开门见山:图形特技喜剧和危机闹剧的出现

IF 0.9 0 HUMANITIES, MULTIDISCIPLINARY
Moss
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引用次数: 1

摘要

摘要:闹剧是一种喜剧表演方式,其定义自19世纪以来没有太大变化。掌掴、打人、踢人、拳打脚踢、摔人,以及其他类型的舞台和银幕暴力似乎是暴力和有害的。但这些行为最终被揭露并被解决为模拟和无害的。闹剧演员毫发无损地出现,作为喜剧宣泄发生的必要先决条件。然而,在过去的三十年里,一种生动的、越界的喜剧暴力形式的出现挑战了这种理解。由“视频船长”拉尔夫·扎瓦迪尔、汤姆·格林和约翰尼·诺克斯维尔的Jackass剧组等令人震惊的喜剧演员表演的自我伤害性行为,利用暴力超越了既定的屏幕界限,破坏了表演风格的规范。这种颠覆性的幽默形式,本文将其称为“危机闹剧”,它以打破传统闹剧的喜剧冲击的方式,制造出生动的暴力场面。身体伤害,以喜剧的荒谬形式呈现,批评而不是支持几十年来经典闹剧表演中建立的安全屏幕空间和工业专业主义的固有假设。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Cutting to the Punch: Graphic Stunt Comedy and the Emergence of Crisis Slapstick
ABSTRACT:Slapstick is a mode of comedic performance whose definition has not changed much since the nineteenth century. Slaps, hits, kicks, punches, pratfalls, and other types of stage and screen violence appear to be violent and harmful. But these acts are eventually revealed and resolved to be simulative and harmless. The slapstick performer emerges, unscathed, as a required prerequisite for comedic catharsis to take place. However, the past three decades have seen a graphic, transgressive form of comedic violence emerge that challenges this understanding. Assaultive acts of self-harm performed by shock-comic performers such as Ralph "Cap'n Video" Zavadil, Tom Green, and Johnny Knoxville's Jackass crew deploy violence to transgress established screen boundaries and disrupt the norms of performance style. This subversive form of humor, which this article refers to as "crisis slapstick," produces graphic violence as comedic shocks that break from traditional slapstick. Physical injuries, presented as comedic absurdity, critique rather than uphold the embedded presumptions of safe screen space and industrial professionalism established over decades of classic slapstick performance.
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来源期刊
Studies in American Humor
Studies in American Humor HUMANITIES, MULTIDISCIPLINARY-
CiteScore
1.40
自引率
90.00%
发文量
39
期刊介绍: Welcome to the home of Studies in American Humor, the journal of the American Humor Studies Association. Founded by the American Humor Studies Association in 1974 and published continuously since 1982, StAH specializes in humanistic research on humor in America (loosely defined) because the universal human capacity for humor is always expressed within the specific contexts of time, place, and audience that research methods in the humanities strive to address. Such methods now extend well beyond the literary and film analyses that once formed the core of American humor scholarship to a wide range of critical, biographical, historical, theoretical, archival, ethnographic, and digital studies of humor in performance and public life as well as in print and other media. StAH’s expanded editorial board of specialists marks that growth. On behalf of the editorial board, I invite scholars across the humanities to submit their best work on topics in American humor and join us in advancing knowledge in the field.
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