By Andrew Horton, Joanna E. Rapf
A wide-ranging survey of the topic that celebrates the diversity and complexity of movie comedy from the ‘silent’ days to the current, this authoritative advisor bargains a global point of view at the well known style that explores all aspects 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
* overseas in scope, the gathering embraces not only American cinema, together with local American and African American, but additionally comedian movies from Europe, the center East, and Korea
* Essays discover sub-genres, performers, and cultural views similar to gender, politics, and historical past as well as person works
* Engages with diverse strands of comedy together with slapstick, romantic, satirical and ironic
* beneficial properties unique entries from a various team of multidisciplinary overseas contributors
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Extra info for A Companion to Film Comedy
Sex is the reason Alan wanted the girl around, but with the arrival of two others, he has to offload her onto his brother, so he then gets to enjoy sex with her. While Peggy is not ‘punished’ by the narrative for having sex, as she would have been in former years because of the dictates of the Production Code, she is clearly being exploited by the brothers, and the audience is meant to see her own willingness to have sex to secure (as she believes) a film role means she deserves what she gets, being passed around from man to man as she, the good natured but dumb bunny, attempts to manipulate them.
He is thus more self-forgetting than forgotten in the topical sense, and this creates a crucial difference in the political weight the film’s narrative can claim. While My Man Godfrey may, like It Happened One Night, posit the rich as empty-headed, spoilt children, setting up a clear opposition between the ignorant and selfish Bullocks and the noble, intelligent and always dignified Godfrey, it then abandons the inherent social thrust of this contrast by having Godfrey actually belong to an equally rich family.
1992: 127) Significantly, and not mentioned here by this male critic, it is usually an anarchic female who undercuts the pomposity of the stuffy male. Here the films do not content themselves with just mocking the man, seeking to deflate his self-regard, but more importantly display the need for his rescue from arid and sexless pursuits. It is possible to see popular Freudianism, just then beginning to affect Hollywood, at work here, and to map psychoanalytic terms onto the characters: the repressed person can be seen as the Ego, subjected to assaults from a freer soul, the Id, who wants to liberate the hero’s unconscious desires.
A Companion to Film Comedy by Andrew Horton, Joanna E. Rapf