A Companion to Film Comedy by Andrew Horton, Joanna E. Rapf

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 consultant bargains a world point of view at the well known style that explores all aspects of its formative social, cultural and political context
* A wide-ranging number 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 in addition comedian movies from Europe, the center East, and Korea
* Essays discover sub-genres, performers, and cultural views corresponding to gender, politics, and heritage as well as person works
* Engages with diversified strands of comedy together with slapstick, romantic, satirical and ironic
* gains unique entries from a various crew of multidisciplinary overseas contributors

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Gloria Grahame is the perfect American replica of Simone Simon, and Joan Bennett is a heroine in the films of both Renoir and Lang. There the comparisons stop. The director of La Bete Humaine and the director of Human Desire are not after the same thing. Renoir treated Zola's novel with what we customarily call asceticism. Recently he explained it this way: "What helped me to make La Bete Humaine are the hero's explanations of his atavism. I said to myself, it isn't very pretty, but if a man as handsome as Jean Cabin said that outdoors, with the horizon behind him and perhaps some wind, it might have a certain validity.

T o underestimate L 'Atalante, because it was created to order, is to forget that second works are almost always that. Le Bal du Comte d'Orgel is an order of Cocteau to Radiguet, or of Radiguet to himself. As a matter of principle, every second work is important because it allows us to determine whether the artist had only one work in him, that is, whether he was a gifted amateur, or a creator, whether he was someone who had a lucky break or someone who is going to develop. Finally, there is the same line of development, the passage from realism and revolt to preciousness and estheticism.

The important actions take place in the living room of a rich farmer. The sequential shots are highly mobile and seem to have been inspired by Alfred Hitchcock's The Rope. ) And in Ordet, white predominates again, this time a milky whiteness, the whiteness of sun-drenched curtains, something we have never seen before or since. The sound is also splendid. Toward the end of the film, the center screen is occupied by a coffin in which the heroine, Inger, is laid out. Johannes, the madman who takes himself for Christ, has promised to raise her from the dead.

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