Comedy Studies最新文献

{"title":"The Idea of Comedy","authors":"L. Potts","doi":"10.4324/9781003266914-2","DOIUrl":"https://doi.org/10.4324/9781003266914-2","url":null,"abstract":"","PeriodicalId":38662,"journal":{"name":"Comedy Studies","volume":"39 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-02-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88371208","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Introduction to 13:1","authors":"I. Wilkie","doi":"10.1080/2040610x.2022.2040715","DOIUrl":"https://doi.org/10.1080/2040610x.2022.2040715","url":null,"abstract":"","PeriodicalId":38662,"journal":{"name":"Comedy Studies","volume":"13 1","pages":"1 - 1"},"PeriodicalIF":0.0,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43317693","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"‘An evolution of a combo’: the current state of the North American Sitcom, and its influence from both prior stages of the genre, and contemporary narrative trends through an examination of Schitt’s Creek","authors":"Amelia G. Chisholm","doi":"10.1080/2040610X.2021.1951108","DOIUrl":"https://doi.org/10.1080/2040610X.2021.1951108","url":null,"abstract":"Abstract The North American Sitcom is a vastly understudied subject in both televisual and comedic academi a – and yet it best exemplifies the contemporary narrative trend of ‘Nicecore’. I have chosen to focus my study upon Schitt’s Creek as it epitomizes this phenomenon, whilst also representing what I believe to be the third stage in evolution of the genre. This combines textual and formal trends present in both prior stages, and therefore aids in demonstrating the progression of said evolution. In this article I have analysed the generic features of Schitt’s Creek, whilst also assessing the presence of ‘Nicecore’, and linking both topics to the current political landscape. I believe that this evolutionary trend of the North American Sitcom displays not only its pedagogical implications, but the genre’s overall significance.","PeriodicalId":38662,"journal":{"name":"Comedy Studies","volume":"12 1","pages":"215 - 226"},"PeriodicalIF":0.0,"publicationDate":"2021-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42204679","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Comedy comes in threes: developing a conceptual framework for the comic triple humour technique","authors":"Matthew McKeague","doi":"10.1080/2040610X.2021.1951105","DOIUrl":"https://doi.org/10.1080/2040610X.2021.1951105","url":null,"abstract":"Abstract There is an opportunity in humour studies to expand its fundamental theories and develop joke structure analysis tools for humour techniques such as the Comic Triple. Despite its use in the comedic arts, there is a lack of research regarding the Comic Triple tactic wherein three components of a joke appear in a sequence. The first component establishes a joke’s setup, the second reinforces the setup, and the third contradicts this pattern with a surprise. Using the Incongruity Theory of humour as a theoretical basis, the author proposes a conceptual framework for explaining and analysing the Comic Triple with applications to visual humour and comedic outlets other than stand-up comedy, where research has already been conducted. This conceptual framework graphically presents a theoretical construct of the Comic Triple displayed as a linear process. In the final portion of the article, the Comic Triple Conceptual Framework is applied to The Three Stooges’ short film Punch Drunks as an example analysis, illustrating a well-defined humour tactic within an academic context.","PeriodicalId":38662,"journal":{"name":"Comedy Studies","volume":"12 1","pages":"174 - 185"},"PeriodicalIF":0.0,"publicationDate":"2021-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43891990","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"#CybillToo?: how a feminist sitcom (almost) exposed Hollywood’s dark secrets","authors":"Nicole S. Kypker","doi":"10.1080/2040610X.2021.1951103","DOIUrl":"https://doi.org/10.1080/2040610X.2021.1951103","url":null,"abstract":"Abstract The sitcom Cybill (CBS 1995–1998) is loosely based on the real-life experiences of its feminist star and executive producer, Cybill Shepherd. The show thus has the extraordinary potential to relate the experiences of a Hollywood actress, operating within a singularly influential apparatus in the creation of dominant ideologies, including representations of women. This ‘belly of the beast’ set-up suggests an abundance of possibilities for the woman buffoon, trickster or thief of language to tell her thus-far censored, inside story, but within a medium and textual format that are themselves significantly controlled by, and instrumental in perpetuating, that very same machinery. Yet this sitcom was produced in the nineteen-nineties, a decade characterised by apolitical, postmodern irreverence. This article will assess the sitcom’s integration of postmodern, conservative and feminist discourses by conducting a critical discourse analysis, as formulated by Norman Fairclough, of one episode. The episode is one of two in which the show depicts Hollywood producers requesting sexual favours in return for employment opportunities, two decades before the practice provoked international outrage and brought about the formation of the #MeToo movement. The episode overall adopts a morally dubious positioning in its portrayal of Hollywood realities. However, as will be argued, this very postmodern ambiguity enabled the sitcom to represent and denounce long-established ‘casting couch’ practices, if in a cursory and trivialising manner.","PeriodicalId":38662,"journal":{"name":"Comedy Studies","volume":"12 1","pages":"147 - 160"},"PeriodicalIF":0.0,"publicationDate":"2021-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43427822","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Humour and coronavirus: coping with the pandemic in Ghana","authors":"Susanna Adjei Arthur","doi":"10.1080/2040610X.2021.1951102","DOIUrl":"https://doi.org/10.1080/2040610X.2021.1951102","url":null,"abstract":"Abstract The global outbreak of the coronavirus pandemic has attracted numerous myths, jokes and creativity from the media, politicians and citizens. They are conveyed through written pieces, pictorials, videos, and audios. Some of these either increased or reduced public anxiety as well as minimize the sense of urgency. The objective of this paper is to critically analyse humour that shaped and is shaping the coping strategies in Ghana during the Covid-19 pandemic. With a perusal of some of the examples of humours that were trending during the pandemic such as the ‘ABC of coronavirus comedy’ by an upcoming comedian, Clemento Suarez, the paper argues that humour is a capsule for tension reduction as a means of disseminating critical information during critical situations.","PeriodicalId":38662,"journal":{"name":"Comedy Studies","volume":"12 1","pages":"139 - 146"},"PeriodicalIF":0.0,"publicationDate":"2021-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41418294","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"But what has Footlights ever done for us? Gender, comedy and the politics of privilege","authors":"N. Archer","doi":"10.1080/2040610X.2021.1951104","DOIUrl":"https://doi.org/10.1080/2040610X.2021.1951104","url":null,"abstract":"Abstract In recent years, institutions such as Cambridge University, and Cambridge societies such as Footlights, have been under scrutiny for their perceived elitism. This article nevertheless makes the case that such views overlook the place of gender within these contexts, and above all, the history of gender discrimination and the struggle for representation on the part of women within such institutions. Looking primarily at Footlights, and two of its most prominent early female members (Eleanor Bron and Emma Thompson), and focusing on some of their early work on screen, this article argues that we consider the exceptional nature of female performers emerging from the society. The article argues, in turn, that we take into account the distinctive, critical type of work on the part of these performers, in terms of its comedic and reflextive approach to female representation; arguing also that we link such work to the authorial opportunities, but also competitive contexts, of Cambridge University comedy during these times.","PeriodicalId":38662,"journal":{"name":"Comedy Studies","volume":"12 1","pages":"161 - 173"},"PeriodicalIF":0.0,"publicationDate":"2021-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46779828","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"A Comedian and an Activist Walk into a Bar: The Serious Role of Comedy in Social Justice","authors":"Sophia A. Mcclennen","doi":"10.1080/2040610X.2021.1951100","DOIUrl":"https://doi.org/10.1080/2040610X.2021.1951100","url":null,"abstract":"","PeriodicalId":38662,"journal":{"name":"Comedy Studies","volume":"12 1","pages":"248 - 249"},"PeriodicalIF":0.0,"publicationDate":"2021-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45864853","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Laughing behind bars: How stand-up comedy by people with lived experience of incarceration confronts and sustains stigma and marginalization","authors":"Kelsey Timler, Marcela Jordão Villaça","doi":"10.1080/2040610X.2021.1951109","DOIUrl":"https://doi.org/10.1080/2040610X.2021.1951109","url":null,"abstract":"Abstract Stand-up comedians provide insight into human positionalities, offer poignant social critiques, and can bring sensitive and uncomfortable subjects to the forefront of public discourse, including discussions around mental illness. Historically, however, the industry has relied on the stigmatization and marginalization of Others. Jokes about criminality, arrests, and incarceration are widespread across stand-up and other entertainment mediums, though often narrowly focused on individual behavior; these jokes fail to account for the known correlates of crime, which include economic vulnerability, un- and under-employment, and mental illness. More often than not, this humour fails to account for underlying socio-political, historical, and structural forces linked to carceral inequities, such as heteropatriarchy, Eurocentrism, and the historic and ongoing impacts of colonialism, dispossession, and slavery on health, social and criminal justice inequities, including mental health. In this context, comedians with lived experience of incarceration offer unique perspectives into the prison industrial complex and the impacts of incarceration on mental health and wellbeing. In this paper, we explore the work of comedians with lived experience of incarceration, highlighting the ways that comedy provides opportunities to confront pervasive stereotypes around incarceration and mental illness, while industry norms continue to sustain stigma, homophobia, and neoliberalism, and obscure systemic forces linked to carceral inequities.","PeriodicalId":38662,"journal":{"name":"Comedy Studies","volume":"12 1","pages":"227 - 247"},"PeriodicalIF":0.0,"publicationDate":"2021-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44111959","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Special editorial","authors":"Ellie Tomsett, Eric Shouse, Ignatius Chukwumah, Anastasiya Fiadotava, Cale Bain","doi":"10.1080/2040610x.2021.1951101","DOIUrl":"https://doi.org/10.1080/2040610x.2021.1951101","url":null,"abstract":"The global COVID-19 pandemic has caused extraordinary effects on all our lives, right across the globe. The need to socially distance and the abrupt switch to online and digital means of communication have irrevocably changed the way that we interact for the purposes of creating community, for business and educational purposes and for the production and consumption of culture and art. Comedy, as a form of entertainment, has been hit particularly hard. Effective live comedy relies on performer and audience interplay within a complicit community; the audible sound of laughter as a reciprocal mechanism of assessing the interaction; the appearance of spontaneity; and expertise in the use of timing and other craft skills that are reliant on the here-and-now engagement. Each of these elements are especially difficult to replicate or reproduce through digital platforms. How, then, have comedians around the world managed this dramatic shift in the delivery and reception of their creative work? Comedy Studies has asked five international friends and correspondents to provide a pen-portrait of the situation that comedians in their respective areas have faced in the time of the global pandemic. Each give their take on how practitioners have responded to the exigencies caused by the crisis. Ellie Tomsett reports on the UK situation; Eric Shouse on North America; Ignatius Chukwumah on Africa; Anastasiya Fiadotava on East European; and Cale Bain on Australia and New Zealand. We also include a special article on this topic in Humour and Coronavirus: Coping with the Pandemic in Ghana by Susanna Adjei Arthur. We are hugely grateful for all their perspectives which together, will hopefully, give a round-up of Comedy in the time of Covid, while illustrating Marshall McLuhan’s prophetic observation in 1964 about ‘the ability of the artist to sidestep the bully blow of new technology of any age, and to parry such violence with full awareness’ (71). We are also happy to be able to provide our usual eclectic mix and range of articles on more general business of Comedy Studies. These cover perspectives on darkly prophetic foreshadowing in the US Sitcom Cybill; gender struggle in The Cambridge Footlights; The ‘comic triple’ mechanism: The Book of Mormon; Morecambe and Wise; Schitt’s Creek and stand-up comedy and incarceration.","PeriodicalId":38662,"journal":{"name":"Comedy Studies","volume":"12 1","pages":"121 - 138"},"PeriodicalIF":0.0,"publicationDate":"2021-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41587209","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}