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 renowned style that explores all points of its formative social, cultural and political context
* A wide-ranging selection of 24 essays exploring movie comedy from the silent period to the present
* foreign 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 comparable to gender, politics, and historical past as well as person works
* Engages with assorted strands of comedy together with slapstick, romantic, satirical and ironic
* positive factors unique entries from a various workforce of multidisciplinary overseas contributors
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Extra info for A Companion to Film Comedy
Along with romance and comic books, these stories were segregated from fiction that was marketed as bona fide ‘‘literature’’ 20 ONCE UPON A TIME in order to distance the latter from supposedly childish or lower quality fiction (66–8). By the 1930s and 1940s, comic-book heroes became so popular that many were adapted or serialized for the movies. ) But popularity did not eliminate the distinction between highbrow and lowbrow fiction, which would continue to plague science fiction and fantasy for several decades.
As the film industry continues to outdo itself in creating multimillion-dollar spectacles, viewers are also more and more comfortable with small-screen technologies like laptops and cell phones. The repercussions of this for the fantasy film are not trivial. To the extent that the current spate of fantasy film is heavily involved in special effects, it thrives on big screens and big sound. An epic like Rings arguably loses much of its grandeur when viewed on a small screen. If more and more viewers choose to watch movies on small screens, this could conceivably create a divergence in the types of fantasy produced and consumed specifically for those venues.
From a spiritual perspective, Tolkien sees this creative act to be an extension of God’s creation, thus imbuing imagination and the act of sub-creation with a spiritual dimension (1966, 38–52). According to Tolkien, fantasy is a rewarding experience in its own right, but also offers the benefits of recovery, escape, and consolation (75–87). By recovery, Tolkien means that good fantasy helps us rediscover the joy and wonder of our primary world through a process of de-familiarization, helping us to see our own world with fresh eyes and a new perspective.
A Companion to Film Comedy by Andrew Horton, Joanna E. Rapf