Relevant bibliographies by topics / Comedy films

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Comedy films'

Author: Grafiati
Published: 4 June 2021
Last updated: 30 July 2024

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Journal articles on the topic "Comedy films"

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Shih, Evelyn. "Doubled Over 007: “Aryu Pondŭ” and Genre-Mixing Comedy in Korea." Journal of Korean Studies 22, no. 2 (September 1, 2017): 365–88. http://dx.doi.org/10.1215/21581665-4226487.

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Abstract This paper contends that genre mixing in comedy films of the 1960s in South Korea had the potential to interrupt filmic codes, which were increasingly propagandistic following the tightening of film law. The advent of the James Bond films as a global cultural phenomenon stimulated local production of spy films, where the villain was typically North Korean. These films were welcomed by cultural regimes of the time due to their anticommunist orientation, but a small hybrid genre, the “spy comedy,” undermined their absolutism. Based in the vernacular comedy traditions of slapstick film performance, stage comedy, and radio, these “spy comedies” spoofed aspects of both the James Bond franchise and the local action thrillers that imitated Bond. This was often accomplished by overlaying the narrative of a rustic with that of a spy. The comedies reveal a synchronicity between development and urbanization, which displaced large numbers of people, and the othering of North Koreans, which led to spy paranoia about those who were out of place. This paper argues that global genres played a particular role for South Korean comedy in the 1960s: they enabled oblique treatments of sensitive social issues through play. Generic heterogeneity defined comedic films of this era.
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Xuan, Zhou, and Wang Yichun. "Laughing Mechanism and Social Value of Chinese Black Comedy Films——From the Perspective of Bergson's Comedy Theory." Journal of Education, Humanities and Social Sciences 20 (September 7, 2023): 29–36. http://dx.doi.org/10.54097/ehss.v20i.11417.

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This article aims to explore the mechanism of laughter and social functions of Chinese black comedy films from the perspective of Bergson's comedy theory. As a popular comedy subgenre in the Chinese film market, black comedy films combine dark and absurd tragic themes with comedy forms to form a unique film style. By using Bergson's comedy theory, while analyzing the comedy and the production mechanism of laughter in Chinese black comedy films, it also analyzes the social functions and cultural values of black comedy films, and explains how to use universal comedy techniques to empower them Black themes are accepted by the current Chinese society, providing some useful ideas and perspectives for further understanding of the creation and appreciation of Chinese black comedy films.
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Natanael, Christian, and Annita Annita. "ANALYSIS OF HUMOR LANGUAGE IN “NGENEST THE MOVIE” COMEDY SCENE." VCD 7, no. 1 (June 15, 2022): 1–10. http://dx.doi.org/10.37715/vcd.v7i1.2902.

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Humor language is verbal humor created through words, the meaning of words, and jargon. Directors use language humor to build comedy scenes, introduce the characters, or give the impression of a scene. However, sometimes, excessive techniques will be insufficient for the scene itself. Therefore, this study aims to find how language humor in comedy scenes in a film is overused and eventually dries the comedy. Research material was selected from a comedy movie entitled "Ngenest," produced in 2015, directed by Ernest Prakasa, who has a comical background and often uses comedic techniques in his films. The research method chosen is qualitative, with content analysis to identify the value of integrated humor and scenes in the movie "Ngenest.” Keywords: humor, humor language, scene, comedy
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Middleton, Jason. "Documentary Comedy." Media International Australia 104, no. 1 (August 2002): 55–66. http://dx.doi.org/10.1177/1329878x0210400108.

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While documentaries like Roger and Me and mock documentaries such as This is Spinal Tap differ in terms of the ontological status of their referents, they share many formal characteristics, particularly in their editing strategies. This essay examines the editing techniques in these two influential films of the 1980s in order to theorise exactly how film-makers combine conventions of documentary with those of comedy in an attempt to produce laughter in audiences. Having demonstrated the formal qualities of an editing technique prevalent in these films which I term ‘cutting on the absurd’, the essay then explores the broader implications of this comic style in more recent documentary film-making. With a particular focus on Chris Smith and Sarah Price's American Movie (1999), it examines how the editing strategies in documentary films characterised as ‘offbeat character studies' alternately position viewers to laugh at and laugh with the subjects, to occupy a position that can be at once derisory and empathetic.
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Birks, Chelsea, and Lisa Coulthard. "Divine Comedies: Post-Theology and Laughter in the Films of Bruno Dumont." Film-Philosophy 23, no. 3 (October 2019): 247–63. http://dx.doi.org/10.3366/film.2019.0115.

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The films of Bruno Dumont are tied to unwatchability, austerity, and a post-theological seriousness. Recently, however, Dumont has taken a surprising turn towards comedy; and yet these comedies are not without the post-theological despair that characterizes his earlier films. Taking Dumont's comedy seriously, this article frames Dumont's comedic turn not as a deviation but rather as a realignment that requires retroactive reconsideration of his oeuvre's post-theological orientation. We interrogate the philosophical implications of laughter in Dumont's work and argue that it suggests a new trajectory for the post-theological project. The work of Georges Bataille anchors our analysis of violent laughter, while Jean-Luc Nancy's post-theology structures our central argument. We read Nancy's post-theology into the construction of space and subjectivity in Dumont's earlier works, which characterize both human characters and the landscapes they inhabit with a pervasive sense of depthlessness or blankness. These features of absence often lead spectators to project emotions onto Dumont's characters, but we stress this blankness as foregrounding the essential unknowingness of the subject – something which also drives Bataille's notion of laughter. For Bataille, laughter is rooted in nonknowledge, it is a non-productive expenditure that exposes the limits of human existence. It is this horizon of death and nothingness that drives Dumont's comedies. Understood through post-theological laughter, Dumont's comedic films and TV series provide new ways of accounting for the death of God. This laughter in turn operates retroactively to productively reframe post-theological violence in his work. In short, this article contends that none of Dumont's films are meant to be taken seriously. Confronting the ethical and philosophical implications of Dumont's comedic turn, this article investigates the implications of reading his oeuvre through this divinely absurdist, post-theological comedic lens and articulates a theory of post-theology that foregrounds the radicality of laughter.
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Kulidzhanyan, Syuzanna S. "The name of a comedy film in the aspect of linguistic creativity." Vestnik of Saint Petersburg University. Language and Literature 18, no. 4 (2021): 736–49. http://dx.doi.org/10.21638/spbu09.2021.406.

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The article aims to identify the specific features for forming the name of a comedy film from the point of view of linguistic creativity. The research is based on 30 British comedy films, which were released between the 1960s and 2010s. Five highly rated films were selected from each decade. The developed algorithm for analysis includes several steps which makes it possible to sequentially study the following aspects, in terms of linguistic creativity, that are critical for specific features in the formation of comedy films’ names: 1) source of the name, 2) structure of the name and 3) correlation between the name and the whole verbal structure of a comedy film. It was found that the degree of structurally semantic modifications of a film name’s initial source presupposes a film name’s creative potential. The influence of comedy film names’ creative potential on the choice of certain expressive means for constructing and developing the plot line of a comedy film was also determined. Data obtained in the study indicates that a film name can produce a certain multitude of verbal components, which are pivotal to the whole language structure of a comedy film. Moreover, the quantity of verbal components, ‘produced’ by a comedy film name, allows one to judge its linguo-creative possibilities.
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Langkjær, Birger. "Contemporary Nordic art film comedy." Journal of Scandinavian Cinema 13, no. 3 (September 1, 2023): 263–82. http://dx.doi.org/10.1386/jsca_00102_1.

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Critics tend to consider art cinema a serious and challenging form of cinema. Contemporary Nordic art cinema nevertheless includes many films by internationally recognized art film directors that use (dark) comedy as an expressive mode. The article examines the diverse ways that art cinema can merge with comedy. After outlining the concept of art cinema, emphasizing the films’ challenging style, ambiguity and gravity, I present approaches to humour, demonstrating how art film comedy challenges several premises of comedy. Analyses of three films, Lars von Trier’s The Boss of It All (2006), Ruben Östlund’s Force Majeure (2014) and Grímur Hákonarson’s Rams (2015), highlight their comic aspects, but illustrate that they are comic in varying, ambiguous and challenging ways that violate genre expectations.
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Holmaas, Luke. "Implausible Possibility: Freedom and Realism in Live-Action/Animated Gag Comedies." Animation 18, no. 2 (July 2023): 102–16. http://dx.doi.org/10.1177/17468477231187029.

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While often unacknowledged, gags and gag comedy remain a vital part of Hollywood cinema. Following the runaway success of Who Framed Roger Rabbit (1988), an increase in the production of films combining live-action and animation has helped them become a central venue for gag comedy. However, while live-action/animation hybrids can be enormously successful, they are also extremely difficult and risky ventures, both in terms of their technical challenges and production costs. Given this, what is the rationale behind combining live-action and animation for comedy at all? As the author argues, both theoretical considerations of animation and hybrids as well as the discourse from creators of such films frame live-action/animation as particularly well suited for gag comedy due to its ability to balance the freedom of animation with the grounding realism of live-action. Films such as The Adventures of Rocky and Bullwinkle (2000), Looney Tunes: Back in Action (2003), and The SpongeBob Movie: Sponge Out of Water (2015) serve to highlight the interaction between cartoonish animation and realistic live-action as well as key tensions that arise in combining the two forms. Examining the opportunities and challenges provided by these combinations helps explain why hybrid films remain a common vehicle for gag comedy today and an important subset of Hollywood comedy as a whole.
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Martynova, D. O. "Representation of Madness in Comedy Films and Television Series." Art & Culture Studies, no. 1 (March 2023): 270–93. http://dx.doi.org/10.51678/2226-0072-2023-1-270-293.

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This article is devoted to analysing humorous strategies and concepts of mental illness representation in contemporary comedy films and television series. It is worth noting that such a study is relevant in Russian discourse, since in the Western scientific literature of the last decade there have been separate interdisciplinary discussions about visualizations of mental pathologies in comedy films. For instance, the comedy film Me, Myself and Irene (2000) and the posters advertising it were subjected to a detailed analysis through the prism of the concept of cultural contextualization of comic madness. Having described the strategies of mental illnesses representation in contemporary comedy films and television series, the author concludes that there is a tendency for a comic interpretation of mental illnesses. Humorous elements appear even in melodramas, thrillers or horror films (for example, in The Shining or in A Beautiful Mind). This, however, can be explained: humorous interpretation of severe ailments makes it easier for viewers to perceive this ambiguous theme. Meanwhile, such an interpretation stigmatizes a disease, making others laugh at the character but not with them. In this regard, in the last decade, comedy films and television series on the topic of mental pathologies have been trying to develop strategies to combat stigmatization and trivialization of psychopathologies. As a result, the attempt to overcome the stigma in the context of visualization of mental pathologies has led to another, more global problem — the construction of cultural images that have turned into clichés.
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Knyzhnykova, Sofiia. "Design Specifics of Opening Titles for "Drama-comedy" Genre Films." Demiurge: Ideas, Technologies, Perspectives of Design 6, no. 2 (December 1, 2023): 298–310. http://dx.doi.org/10.31866/2617-7951.6.2.2023.292154.

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The purpose of the study is to find out the peculiarities of the design of opening titles for films belonging to the drama-comedy genre. The study is aimed at determining the impact of visual and textual elements of titles on the audience’s perception of films, revealing their role in creating the key mood of the film and expressing the main emotions of the genre, as well as identifying common and distinctive features of title design in this specific cinematic genre. The research methodology is based on the analysis of visual elements, empirical method and comparative analysis. The scientific novelty lies in highlighting a special aspect of the film industry, namely, in determining the ways and possibilities of influencing the visual and textual elements of titles on the perception of films by viewers. In particular, the article offers a comprehensive analysis of title design, including the use of colours, fonts, images, symbols, animation and text. Conclusions. As a result of the study, we conclude that visual and textual elements of opening credits influence the creation of mood and the transmission of emotions to viewers. Through a combination of visual elements: colours, fonts, images and symbols, titles can reinforce the genre of a film: rich and bright colours help to create a comedic atmosphere, while more restrained colours indicate the dramatic aspect of a film. Empirical research has shown that this aspect directly affects the audience’s perception of the film. A comparative analysis of the titles of different films in the drama-comedy genre has shown common trends and differences in their approach to design, in particular, it has revealed how different films use title design to express their unique style and genre. Modern drama-comedy film titles successfully reflect the synergy of this genre. They use creative approaches to convey the versatility of the film.
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Dissertations / Theses on the topic "Comedy films"

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Rainey, Kenneth Richard III. "Cross-Cultural Humor Through Comedy Films?" The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu1525141452462223.

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Sinner, Megan. "FEMINISM IN THE FILMS OF NEW GERMAN COMEDY." Bowling Green State University / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1146072869.

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Buchanan, H. Kamau. "Catch Santa /." Online version of thesis, 2009. http://hdl.handle.net/1850/11874.

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Carty, Gabrielle Mary. "Female roles in the comedy films of Fernando Colomo." Thesis, Queen Mary, University of London, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.252065.

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Kerry, Lucyann Snyder. "Genre and globalization : working title films, the British romantic comedy and the global film market." Thesis, University of Exeter, 2011. http://hdl.handle.net/10036/4142.

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This thesis seeks to better understand the relationship of film genre to globalization through an examination of the use of the British romantic comedy and other related genres by the production company Working Title Films (WTF) from the 1900s through the 2000s. Because of the sudden and unexpected global success of British romantic comedies by Working Title Films such as Four Weddings and a Funeral and Notting Hill, the 1990s is a significant period for the study of the genre. In this examination the process of globalization is understood as one of complex connectivity postulated by John Tomlinson in Globalization and Culture as ‘the rapidly developing and ever-densening network of interconnections and interdependences that characterize modern social life’. This theory of globalization is used as a methodological framework to understand the complex network of global and local interconnections that has driven the development of Working Title Films over the past twenty five years to becoming one of the most important British production companies in the international film industry. Through a detailed analysis of the practices of development, production, distribution and exhibition by Working Title Films and the Hollywood dominated global film industry, this thesis seeks to understand the function of genre and genre films as cultural products, economic products and meaningful representations in the global market and to better understand Hollywood, mainstream film and cinema as social institution. The analysis in the following chapters serves as evidence to support the central argument of this thesis that the use of genre in the film industry’s production, distribution and exhibition processes of globalization was the critical area for Working Title Films to master in order to produce value as meaningful audience appeal and connectivity to global audiences for on-going economic success.
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Yoshida, Junji. "Origins of Japanese film comedy and questions of colonial modernity /." view abstract or download file of text, 2006. http://proquest.umi.com/pqdweb?did=1192198571&sid=1&Fmt=2&clientId=11238&RQT=309&VName=PQD.

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Thesis (Ph. D.)--University of Oregon, 2006.
Typescript. Includes vita and abstract. Includes bibliographical references (leaves 281-290). Also available for download via the World Wide Web; free to University of Oregon users.
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Anderson, Lauren. "Investigating audience responses to popular music in contemporary romantic comedy films." Thesis, Aberystwyth University, 2009. http://hdl.handle.net/2160/cc4ece5f-c1df-4198-be56-c7afb3067dcb.

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Despite the rapidly growing body of critical academic writing around sound and music on screen, and studies of the increasing role of popular music within contemporary films, there has to date been little empirical exploration of audience responses to popular music in film. This thesis investigates how audiences hear and relate to popular music in romantic comedy soundtracks, specifically those of Love Actually (2003, dir. Richard Curtis), What Women Want (2000, dir. Nancy Meyer), and 10 Things I Hate About You (1999, dir. Gil Junger). Building upon a detailed critique of existing theoretical approaches to audiences’ engagements with popular music soundtracks, the findings in this study are based on two rounds of semi-structured interviews. Initially, the selected films were discussed in four focus group interviews, recruited according to age and gender (under-25-year-old men and women, and over-45-year-old men and women). Four subsequent individual interviews with one participant from each focus group concentrated on one particular sequence from Love Actually. A key assumption underlying theorised audience responses within literature on film music is a dichotomy between knowing and not-knowing pre-existing pop music in films: ‘knowing’ the music is seen to result in a more complex reading of a scene, as well as a more critical, distanced mode of engagement with the film; ‘not-knowing’, on the other hand, means the viewer is more immersed in the film and more likely to adopt its ideological messages uncritically (see for example Kassabian, 2001; J. Smith, 1998). The present research challenges this position: interview analyses indicate that patterns of talk are not as unified or consistent as these existing theoretical models suggest. Participants drew on several different modes of engagement in making sense of popular music in film, including: evaluating the music according to a diverse range of criteria and categorisations; relating the music to life stages and personal memories; and managing perceived involvement with the films and their soundtracks. These findings do not easily fall within any singular model of proposed audience responses to film music, but instead suggest that a new way of thinking about film audiences must account for taste processes, accommodate audiences’ vernacular categorisations, and incorporate a broader conception of ‘knowledge’ and ‘ways of knowing’.
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Hluch, Alexander. "Immediacy in Comedy: How Gertrude Stein, Long Form Improv, and 5 Second Films Can Revolutionize the Comedic Form." Master's thesis, University of Central Florida, 2013. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/5946.

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Comedy has typically been derided as second-tier to drama in all aspects of narrative. Throughout history, comedy has seen short shrift in both critical reception and academic investigation. Merit is simply placed on drama far before that of comedy. This is not for comedy's own lack of skill or craft, but simply for comedy's misappropriation as a narrative form. Throughout the years, by way of either competition or economic superiority, comedy has been pigeonholed into the typified dramatic structure that drama so thoroughly encapsulates. Being forced into a form that exemplifies complex, climactic structure and explicit character development, comedy in its purest form has suffered through the ages. Gertrude Stein's theory of Landscape Drama, and, more specifically, immediacy, is best attuned to comedy in its truest form. Comedy does not require sweeping character development, obtuse narrative design, or fantastic spectacle to produce superior works of art. Comedy, when compared to drama, exists best in a much more punctuated format. Stein's theories, while never intended for comedy, align absolutely perfectly with the comedic genre's design. And epitomized through long form improv on the stage, and the newly-fashioned digital short made profitable by the proliferation of the internet and digital culture, comedy's purest form has become more readily available as narrative has progressed throughout history. With this thesis, I intend to display the disparity between comedy and drama due to comedy's misallotment into a format that does not properly encapsulate it to its most fulfilling embodiment. Through this display, I seek to uncover the debt done to the comedic form from centuries of neglect in academic query and merit in order to best prove comedy's need for critical scrutiny. Further, in doing so I hope to better construe a community of comedic research and criticism in order to create better art and more diverse comedic offerings.
M.F.A.
Masters
Theatre
Arts and Humanities
Theatre; Acting
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Murphy, Caryn E. "Teen ages: Youth market romance in Hollywood teen films of the 1980s and 1990s." Thesis, University of North Texas, 2001. https://digital.library.unt.edu/ark:/67531/metadc2749/.

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This thesis examines the differences between teen romantic comedy films marketed to Generation X teenagers in the 1980s and Generation Y teenagers in the 1990s, focusing on the presentation of gender roles, consumptive behavior, and family. The 1980s films are discussed within the social context of the Reagan era and the conservatism of the New Right. The 1990s films are examined as continuing a conservative sensibility, but they additionally posit consumption as instrumental to achieving an idealized romance. Romantic comedy is traditionally a conservative genre, but these films illustrate female liberation through consumption. The source of difference between the cycles of teen romantic comedy is attributed to the media's attempt to position Generation Y teenagers as ideal consumers.
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Barnett, Vanessa. "Tasha: A practice-based problematisation of Australian comedy cinema’s representation of gender, family and nationhood." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2014. https://ro.ecu.edu.au/theses/1411.

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Between 2007 and 2012, 140 fictional feature films were financed with the assistance of Australian film funding bodies. Of these 140 films, only 31 featured female protagonists and of these 31 films, only 8 were comedies (see Appendix B). These figures show statistically, Tasha, the creative film component of this research project, is not a typical Australian comedy film; it is the story of Tasha, an unemployed girl from Girrawheen in her early twenties, who has lost her sense of identity. As Australian films such as Little Fish¸ Candy, Jedda and Muriel’s Wedding would suggest, this is certainly not an uncommon premise in Australian national cinema. However, this is not all there is to know about Tasha; she is preoccupied, not by a love interest or by a drug addiction, but by ninjutsu, and vigilantism. This is where Tasha finds its unique approach to Australian cinema’s historic treatment of the woman-centred narrative. That said, beneath Tasha’s unconventional surface arguably lies a truly Australian comedy film. The exegesis component of this project re-interprets Bazin’s question, “Qu'est-ce que le cinéma?” (What is cinema?), with a theoretical framework inspired by Australian film theorist Tom O’Regan’s influential text, Australian National Cinema. The exegesis begins by looking at Australian national cinema as a whole, then narrowing the focus to Australian comedy cinema. O’Regan (1996) describes Australian cinema as a national cinema; a cinema that embodies Australian culture, society and history. The focus is on Australian comedy film texts, and their social, political and cultural contexts. Tasha, the creative film project, is what O’Regan would term a “problematisation” of Australian comedy cinema. The key argument of this project is that Australian national comedy films are uniquely Australian, cinematic explorations of individual identity, socio-cultural identity, landscape and family. Australia laughs about what it knows best, these four narrative and aesthetic preoccupations being central to Australian socio-cultural values and attitudes, to understanding the concept of Australianness. Australian comedy cinema is a problematic genre unto itself. The theoretical component of this project is a profile of Australian comedy cinema’s homogenised representation of Australianness. Tasha is then presented as an alternative. This investigation aims to both improve, and demonstrate an understanding of Australian comedy cinema as a problematisation of gender, culture, landscape, family and identity. Tasha responds to the research question, “What is Australian comedy cinema?” by revealing that even an Australian action comedy with exciting stunts and fight scenes, is still a story of an individual’s sense of identity, family, and place. Such stories are arguably the hallmark of Australian comedy cinema; this carries a uniquely Australian sense of quirkiness. It remains the domain of the underdog: the battlers, larrikins, and of course the ockers. It still carries the same messages; never forget who you are, who your friends and family are, or where you came from. Despite its unconventional narrative, subject matter, soundtrack and aesthetics, Tasha proves to be no exception; it is still easily identified as a truly Australian comedy film.
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Books on the topic "Comedy films"

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1958-, Karnick Kristine Brunovska, and Jenkins Henry 1958-, eds. Classical Hollywood comedy. New York: Routledge, 1995.

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Siegel, Scott. American film comedy. New York: Prentice Hall General Reference, 1994.

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Siegel, Scott. American film comedy. New York: Prentice Hall General Reference, 1994.

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Andrew, Horton, ed. Comedy/cinema/theory. Berkeley: University of California Press, 1991.

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Svěrák, Jan. Obecná škola: The elementary school. S.l.]: Boulevard Films, 1997.

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Diana, Lynn, Slezak Walter 1902-1983, and Universal Pictures Company, eds. Bedtime for Bonzo. Universal City, Calif: Universal Home Video, 2005.

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Kapler, Alekseĭ, and Vladimir Fetin. Polosatyĭ reĭs. Russia: "Krupnyĭ plan", 2007.

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1962-, Burton Alan, and Porter Laraine, eds. Pimple, pranks & pratfalls: British film comedy before 1930. Wiltshire, England: Flicks Books, 2000.

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Chaplin, Charlie. Modern times. Farmington Hills, Mich: Playhouse Video, 1985.

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Lamangan, Joel. Mamarazzi. San Bruno, CA: Regal Capital Inc., 2010.

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Book chapters on the topic "Comedy films"

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Montgomery, John. "The End of Visual Comedy." In Comedy Films 1894–1954, 140–60. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003267669-10.

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Montgomery, John. "The First Comedies." In Comedy Films 1894–1954, 17–31. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003267669-1.

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Montgomery, John. "Early Film Studios." In Comedy Films 1894–1954, 54–66. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003267669-4.

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Montgomery, John. "All Talking!" In Comedy Films 1894–1954, 161–75. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003267669-11.

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Montgomery, John. "The Thirties." In Comedy Films 1894–1954, 176–87. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003267669-12.

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Montgomery, John. "The Eccentrics." In Comedy Films 1894–1954, 221–32. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003267669-16.

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Montgomery, John. "Flashback." In Comedy Films 1894–1954, 268–74. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003267669-19.

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Montgomery, John. "The Roaring Twenties." In Comedy Films 1894–1954, 119–39. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003267669-9.

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Montgomery, John. "The Hepworth Story." In Comedy Films 1894–1954, 32–40. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003267669-2.

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Montgomery, John. "The Keystone Touch." In Comedy Films 1894–1954, 76–88. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003267669-6.

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Conference papers on the topic "Comedy films"

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Luo, Yi. "Study on the Current Patterns of Chinese Comedy Films." In 2017 2nd International Conference on Education, Sports, Arts and Management Engineering (ICESAME 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/icesame-17.2017.230.

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Huang, Chunxia, Junlong Tao, and Juyi Wang. "The Reasons for the Declining Reputation of Comedy films -take Mahua Funage as an Example." In 2021 International Conference on Public Relations and Social Sciences (ICPRSS 2021). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.211020.298.

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Xinyan, Shi, and Tian Jianguo. "An Analysis of Verbal Humor in Comedy Films from the Perspective of Cooperative Principle —Illustrated by the Example of Kung Fu Panda 3." In 6th Annual International Conference on Language, Literature and Linguistics (L3 2017). Global Science & Technology Forum (GSTF), 2017. http://dx.doi.org/10.5176/2251-3566_l317.87.

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Lutviyani, Alvina, Endaruji Sedyadi, and Ihda Novia Indrajati. "Biosynthesis and Characterization of Edible Films from Kepok Banana Peel Starch with a Combination of Glycerol-Sorbitol Plasticizer." In The 6th International Conference on Science and Engineering. Switzerland: Trans Tech Publications Ltd, 2024. http://dx.doi.org/10.4028/p-otgy4q.

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Research on making edible films from kepok banana peels with glycerol-sorbitol plasticizer aims to analyze the mechanical properties and functional groups of edible films from kepok banana peels with a comparison of the concentration of the plasticizer combination of glycerol-sorbitol. This research consisted of 3 stages, namely making kepok banana peel starch, making edible films, and characterizing kepok banana peel starch and edible films. The yield of kepok banana peel starch obtained was 11.94%. Edible film production was carried out with variations in the glycerol-sorbitol concentration ratio of 100:0, 75:25, 50:50, 25:75 and 0:100 on a basis of 40% (w/w) of total starch weight. Functional group analysis of kepok banana peel starch and edible film was carried out with Fourier Transform Infrared (FTIR). Testing the characteristics of the edible film includes thickness, tensile strength, elongation, and Young's modulus. The results showed that edible film was successfully made with mechanical properties that tended to comply with the Japanese Industrial Standard (JIS) 1975 on the parameters of thickness, tensile strength, and young's modulus.
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Chen, Antao, Sean Garner, Araz Yacoubian, William H. Steier, Jinghong Chen, Aaron Harper, Jingsong Zhu, et al. "Characterization of electrooptic polymers with high µβ chromophores for photonic device applications." In Organic Thin Films for Photonic Applications. Washington, D.C.: Optica Publishing Group, 1997. http://dx.doi.org/10.1364/otfa.1997.the.23.

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For electrooptic (EO) polymer devices to be accepted in high speed fiber communication systems, the operation voltage of these devices must be reduced to a level compatible with the high speed electronics that drives the polymer devices. A low operation voltage, or Vπ in the case of modulators, requires EO polymers with high electrooptic coefficients. The electrooptic effect comes from the nonlinear chromophores in the polymer and the alignment of these chromophores by poling. High electrooptic coefficients calls for chromophores with large nonlinearity, i.e., high µβ. The synthesis and characterization of EO polymers with high µβ chromophores1 have been the focus of recent research in the field of nonlinear optic polymers.
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Surya Patria, Asidigisianti, Nova Kristiana, and Hendro Aryanto. "Comedy Film Posters in the 70’s Era: Content Analysis of Changing Trends." In Proceedings of the Social Sciences, Humanities and Education Conference (SoSHEC 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/soshec-19.2019.37.

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Garcia Olivares, Gerardo Jesus. "Las cocinas y la comida en la filmografía de Pedro Almodóvar." In 3er Congreso Internacional sobre Patrimonio Alimentario y Museos. Valencia: Editorial Universitat Politècnica de València, 2021. http://dx.doi.org/10.4995/egem2021.2021.13405.

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Pocos realizadores de cine se han centrado tanto en la cocina como espacio físico en donde son elaborados los alimentos o en determinados platos del repertorio alimentario español como Pedro Almodóvar. Lo internacional de su filmografía ha permitido construir fuera de España una imagen de lo que comemos, en donde lo elaboramos y como lo comemos. El carajillo o la paella del filme La flor de mi Secreto, El hueso de jamón con el que Gloria mata a su agresor en ¿Qué he hecho yo para merecer esto?. Las croquetas de la Piel que Habito, las rosquillas de Volver, la cerámica de Sargadelos en Julieta o el flan que como un personaje más aparece en muchos de sus películas hay que sumarle la cocina como espacio clave en el que se plantean conflictos, se develan confesiones, se resuelven dilemas y hasta se perpetran asesinatos. Un espacio en la mayoría de los casos planteado como un lugar puramente femenino. En su amplia filmografía el director manchego ha ido haciendo evolucionar la cocina como espacio: de los ambientes claustrofóbicos de sus primeras películas hasta los ambientes anodinos y de diseño que podemos encontrar en sus últimas producciones como en el cortometraje la Voz Humana. Es que la cocina como lugar físico de sociabilidad ha ido cambiando velozmente en los últimos 30 años, para transformarse en ocasiones en un mero lugar de producción de alimentos y él lo ha reflejado claramente en sus films.
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Ji, Pengfei, Mengzhe He, Yiming Rong, Yuwen Zhang, and Yong Tang. "Multiscale Investigation of Thickness Dependent Melting Thresholds of Nickel Film Under Femtosecond Laser Heating." In ASME 2018 International Mechanical Engineering Congress and Exposition. American Society of Mechanical Engineers, 2018. http://dx.doi.org/10.1115/imece2018-86947.

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A multiscale modeling that integrates electronic scale ab initio quantum mechanical calculation, atomic scale molecular dynamics simulation, and continuum scale two-temperature model description of the femtosecond laser processing of nickel film at different thicknesses is carried out in this paper. The electron thermophysical parameters (heat capacity, thermal conductivity, and electron-phonon coupling factor) are calculated from first principles modeling, which are further substituted into molecular dynamics and two-temperature model coupled energy equations of electrons and phonons. The melting thresholds for nickel films of different thicknesses are determined from multiscale simulation. Excellent agreement between results from simulation and experiment is achieved, which demonstrates the validity of modeled multiscale framework and its promising potential to predict more complicate cases of femtosecond laser material processing. When it comes to process nickel film via femtosecond laser, the quantitatively calculated maximum thermal diffusion length provides helpful information on choosing the film thickness.
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Yang, Huan, Ben Q. Li, and Changhong Liu. "Enhanced Light Absorption in Thin Crystalline Silicon Solar Cells With Silica Nanoparticles." In ASME 2015 International Mechanical Engineering Congress and Exposition. American Society of Mechanical Engineers, 2015. http://dx.doi.org/10.1115/imece2015-52492.

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In this paper, numerical simulations are performed to investigate the effects of different configurations of dielectric SiO2 particles on the improvement of light absorption in 2-μm single crystal silicon photovoltaic solar cells. The numerical model is developed on the basis of the FDTD solution of the transient Maxwell equations and checked with analytical solutions for simple configurations and against experimental measurements of light absorption in bare Si films. The numerical model is also checked for mesh sensitivity such that the computed data are approximately mesh-insensitive. Computed results are analyzed and the short circuit current of the Si films is used as a measure of the efficiency for light trapping in Si films. Results show that with SiO2 nanoparticles closely packed atop the Si film, good improvement in light absorption efficiency is achieved if the particle is 700 nm in diameter. This is considered to be attributed to the anti-reflection effect of the particle layer and the whispering gallery mode of SiO2 particles excited by the incident light. If the closely arranged SiO2 nanoparticles are embedded half-way into a Si film through its top surface, the light absorption is enhanced by ∼120%, approaching to the Yablonovitch limit. The structured surface of the Si film can almost realize 100% anti-reflection of incident, because the use of the half embedded SiO2 particles in the top layer of the Si film creates a graded transition of the effective refractive index along the direction of incident; and as a result almost all the light with the wavelength below or near 500nm are absorbed due to the higher imaginary part of the refractive index. The improvement in light absorption with the wavelength greater than 500nm comes, however, from the resonance behavior of the SiO2 nanoparticles. Experiments are now planned and measurements of light absorption will be conducted with a photospectrometer to validate the above calculations.
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Mallardo, S. "Multifunctional composites as Solid-Polymer-Electrolytes (SPE) for Lithium Ion Battery (LIB)." In Aeronautics and Astronautics. Materials Research Forum LLC, 2023. http://dx.doi.org/10.21741/9781644902813-84.

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Abstract. Novel solid-polymer-electrolytes (SPE) have been formulated as key components of structural multifunctional materials to develop Lithium Ion Battery (LIB). To this aim, SPE blends based on polyethylene oxide (PEO), different molecular weights polyethylene glycole (PEG), PEG-modified sepiolite (SEP) and lithium triflate have been prepared by one pot melt mixing. The films were obtained by compression moulding following a method easily scalable to industrial level. The different films have been characterized by structural (FTIR-ATR), thermal (DSC, TGA), morphological (SEM) and mechanical (tensile tests) analysis. The different properties could be mainly addressed to the diverse PEG both amounts and molecular weight and to the specific physical interaction occurring between PEO, PEG sepiolite and lithium ions strongly influencing crystallinity, thermal stability and mechanical response. Thus, SPE2 sample evidenced the highest both crystallinity and mechanical stiffness and toughness, whereas SPE1 and SPE3 film showed the best compromise between molecular crystallinity and mechanical performances, mostly as strain at break are concerned. Finally, SPE4 film, including the highest amount of PEG showed a peculiar increasing of mechanical rigidity in opposition to molecular plasticization effect exploited by PEG. The many features of SPE systems requires special attention and further research when it comes time to design structural multifunctional materials for LIB based batteries of Type-III.
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Reports on the topic "Comedy films"

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Martínez, Claudia, Suzanne Duryea, and Raimundo Smith. Research Insights: How Do Laws and Nudges Affect Compliance with Disability Employment Quotas? Inter-American Development Bank, June 2024. http://dx.doi.org/10.18235/0013023.

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Chiles Law 21.015, enforcing a 1% employment quota for people with disabilities (PwD) in larger firms, led to a 15.8% increase in PwD employment and 3.6% more eligible firms employing PwD. Informational letters sent to eligible firms increased PwD employment by 0.13 worker. This cost-effective approach has a significant impact with minimal implementation costs. The results are hindered by the fact that a large fraction of the increase is explained by the reclassification of incumbent workers, thus not representing true labor inclusion. This is particularly the case when firms are nudged to comply.
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Chong, Alberto E., and Mark Gradstein. Is the World Flat?: Or Do Countries Still Matter? Inter-American Development Bank, December 2006. http://dx.doi.org/10.18235/0010888.

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This paper revisits the effects of a country`s institutional framework on individual firms` behavior, in particular focusing on their propensity to comply with legal rules. The theoretical model presented here suggests that these effects may be of paramount significance contrary to the recently popularized paradigm arguing that differences across countries have ceased to matter much. This paper`s empirical strategy consists of explaining the variation in measures of non-compliance with legal rules and employs a rich dataset based on thousands of firms from dozens of countries. We find that most of the variation emanates from country-wide differences in institutional quality, although some firm characteristics play a role as well. Our conclusion is that countries still matter in providing institutional infrastructure, which determines to a large extent the context within which firms operate.
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Crespi, Gustavo, and Pluvia Zuñiga. Innovation Strategies and Employment in Latin American Firms. Inter-American Development Bank, March 2012. http://dx.doi.org/10.18235/0008986.

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This study examines the impact of innovation strategies on employment growth in four Latin American countries (Argentina, Chile, Costa Rica, and Uruguay) using micro-data for manufacturing firms from innovation surveys. Building on the model proposed by Harrison et al. (2008), we relate employment to three innovation strategies: make only (R&D), buy only (external R&D, licensing of patents and know-how, technical assistance, and other external innovation activities) and make and buy (mixed strategy). Firms that conduct in-house innovation activities ("make only") have the greatest impact on employment; the "make and buy" strategy comes in second. Similar results are found for small firms. These results highlight the importance of fostering in-house technological efforts not only for innovation per se, but also to promote growth in firm employment. The impact of "make only" strategies is greater in high-tech industries, whereas "make only" and "make and buy" have a similar impact on employment in low-tech industries. Finally, the study provides evidence of the mechanisms through which innovation strategies affect employment. The findings show that innovation strategies enhance technological innovation, but their impact differs between product and process innovation. Product innovation is mainly motivated by in-house technology investments, followed by mixed strategies, whereas process innovation is basically driven by "buy" strategies.
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Pezzini, Mario. Policy Measures for Local Economic and Social Development Based on Networks of Small Firms. Inter-American Development Bank, June 2005. http://dx.doi.org/10.18235/0006572.

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Many researchers and practitioners, facing the recent trend towards internalisation of markets and competition based on innovative products and high quality standards, have come to the conclusion that there is no single best way to organise industrial production.
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Banomyong, Ruth. Supply Chain Dynamics in Asia. Inter-American Development Bank, July 2009. http://dx.doi.org/10.18235/0011303.

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Supply chain management in Asia is a relatively novel topic but a key challenge for all Asian based manufacturers and traders when trying to integrate into the "global market". The purpose of the paper is to describe key supply chain issues faced in Asia. These issues are related to supply chain security that forces Asian firms to comply with numerous requirements as well as the importance of a properly managed supply chain in enhancing firms' competitiveness. The critical role played by Asian based logistics providers in facilitating supply chain integration is explored. Logistics providers must be able to design effective and efficient supply chains for the clients. A case study is presented to illustrate how supply chain dynamics affects supplier selection. This paper was presented at The Fifth LAEBA Annual Meeting, Singapore, July 15th, 2009.
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Álvarez, Isabel, Nadia Albis, Diego Moraes, and Henry Mora. Collaboration in Innovation between Foreign-Owned Firms and Local Organizations in Latin America: A Comparative Analysis. Inter-American Development Bank, July 2022. http://dx.doi.org/10.18235/0005034.

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This paper explores patterns of collaboration in innovation between foreign firms and local partners in nine Latin American countries. Using microdata from the harmonized Latin American Innovation Surveys dataset (LAIS) and the Spanish Technological Innovation Panel (PITEC) for comparison, the approach considers factors at micro, meso, and macro-levels to identify and illustrate knowledge flows between local and foreign firms in host countries. The empirical evidence presented shows that technological strategies of foreign subsidiaries, sectoral innovation patterns, and national innovation conditions are key elements in shaping local innovation collaboration with foreign-owned firms. Nonetheless, micro and country-side effects still overshadow sector differences. This study indicates that when foreign investment is focused on creating and increasing the technological capabilities of an MNE, collaboration can strengthen the likelihood of positive knowledge spillovers in local economies. In the Latin American context, differences emerge depending on the types of partners engaged in collaboration, whether R&D, or other firms. National systems of innovation also come into play in defining collaboration patterns of foreign-owned firms, especially in systems with greater technological capabilities. This comparative perspective therefore provides new insights regarding attraction of foreign direct investment (FDI) and innovation policies in the region.
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Tennant, David. Business Surveys on the Impact of COVID-19 on Jamaican Firms. Inter-American Development Bank, May 2021. http://dx.doi.org/10.18235/0003251.

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The datasets come from two surveys of Jamaican businesses conducted between May and June 2020. Two sets of self-administered surveys were conducted using Survey Monkey. A very small sample of financial institutions was surveyed to gain perspective on the challenges facing financiers as a result of the pandemic, and their efforts to respond to such challenges. Nine financial institutions completed this survey, and the results were used to complement the information derived from the second and major survey. The second survey targeted non-financial businesses operating in Jamaica. The sample of firms was selected from a list of all registered Jamaican firms, obtained from the Companies Office of Jamaica. A stratified random sample was used based on firm type, region, and sector. Some firms may have also participated in the study through contact made by their respective affiliations, which were approached to endorse the study and encourage their members to engage. A total of 390 firms completed the second survey. A significant degree of representation was achieved across size, type and age of business, sector and location of operation. Good gender representation was also achieved.
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Heresi, Rodrigo, and Andrew Powell. Corporate Debt and Investment in the Post-Covid World. Inter-American Development Bank, September 2022. http://dx.doi.org/10.18235/0004464.

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We study the relationship between corporate debt, corporate risk and firm-level investment, using a sample of 25,000 listed companies across 47 countries over the last two decades. We find higher leverage reduces investment but show the effect varies with risk, as measured by firm time-varying distance to default. Firms with higher market valuations and lower volatility do not suffer a debt overhang at all, while the effect is exacerbated for riskier firms. Debt overhang effects worsen significantly in economic crises, and the effects may persist for two to three years after the shock. Given the rise in corporate leverage observed during the last decade and as a result of the Covid-19 pandemic, physical investment is expected to remain at low levels for some years to come, with impacts varying considerably depending on the economic sector and other risk determinants.
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Ravillard, Pauline, J. Enrique Chueca, Mariana Weiss, and Michelle Carvalho Metanias Hallack. Implications of the Energy Transition on Employment: Today’s Results, Tomorrow’s Needs. Inter-American Development Bank, November 2021. http://dx.doi.org/10.18235/0003765.

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As countries progress in their energy transitions, new investments have the potential to create employment. This is crucial, as countries enter their post-pandemic recovery phase. An opportunity also arises to close the gender gap in the energy sector. However, how much will need to be invested, how many jobs will be created, and for whom, remain empirical questions. Little is also known about the needs of each country and their sectors in terms of future skills and training. The present work sheds light on these questions by carrying out a harmonized firm-level survey on employment in Chile, Uruguay, and Bolivia. Findings are manifold. First, firms in emerging sectors such as energy efficiency, electric mobility, battery, storage, hydrogen, and demand management, create more direct jobs than generation firms, including renewables. Second, these firms also have the potential to create employment that is local, permanent, and direct. Finally, they can contribute to closing the gender gap. However, this employment creation will not come on its own and will not be equal between countries. It will require improving the workforces qualifications and considering each countrys labor market and market structures specificities.
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Mascagni, Giulia, Roel Dom, and Fabrizio Santoro. The VAT in Practice: Equity, Enforcement and Complexity. Institute of Development Studies (IDS), January 2021. http://dx.doi.org/10.19088/ictd.2021.002.

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The value added tax (VAT) is supposed to be a tax on consumption that achieves greater economic efficiency than alternative indirect taxes. It is also meant to facilitate enforcement through the ‘self-enforcing mechanism’ – based on opposed incentives for buyers and sellers, and because of the paper trail it creates. Being a rather sophisticated tax, however, the VAT is complex to administer and costly to comply with, especially in lower-income countries. This paper takes a closer look at how the VAT system functions in practice in Rwanda. Using a mixed-methods approach, which combines qualitative information from focus group discussions with the analysis of administrative and survey data, we document and explain a number of surprising inconsistencies in the filing behaviour of VAT-remitting firms, which lead to suboptimal usage of electronic billing machines, as well as failure to claim legitimate VAT credits. The consequence of these inconsistencies is twofold. It makes it difficult for the Rwanda Revenue Authority to exploit its VAT data to the fullest, and leads to firms, particularly smaller ones, bearing a higher VAT burden than larger ones. There are several explanations for these inconsistencies. They appear to lie in a combination of taxpayer confusion, fear of audit, and constraints in administrative capacity.
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