Romantic Comedy Seriously in Eternal Sunshine of the
Spotless Mind (2004) and Before Sunset (2004) 196
Leger Grindon
10 The View from the Man Cave: Comedy in the Contemporary
“Homme-com” Cycle 217
Tamar Jeffers McDonald
11 The Reproduction of Mothering: Masculinity, Adoption, and
Identity in Flirting with Disaster 236
Lucy Fischer
Part IV Topical Comedy, Irony, and Humour Noir
12 It’s Good to be the King: Hollywood’s Mythical Monarchies,
Troubled Republics, and Crazy Kingdoms 251
Charles Morrow
13 No Escaping the Depression: Utopian Comedy and the Aesthetics
of Escapism in Frank Capra’s You Can’t Take it with You (1938)
273
William Paul
14 The Totalitarian Comedy of Lubitsch’s To Be or Not To Be
293
Maria DiBattista
15 Dark Comedy from Dr. Strangelove to the Dude 315
Mark Eaton
Part V Comic Perspectives on Race and Ethnicity
16 Black Film Comedy as Vital Edge: A Reassessment of the Genre
343
Catherine A. John
17 Winking Like a One-Eyed Ford: American Indian Film Comedies
on the Hilarity of Poverty 365
Joshua B. Nelson
18 Ethnic Humor in American Film: The Greek Americans 387
Dan Georgakas
Part VI International Comedy
19 Alexander Mackendrick: Dreams, Nightmares, and Myths in
Ealing Comedy 409
Claire Mortimer
20 Tragicomic Transformations: Gender, Humor, and the Plastic
Body in Two Korean Comedies 432
Jane Park
21 Comedy “Italian Style” and I soliti ignoti (Big Deal on
Madonna Street, 1958) 454
Roberta Di Carmine
22 “Laughter that Encounters a Void?”: Humor, Loss, and the
Possibility for Politics in Recent Palestinian Cinema 474
Najat Rahman
Part VII Comic Animation
23 Laughter is Ten Times More Powerful than a Scream: The Case
of Animated Comedy 497
Paul Wells
24 Theatrical Cartoon Comedy: From Animated Portmanteau to the
Risus Purus 521
Suzanne Buchan
Index 545
Andrew Horton is the Jeanne H. Smith Professor of Film
and Media Studies at the University of Oklahoma, USA. An
award-winning screenwriter, he is also the author of twnty-eight
books on film, screenwriting and cultural studies,
including Screenwriting for a Global
Market (2004), Writing the Character-Centered
Screenplay (2nd edition, 2000), and The Films of Theo
Angelopoulos (2nd edition, 1999). His screenplays include Brad
Pitt’s first feature film, The Dark Side of the
Sun (1988), and the award-winning Something in
Between (1983), directed by Srdjan Karanovic. He has led
screenwriting workshops around the world as well as across the
United States.
Joanna E. Rapf is Professor of English and Film & Media Studies at the University of Oklahoma, USA. She writes regularly about film comedy, with recent essays on Woody Allen, Jerry Lewis, Roscoe Arbuckle, Harry Langdon, and Marie Dressler, and has edited books on a range of subjects including Sidney Lumet, On the Waterfront, and Buster Keaton.
"And of course, it very much is. An important subject needs an
important companion. This is it. That's all, folks." ("Reference
Reviews," 1 January 2014) "This work is indispensible for any
student or scholar who, in the spirit of Rabelais, Swift, and
Chesterton, will laugh while studying film images. Summing Up:
Highly recommended. Lower-division undergraduates and above;
general readers." ("Choice, " 1 July 2013)
"This work is indispensible for any student or scholar who, in the
spirit of Rabelais, Swift, and Chesterton, will laugh while
studying film images. Summing Up: Highly recommended.
Lower-division undergraduates and above; general readers."
("Choice, "1 July 2013)
 |
Ask a Question About this Product More... |
|
