Comedy

“Red Laughter”: On Refined Weapons of Soviet Jesters

by Serguei Alex. Oushakine (Сергей Ушакин)

Social Research Vol. 79 : No.1 : Spring 2012

International Journal of Cultural Studies Special issue: "The Social Activism of Comedy" by R. A. Mora & S. Weaver - CALL FOR ABSTRACTS

by Raúl A. Mora

Special Issue for International Journal of Cultural Studies. For details or abstract submissions, contact:
Dr. Raúl A. Mora at raul.mora@upb.edu.co
and
Dr. Simon Weaver at simon.weaver.brunel.ac.uk

(PLEASE e-mail both of us with inquiries and abstracts. Thanks!)

In Search of the Origin and Essence of Old Comedy (abstract)

by Jeffrey Rusten

THE ONE AND ONLY (Susanne Bier, 1999), the kitchen in all its states

by Rene Hirsch

2 or 3 things I know about Susanne Bier (1)

This romantic comedy is about two couples with fertility problems. At the beginning, the 2 couples go through the same... more This romantic comedy is about two couples with fertility problems. At the beginning, the 2 couples go through the same sequence of events, but these parallel lives will eventually merge into one.
To protect her body from the marks of pregnancy, Sus gives false indications to her husband Sonny as to when her fertile periods are. On the other hand, Lizzie and Niller want to adopt a child, because they can’t have one of their own, the sperm of Niller being worthless...

The Mighty Boosh: Femininity, Female Fan Practices and the figure of the 'Fangirl'

by Sarah Harman

The Mighty Boosh (dir. Paul King 2007 - present), once an underground cult text, has increasingly become rejected as... more The Mighty Boosh (dir. Paul King 2007 - present), once an underground cult text, has increasingly become rejected as 'feminine mainstream'. This gendering occurs through a number of processes: an association with consumerism and rabid consumption; an increasingly visible female fandom; and through an assimilation of these into the text itself. This paper argues that the rejection of The Mighty Boosh and its affiliation with the feminine typifies the gendering of television dialectics, as well as the gendered dichotomy of Cult verses Mainstream.

By examining female fan behaviour this paper explores the hierarchical structure of female Boosh fandom, problematising pre-existing fandom studies and their theoretical assumptions. This is primarily through what I term the Illegitimate and Legitimate fan, exploring how fans compete for dominance through their relationship to and with the text. In addition this paper takes as crucial the current phenomenon of the comedy 'fangirl' – the lowest position within this hierarchy –  concluded as central to feminist discourses of consumption, sexuality and identity whilst standing at odds with the traditional masculine position of the 'serious fan'.

L'intervento di Gherush92 sulla "Commedia": una mancata occasione di diplomazia culturale

by Marina Decó

In 10 days on MonteCovello News, 4-2012, too

The paper considers Gherush92's statements about Dante's Comedy as a phaenomenon of cultural pyrrhonism, which deletes... more The paper considers Gherush92's statements about Dante's Comedy as a phaenomenon of cultural pyrrhonism, which deletes Dante's exegesis and hermeneutics, not worthing free will.

The Loathing of Ron Burgundy: ANCHORMAN and Consensus

by Richard McCulloch

“Resist the Usual": Young & Rubicam’s Soft Sell Strategies in Radio Comedy Programming

by Cynthia B. Meyers

Paper presented at the Society of Cinema and Media Studies Conference, Boston, MA, 22 March 2012, as a part of "Time to Smile" panel.

Although most ad agencies producing radio programming in the 1930s used hard sell advertising strategies, Young &... more Although most ad agencies producing radio programming in the 1930s used hard sell advertising strategies, Young & Rubicam followed soft sell principles, including the use of humor, emotional appeals, and advertising integration into program texts, in order to avoid alienating audiences.

The Lives of Our Mad Mothers: Ageing and Contemporary Performance

by Anna Harpin

Published in Women and Performance: A Journal of Feminist Theory, 2012

New Britain, new comedy

by Christopher Scanlon

Comicidade e cinema mudo- Dramaturgia de esquetes cômicos

by Marcus Mota

Among achievements of the first movies and genres, we have a huge variety of comedy works. In addition to comic... more Among achievements of the first movies and genres, we have a huge variety of comedy works. In addition to comic effect, these works were organized according to clear dramaturgical procedures that correlate the composition (how the parts are framed and connected) to reception problems. In this article I analyze the comedy film compilation “When Was King”. Big Business, from Laurel and Hardy, receives a more detailed study.
Entre realizações e gêneros do primeiro cinema, temos uma variedade enorme de obras classificadas como cômicas. Além do efeito cômico, tais obras se organizavam em função de claros procedimentos dramatúrgicos, que correlacionam temas de composição (como as partes são elaboradas e conectadas) a problemas de recepção. Neste texto analiso esquetes presentes na coletânea “When Comedy Was King”. E, entre eles, Big Business, de Laurel e Hardy.
TRABALHO apresentado na VI Reunião científica da Abrace, Porto Alegre, 2011.

What's So Funny? Examining the Popularity of Comedy of Manners

by Deanne McDonald

published in Graduate Research Conference Journal, Minnesota State University, Mankato 2010

Frequent revivals of comedy of manners plays across a variety of periods attest to their enduring popularity with the... more Frequent revivals of comedy of manners plays across a variety of periods attest to their enduring popularity with the modern American audience. The genre adheres to mannerly conventions intrinsic to their original time unfamiliar to the general population. David Hirst identifies three necessary ingredients of a true comedy of manners: characters use manners employed in a social context, their main concerns are sex and money, and they control their emotions using wit and disguise. Modern audiences respond to the third ingredient because they recognize the dichotomy between what a character really thinks and feels and the forced composure due to societal requirements. Noel Coward's Private Lives and Oscar Wilde's The Importance of Being Earnest include genre defining illustrations of this dichotomy.

Somatic Geometry: Jacques Tati's anarchist aesthetics

by Diarmuid Hester

published in 'One+One: Filmmakers Journal' Issue 7 (December 2011)

Argues that French director Jacques Tati outlines a clear anarchist critique of contemporary French society in his... more Argues that French director Jacques Tati outlines a clear anarchist critique of contemporary French society in his 1958 film Mon Oncle

Clare Watters, 'Being Berlusconi: Sabina Guzzanti’s Impersonation of the Italian Prime Minister between Stage and Screen', in: Popa, D. and Tsakona, V. (eds.) Studies in Political Humour, Amsterdam: John Benjamin, 2011

by Clare Watters

The present study explores the function of satirical impersonation in contemporary Italian society through an... more The present study explores the function of satirical impersonation in contemporary Italian society through an examination of the work of satirist Sabina Guzzanti and her impersonation of the current Italian Prime Minister, Silvio Berlusconi. The movement of Guzzanti’s work away from television after the removal of the satirical show, RaiOt, from the airwaves allows for an assessment of political impersonation as a humour strategy on both stage and screen. The analysis reveals the role which impersonation has to play in redefining the image of Berlusconi, the restrictions which are placed on television satire in the Berlusconi era and the development and politicisation of humour which stage appearances have encouraged in the Guzzanti’s work. 

'Standing up for Italian comedy: An interview with comedian, Filippo Giardina', Comedy Studies, vol. 2, issue 1, pp.83-7

by Clare Watters

In this interview, translated from the original Italian, Filippo Giardina, comedian and founder of the Rome-based... more In this interview, translated from the original Italian, Filippo Giardina, comedian and founder of the Rome-based stand-up comedy workshop Satiriasi, introduces readers to this comedy initiative, the relatively new genre of Italian stand-up comedy and the problems faced by comedians in Italy today.

"Wiseau Serious? How Audiences Transform 'The Room' From a Romantic Drama Into an Unintentional Comedy Sensation"

by Richard McCulloch

In February 2012, THE ROOM's director/star/writer/producer Tommy Wiseau and co-star Greg Sestero visited London for a... more In February 2012, THE ROOM's director/star/writer/producer Tommy Wiseau and co-star Greg Sestero visited London for a series of introduced screenings. This piece reflects on those screenings, providing an overview of the film and its cult following. I argue that it is the audience, and not simply the film itself, that is responsible for the production of such a riotous comedy experience.

Sex and Screwball Comedy in The Good Wife

by Kelli Marshall

In Media Res (14 Oct. 2011)

Considers how CBS's (rather serious) drama The Good Wife infuses elements of classical screwball comedy into the... more Considers how CBS's (rather serious) drama The Good Wife infuses elements of classical screwball comedy into the relationship of Diane Lockhart and ballistics expert Kurt McVeigh

Love That Just Can't Define Its Name Original

by John Alberti

En el centenario de Jardiel Poncela

by antonio dominguez leiva

La heterodoxia religiosa en los años 30: de la violencia surrealista al humorismo conservador

by antonio dominguez leiva