دانلود کتاب A Companion to Film Comedy

A wide-ranging survey of the subject that celebrates the variety and complexity of film comedy from the ‘silent’ days to the present, this authoritative guide offers an international perspective on the popular genre that explores all facets of its formative social, cultural and political contextA wide-ranging collection of 24 essays exploring film comedy from the silent era to the presentInternational in scope, the collection embraces not just American cinema, including Native American and African American, but also comic films from Europe, the Middle East, and KoreaEssays explore sub-genres, performers, and cultural perspectives such as gender, politics, and history in addition to individual worksEngages with different strands of comedy including slapstick, romantic, satirical and ironicFeatures original entries from a diverse group of multidisciplinary international contributorsContent: Chapter 1 The Mark of the Ridiculous and Silent Celluloid (pages 13–38): Frank ScheideChapter 2 Pie Queens and Virtuous Vamps (pages 39–60): Kristen Anderson WagnerChapter 3 “Sound Came Along and Out Went the Pies” (pages 61–84): Rob KingChapter 4 Mutinies Wednesdays and Saturdays (pages 85–110): Frank KrutnikChapter 5 Jacques Tati and Comedic Performance (pages 111–129): Kevin W. SweeneyChapter 6 Woody Allen (pages 130–150): David R. ShumwayChapter 7 Mel Brooks, Vulgar Modernism, and Comic Remediation (pages 151–171): Henry JenkinsChapter 8 Humor and Erotic Utopia (pages 173–195): Celestino DeleytoChapter 9 Taking Romantic Comedy Seriously in Eternal Sunshine of the Spotless Mind (2004) and Before Sunset (2004) (pages 196–216): Leger GrindonChapter 10 The View from the Man Cave (pages 217–235): Tamar Jeffers McDonaldChapter 11 The Reproduction of Mothering (pages 236–247): Lucy FischerChapter 12 It's Good to be the King (pages 249–272): Charles MorrowChapter 13 No Escaping the Depression (pages 273–292): William PaulChapter 14 The Totalitarian Comedy of Lubitsch's To Be or Not To Be (pages 293–314): Maria DibattistaChapter 15 Dark Comedy from Dr. Strangelove to the Dude (pages 315–339): Mark EatonChapter 16 Black Film Comedy as Vital Edge (pages 341–364): Catherine A. JohnChapter 17 Winking Like a One?Eyed Ford (pages 365–386): Joshua B. NelsonChapter 18 Ethnic Humor in American Film: The Greek Americans (pages 387–406): Dan GeorgakasChapter 19 Alexander Mackendrick (pages 407–431): Claire MortimerChapter 20 Tragicomic Transformations (pages 432–453): Jane ParkChapter 21 Comedy “Italian Style” and I soliti ignoti (Big Deal on Madonna Street, 1958) (pages 454–473): Roberta Di CarmineChapter 22 “Laughter that Encounters a Void” (pages 474–493): Najat RahmanChapter 23 Laughter is Ten Times More Powerful than a Scream (pages 495–520): Paul WellsChapter 24 Theatrical Cartoon Comedy (pages 521–543): Suzanne Buchan