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John Mundy and Glyn White

In chapter 1 we dealt primarily with solo male film comedians and in Chapter 2 we discussed male film comedy teams. ldentifying such star vehicles as a sub-genre of the comedy film, Steve Seidman named it ‘comedian comedy’ ( 1979 , 1981 , 2003 ). Such films, Stuart Kaminsky argues, are about ‘the human struggle to attain a satisfying role in

in Laughing matters
John Mundy and Glyn White

, where our moral, practical and rational concerns have a moratorium on their functioning’ ( 1981 : 28). If the context is right, comedy provides a vacation away from the intellectual and affective world we inhabit for most of our waking lives. Comedy presents a world full of contradictions, since it can be the voice of both the powerful and the weak, it can be simultaneously subversive and affirming

in Laughing matters
John Mundy and Glyn White

Depression following the 1929 Wall Street Crash. During the change over to sound production, studios had to make decisions about which types of film were going to be most enhanced by sound. The Jazz Singer (1927), a musical, launched a new genre entirely dependent on the new technology, but was sound necessary for all genres? Comedy was low on the list of priorities for conversion to sound partly because the

in Laughing matters
From bad taste to gross-out
John Mundy and Glyn White

Comedy raises issues around the politics of representation, about power, control and freedom of speech because, as Sharon Lockyer and Michael Pickering state: ‘Humour is only possible because certain boundaries, rules and taboos exist in the first place’ (2009: 16). The issues raised are often articulated through discussions about taste. Taste in this sense is about judgements

in Laughing matters
Abstract only
Gracita Morales
Kathleen M. Vernon

4 The voice of comedy: Gracita Morales Kathleen M. Vernon Recent scholarship on mid-​twentieth-​century Spanish cinema has witnessed a re-​evaluation of the comic performances and persona of a number of well-​known actors, including José Isbert, Manolo Morán, José Luis López Vázquez, Alfredo Landa and Tony Leblanc.1 Writing in The Companion to Spanish Cinema on the ‘politics of stardom’, Chris Perriam and Nuria Triana-​ Toribio have noted the mechanisms and effects of this critical rehabilitation whereby the reputations of certain performers were purged of

in Performance and Spanish film
The Merchant of Venice, Measure for Measure, Twelfth Night
Richard Hillman

As this chapter’s title is meant to signal, I propose to treat three comedies dating from between 1596 (roughly) and 1604 as varied experiments in tragicomedy. To this extent, they anticipate the formal generic turn of the final plays, but they are far from achieving the distinctive synthesis of tragic and comic strains which the latter establish (while exhibiting, of course, their own variations). Instead, the notion of tragicomedy that broadly applies here involves a more or less uneasy juxtaposition of fulfilled comic patterns with an affirmation of tragic

in The Shakespearean comic and tragicomic
Celestino Deleyto

Romantic comedy has been described as a narrative of the heterosexual couple with a happy ending in which humour does not necessarily play an important part. In this book I would like to suggest the limitations of this conceptualisation and propose a change of approach in two different but closely linked directions: on the one hand, a comic perspective is a fundamental ingredient of what we understand by

in The secret life of romantic comedy
Sarah Leahy and Isabelle Vanderschelden

Comedy has been at the forefront of the French film industry since the post-war period in terms of both box-office records and cultural impact. For readers who are less familiar with this genre, Les Comédies à la française (Geudin and Imbert 2011 ) and Comédies françaises (Grassin and Sender 2011 ) document the production contexts of the classic films and provide

in Screenwriters in French cinema
New perspectives on immigration
Caroline Fache

6 Beur and banlieue television comedies: new perspectives on immigration Caroline Fache On July 17, 2013, Paris à tout prix (Kherici, 2013), a comedy about immigration, was released and received mixed reviews, despite decent numbers at the box office. Two days later in L’Express, journalist and movie critic Xavier Leherpeur assessed the production of French films about immigration in an article titled ‘L’immigration dans le cinéma français: un bilan mitigé’ (2013) (Immigration in French cinema: mixed reviews). In his review, Leherpeur also analyzes ‘la manière

in Reimagining North African Immigration
Jeffrey Richards

Comedy was consistently the most popular genre of radio programme. In a 1946 US survey, 59% of respondents listed comedy as their favourite form of programme. 1 This is perhaps not surprising, given the background first of economic depression and later world war. People wanted to be cheered up. But radio imposed certain restrictions on comedy. Visual comedy such as slapstick was impossible. Comedy needed to be predominantly verbal and radio was the home of

in Cinema and radio in Britain and America, 1920–60