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 advisor deals a world point of view at the well known style that explores all features of its formative social, cultural and political context

  • A wide-ranging choice 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 reminiscent of 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 crew 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 fellow Cave (pages 217–235): Tamar Jeffers McDonald
Chapter eleven The copy 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 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 ameliorations (pages 432–453): Jane Park
Chapter 21 Comedy “Italian variety” 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 comic strip Comedy (pages 521–543): Suzanne Buchan

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The Curtain Pole begins with future slapstick legend Mack Sennett, playing the part of ‘‘Monsieur Dupont,’’ rushing to replace a curtain pole he broke while visiting a home. Numerous people join in a chase after this frenzied ‘‘Frenchman’’ accidentally hits them with his replacement pole. Upon his return Dupont learns that his chaotic venture was for naught because the broken pole was quietly replaced during his absence. The film ends with a medium close-up of Dupont chewing his unwanted curtain pole in frustration.

Rourke, C. (1931) American Humor, Harcourt, Brace and Company, New York, NY, pp. ix, 8, 9, 12, 13, 99. Spehr, P. L. Dickson, John Libbey Publishing Ltd, New Barnet, pp. 75–82, 649. Further Reading Agee, J. (1949) Comedy’s greatest era, Life, September 5, 1949, pp. 70–82, 85-6, 88. Reprinted in Agee, J. (1958) Agee on Film, Vol. 1, Grosset & Dunlap, New York, NY, vol. 1, pp. 105–22. Written by one of America’s greatest film critics, James Agee, this classic essay was instrumental in fostering the scholarly recognition and rediscovery of America’s foremost silent comedians during the second half of the twentieth century.

Sentiment was beginning to percolate through the character. This became a problem because he was bound by the limits of slapstick . . The solution came when I thought of the tramp as a sort of Pierrot. With this conception I was freer to express and embellish the comedy with touches of sentiment. But logically it was difficult to get a beautiful girl interested in a tramp. This has always been a problem in my films . . The girl in City Lights is blind. In this relationship he is romantic and wonderful to her until her sight is restored .

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