By Andrew Horton
The character of comedy has many thinkers, from Plato to Freud, yet movie comedy has no longer got a lot theoretical cognizance lately. The essays in Comedy/Cinema/Theory use a number severe and theoretical ways to discover this curious and interesting topic. the result's a stimulating, informative e-book for someone drawn to movie, humor, and the paintings of bringing the 2 together.Comedy continues to be a imperative 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 viewpoint on different similar comedian types: revealed fiction, comedian books, television sitcoms, jokes and gags.Some essays within the assortment specialize in common concerns pertaining to 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 convey theoretical concerns to undergo on particular works and comedian filmmakers. Peter Brunette, William Paul, Scott Bukatman, Dana Polan, Charles Eidsvik, Ruth Perlmutter, Stephen Mamber, and Andrew Horton offer varied views for interpreting the 3 Stooges, Chaplin, Jerry Lewis, Woody Allen, Dusan Makavejev, and Alfred Hitchcock's sole comedy, Mr. and Mrs. Smith, in addition to the odd style of cynical humor from japanese Europe.As editor Horton notes, an over-arching idea of movie comedy doesn't emanate from those essays. but the variety and originality of the contributions mirror important and transforming into curiosity within the topic, and either scholars of movie and basic moviegoers will enjoy the consequences.
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Extra info for Comedy Cinema Theory
The vastness of the territory, which includes the nature of laughter, humor, the comic, satire, parody, farce, burlesque, the grotesque, the lyrical, romance, metacomedy, and wit, precludes facile generalizations. As Harry Levin has recently written, "If there were any single generalization that could be applied with equal relevance to Chaucer, Mark Twain, Evelyn Waugh, Milan Kundera, Milesian tales, Jewish jokes, banana peels, mechanical toys, content analysis, laugh counts, broadcasts, cartoons, monkeys, hyenas, and tickling it would be much too sweeping for any plane but that of pointless platitude" (6).
1986. Women in Comedy. : Citadel Press. Mast, Gerald. 1979. The Comic Mind: Comedy and the Movies, 2nd ed. Chicago: University of Chicago Press. Merchant, Moelwyn. 1972. Comedy: The Critical Idiom. London: Methuen. Metz, Christian. 1974. Film Language: A Semiotics of the Cinema. New York: Oxford University Press. Mulkay, Michael. 1988. On Humor. Oxford: Basil Blackwell. Palmer, Jerry. 1988. The Logic of the Absurd: On Film and Television Comedy. London: British Film Institute. Rosen, Philip, ed.
Scott Bukatman finds much of Jerry Lewis's near hysteria in Jerry's inability to fully enter the realm of the symbolic, or Oedipal. Ruth Perlmutter, on the other hand, adds to our appreciation of Woody Allen's polyphonic talent ("Woody Allen's Zelig") by demonstrating how the point of Zelig's chameleonlike adaptability in Zelig (1983) is in fact a comic parody of a Jewish-American desire for complete assimilation within American culturea state, of course, that defeats Oedipal resolution and individuation.