Suchergebnisse

Während die große Politik in Sommerpausenlaune verfällt und ihre Wahlkampfmaschinerie längst nicht warm gelaufen ist, zünden manche Ärzteverbände bereits ein polemisches Feuerwerk gegen die Gesundheitspolitik der Bundesregierung.

William Solomon (SUNY-Buffalo) asks us how vernacular and avant-garde comic practice might function as twinned responses to standardised mass-production and the rationalisation of the workplace. Returning us to the recently rediscovered comic films of Charley Bowers - a pioneer of animated silent film and a proto-surrealist bricoleur lionised by André Breton, Solomon demonstrates how Bowers' absurd machinic assemblages "generate laughter at the expense of the ethos of productive rationalism, in the process of opening up an alternative understanding of machinery as the locus of exuberantly unsettling bursts of joy".

The comic book may be more popular in Mexico than in any other Latin American country. In this essay, Harold Hinds focuses on Chanoc, which was a best seller in Mexico during its peak years from 1960 to 1971. Hinds gives much interesting information on the evolution of the comic book and on its creators, sales, and readership. He speculates that itsdecline was due to a number of factors, including the degeneration o f one of its main characters, Tsekub, into a mere clown, the inaccessibility of its increasingly "slangy" language, and its tendency towards cuteness rather than meaningful satire. He then examines the main characters. Chanoc is a kind of highly moral Tarzan‐figure who protects the defenseless against villainous exploiters. Tsekub, Chanoc's sidekick and anthithesis, is an old man with a young spirit whose zest for life provides much comedy. Hinds points out that in addition to adventure and humor, Chanoc's main components, the comic book also deals with foreign, particularly US., interference in Mexico and elsewhere. He also considers a variety of ways in which Chanoc reflects, at times quite subtly, Mexican culture and society; e.g., aspects of regionalism, nationalism, mestizo character, machismo, and modernization are briefly explored.

Hokum!, the first book to take a comprehensive view of short-subject slapstick comedy in the early sound era, challenges the received wisdom that sound destroyed the slapstick tradition. Author Rob King explores the slapstick short's Depression-era development against a backdrop of changes in film industry practice, comedic tastes, and moviegoing culture. Each chapter is grounded in case studies of comedians and comic teams, including the Three Stooges, Laurel and Hardy, and Robert Benchley. The book also examines how the past legacy of silent-era slapstick was subsequently reimagined as part of a nostalgic mythology of Hollywood's youth.

Hokum!, the first book to take a comprehensive view of short-subject slapstick comedy in the early sound era, challenges the received wisdom that sound destroyed the slapstick tradition. Author Rob King explores the slapstick short's Depression-era development against a backdrop of changes in film industry practice, comedic tastes, and moviegoing culture. Each chapter is grounded in case studies of comedians and comic teams, including the Three Stooges, Laurel and Hardy, and Robert Benchley. The book also examines how the past legacy of silent-era slapstick was subsequently reimagined as part of a nostalgic mythology of Hollywood's youth. "A valuable contribution to historiography in its ability to fill a hole in contemporary film history, increasing our understanding of both the (perceived) narrowed place of the comedy film short in the 1930s and the production and reception of slapstick comedy during that era." -KATHRYN FULLER-SEELEY, Professor of Radio-Television-Film, University of Texas at Austin "With solid research, jewel-like prose, and plenty of wry humor, Rob King convincingly busts the myths and chases away the nostalgia for silent film comedy. Instead, we leave with a lasting sense of the form's persistent cultural relevance." -DONALD CRAFTON, author of Shadow of a Mouse "Hokum! moves deftly through questions of performance, aesthetics, technology, political economy, trade practices, and popular reception to convincingly unseat deeply entrenched understandings of the transition to sound and its impact on the history of screen comedy. This book is some of the smartest film history being written today." -MARK LYNN ANDERSON, author of Twilight of the Idols ROB KING is Associate Professor at Columbia University's School of the Arts and author of the award-winning The Fun Factory: The Keystone Film Company and the Emergence of Mass Culture.

AbstractControversy and intrigue greeted Charlie Chaplin's new film,The Great Dictator, when it arrived in Latin American theatres in early 1941. With tear gas, Nazi salutes and anti-Semitic insults, pro-Axis factions from Mexico to Argentina protested against the Hollywood star's ridicule of Adolf Hitler and Benito Mussolini. At an important Good Neighbour moment, the film's tumultuous Latin American circulation and exhibition exposed fault lines in hemispheric solidarity by subverting US efforts to recruit allies in the region and threatened President Roosevelt's support for European intervention at home. Down south, heated public debates over the film trained a harsh light on Latin American leaders' own anti-democratic impulses and raised questions about constitutionality within unequal societies. This article moves beyond film as text to examine the Chaplin picture as a cultural object and agent that exposed the limits of US imperialism and Latin American resistance strategies more broadly.

This study aims to describe the impoliteness strategies and impolite responses to swearing utterances in the Javanese Cak Percil CS slapstick shows. This type of research is descriptive qualitative research. The research approach used is pragmatic. The data in this study were divided into primary and secondary. Preliminary data is swearing utterances that accommodate the impoliteness strategies and impolite responses, while secondary data is information about speech through context and felicity conditions. The data obtained in this study is the listening method with recording techniques. This study found that impoliteness strategies included bald on records, positive impoliteness, and negative impoliteness. For response found offensive-countering, defensive-countering, accept the face attack, and do not respond.