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Journal articles on the topic 'Comedy films'
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1
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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Montaño, Jose. "When the World Laughs. Film Comedy East and West – William V. Costanzo." Mutual Images Journal, no. 10 (December 20, 2021): 335–42. http://dx.doi.org/10.32926/2021.10.r.mon.comed.
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While film genres have risen or declined along with the times and its trends, according to Aldredge (2019), comedy has remained steady in high popularity through all the years since 1910, which is practically to say throughout the whole history of cinema as an industry. Furthermore, it can be said that comedy stands as the second genre in the number of films produced. Furthermore, it can be said that comedy stands as the second genre in number of films produced when considering only a single genre tagging. However, [...]
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Et. al., Broskhan P,. "VADIVELU DIALOGUES AN ANYONE'S COLLOQUIALISM AND IDIOLECT." Turkish Journal of Computer and Mathematics Education (TURCOMAT) 12, no. 11 (May 10, 2021): 1615–26. http://dx.doi.org/10.17762/turcomat.v12i11.6092.
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The importance of humor can be understood by looking at the meaning of the Tamil proverb, "If you smile, you will get rid of the disease". The most interesting in cinema can also be the most desirable and always-seen scene comedy. Everyone from the youngest to the oldest loves comedy. Any idea is easily reached when told through humor. As far as Tamil cinema is concerned, a lot of comedians make people laugh and think. Vadivelu in particular has a very important place in the personality. Vadivelu may be a reaction of the common people. This study explores the linguistics that Vadivelu used in the verse he used in his comedy scenes. Tamil languages use a wide variety of Colloquialism and Idiolect. We use many language strategies in our daily lives. For example, proverbs and stories are popular among the Tamil people. Vadivelu used this linguistic technique extensively in films. Five films released in different eras were Manathai Thirudi Vittai(2001), Arya(2007), Chandramuki(2005), Pokkiri(2007) and Talanagaram (2006). The comedy of these films is still widely talked about among the people today as these films were released a while back. The reason for examining these films may be the character of Vadivelu in these films and the verses used in them. We seek to examine how Vadivelu's verses are inspired and used in the normal life of the people. The purpose of this study is to determine how characterization in language takes place in the individual and the basic biology of a group. And how this linguistic characteristic takes place in films. In particular we explore the connection between the success of Vadivelu’s comedy scenes and social use.
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Morton, Emma. "Queer Temporalities: Boredom and Bodily Intelligence in Early Italian Slapstick Comedies." Frames Cinema Journal 20 (November 16, 2022): 95–116. http://dx.doi.org/10.15664/fcj.v20i0.2514.
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The adoption of cross-dressing by male characters in Italian comedy films of the 1910s has previously received little critical attention. Far from being isolated representations of queer behaviour, cross-dressing was more prolific both on-screen (and off) than was previously thought.
Within the early comedy canon lie the male-female cross-dressing films where the narrative is suspended to allow the audience to gaze upon the cross-dressed character. These films offer audiences a trans-perspective as their gaze is directed by the cross-dressed character to the transgendered body. The queerness of these films lies not only is the visibility of the queer characters but also in the productivity of the queerness. The film itself becomes queer as the narrative economy is replaced by a luxuriating of the queer body.
For the spectator a conflict occurs as the cross-dressed character’s visibility, through the materialisation of the body, disrupts the perception of a trans-corpo-reality. Exposure of the cross-dressed character ruptures the heteronormative construction of the cinematic space. In the early Italian comedy films, knowledge of the cross-dressing comic star is the visibility that threatens the transgender character. The queerness of the cross-dressed character in Italian comedy films opens up temporalities and suggests the possibility of different modes of living, and of reading film texts. This paper argues that the popularisation of the cross-dressed male served as a transgressive force that provided an articulation of social tolerance in Italy at a time when gender roles were undergoing renegotiation.
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Rodríguez Villar, Alejandra Juno. "«PAR A QUE SE REPRESENTE ESTA COMEDIA APARENTE QUE HACE EL HUMANO SENTIDO»: REPRESENTAR LA COMEDIA HOY PAR A QUE NO SE OLVIDE EL AYER." Acotaciones. Revista de Investigación y Creación Teatral 1, no. 50 (June 28, 2023): 23–44. http://dx.doi.org/10.32621/acotaciones.2023.50.01.
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Outside of festivals, the Comedia as a Golden Age cultural product is at risk of becoming an uprooted element in contemporary cul-ture. There are several phenomena against its integrated survival: the deconstruction of the concepts of “own” and “canonical,” the new gener-ations’ lack of identification, and the ethical and aesthetic processes of reworking and proximation. We propose here a didactic and informa-tive task that brings comedy (closer to its original conception) to general audiences through the creation of films in higher education institutions. As part of an educative digital humanities and public humanities proj-ect, these films would integrate an accessible repository of films based on comedies, facilitate interdisciplinary teaching, and provide the edu-cator with expressive means to teach and show the Comedia beyond the paper, in addition to providing students with experience-based learning.
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Mazierska, Ewa. "No longer a trivial entertainment: Popular cinema in Poland after 2000." Literatura i Kultura Popularna 24 (April 18, 2019): 129–42. http://dx.doi.org/10.19195/0867-7441.24.10.
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No longer a trivial entertainment: Popular cinemain Poland after 2000This article discusses two types of popular films produced in Poland after 2000, a subgenre of romantic comedy, which I label “sexual comedy”, represented by the films of Andrzej Saramonowicz and Tomasz Konecki, and “popular arthouse film”, represented by Dzień świra Day of the Wacko, 2002 by Marek Koterski. To understand the specificity of Polish popular cinema in this period, the author locates it in the postwar history of filmmaking in this country, arguing that making popular films was met in this country with great resistance. The situation has changed after the fall of state socialism, when cinema had to be more receptive to the audience’s demands. The films discussed in this article reflect both this pressure and the difficulties involved in making such films.
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Wong, Wayne. "A Tale of Two Dragons." Archiv orientální 90, no. 3 (December 22, 2022): 503–30. http://dx.doi.org/10.47979/aror.j.90.3.503-530.
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This article argues that the effacement of the carnivalesque qualities in contemporary kung fu comedy films due to censorship and propaganda presents a dilemma for China’s culturally conservative soft power agenda. Alluding to Mikhail Bakhtin’s idea of carnival, the highly adaptive yet grotesque kung fu comedic body in late 1970s Hong Kong poses a challenge to the austere image of traditional kung fu masters established after 1949. With China’s attempt to nationalise kung fu cinema as a propaganda platform after the 1997 handover, the carnivalesque body in kung fu comedy has come to be seen by censorship bodies as regressive and dangerous, undermining not only the nation’s geopolitical ambitions but also the film industry’s continuing efforts to resist the cultural influence of global Hollywood. With the political correctness of the kung fu imaginary emphasising the traditional, the assiduous, and the virtuous, the comedic kung fu body, characteristic of the subversive, the indolent, and the vulgar, can no longer serve as an outlet for the expression of resentments and frustrations. Not only does this change limit the genre’s diversity and development, but it also undermines China’s political imperative of reaffirming the status quo through kung fu comedy. I will illustrate this dilemma through readings of Tanigaki Kenji’s Enter the Fat Dragon (2020) and Dayo Wong’s The Grand Grandmaster (2020).
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Mishra, Kishan Kumar. "Bollywood Comedy Films as Catalysts for Body Positivity." University of Bucharest Review Literary and Cultural Studies Series 13, no. 2 (October 20, 2023): 37–47. http://dx.doi.org/10.31178/ubr.13.2.4.
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In recent times, Bollywood comedies have evidenced a shift in their attitude and perspective towards body image. In earlier comedies, people of different physical appearances were stigmatized. That approach has changed of late and as a result, these movies now serve as powerful catalysts for positive change in society. This article offers an overview of the transformative role played by Bollywood comedy films in contributing to body positivity and promoting self-acceptance. Through an analysis of a selection of films such as Bala (2019), Dum Laga Ke Haisha (2015), and Gippi (2013), this study explores how these movies influence individuals’ perceptions, destigmatize identity, challenge stereotypes, and advocate for self-acceptance. This study also emphasizes the role of humour as a central element to engage audiences in sensitive discussions surrounding body image. In a nutshell, this research highlights the profound impact of comedy films on individuals and how these films reshape societal perceptions from body shaming to body acceptance.
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Guo, Moshan. "From a critical perspective: The defects of Hong Kong comedy since the 1950s." International Journal of Arts and Humanities 3, no. 1 (2022): 101–10. http://dx.doi.org/10.25082/ijah.2022.01.003.
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This paper elucidates the defects of Hong Kong comedy since the 1950s with regard to five aspects: the inflexibility of structure, the obviousness of theme, the drawback of the plot, the slapstick style and the vulgarity of taste. The story and the characters are relatively stereotypical and rigid in terms of structure. The dialogue and the camera angles are straightforward and obvious in the way that they express the theme. With regard to the plot, the structural design is simplistic and lacking in depth and nuance. Their characteristic slapstick style is expressed through the liveliness and nonsense of folk discourse. They are typically in vulgar taste, which finds expression in the customs, imagery and language of carnivalesque civic culture. The Hong Kong comedy genre has a very strong aesthetic tradition and has performed brilliantly in a commercial sense, but filmmakers need to acknowledge and reflect on its shortcomings, with a view to improving the aesthetic quality of Hong Kong comedy films specifically and Chinese comedy films more generally.
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McKenzie, Rory. "Italy’s ragioniere? The national and international relevance of Ugo Fantozzi." Journal of Italian Cinema & Media Studies 9, no. 2 (March 1, 2021): 245–60. http://dx.doi.org/10.1386/jicms_00064_1.
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Ugo Fantozzi was given life by author and actor Paolo Villaggio in the late 1960s. Inarguably a staple figure within Italian comedy and society, this character remains relevant in modern-day society despite the last film being released in 1999. The Italianità of the Fantozzi series, partially based on people from Villaggio’s life, is unmistakeable. In this article, the Fantozzi films are analysed to show how Fantozzi can be considered so uniquely Italian through many of the themes, dialogue and references to society and culture, yet, at the same time, a universal comedic figure who shares many traits with very well-known and well-regarded British and American television comedy series. Fantozzi, however, never made it to English-speaking shores. While it is likely we will never know the success the franchise could have had, this article shows that it had every possibility of being a success.
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Bilal, Muhammad, and Cito Yasuki Rahmad. "PENYUTRADARAAN KOMEDI SATIRE MELALUI TOKOH PROTAGONIS PADA FILM SMART?" Texture:Art and Culture Journal 1, no. 1 (December 13, 2018): 13–25. http://dx.doi.org/10.33153/texture.v1i1.2231.
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Is the film SMART? is a fictional film with the genre of comedy satire delivered through the protagonist. SMART film? tells the story of Shabrina, a teenager who is overused in using a smartphone and has an impact on everyday life. Through the Comedy satire genre approach on SMART films? expected to be easily accepted by the audience. SMART film? conveying messages to the audience will have a negative and positive impact on using smartphones excessively among teenagers. Through narrative and mise en scene elements, the director tells the story by dividing it into three rounds, the comedy satire scene, setting, make up, wardrobe, and player movements. Through the message conveyed by the director invites the audience to reflect on themselves in addressing smartphone use.Keywords: Directing, Comedy Satire, Protagonist Figure, Smartphone.
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Turvey, Malcolm. "Jacques Tati and the Philosophy of the Sight Gag." Philosophy of Humor Yearbook 2, no. 1 (October 25, 2021): 27–44. http://dx.doi.org/10.1515/phhumyb-2021-002.
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Abstract In his article “Notes on the Sight Gag” from 1991, the philosopher Noël Carroll proposed a taxonomy of sight gags that recur throughout the genre of comedian comedy in cinema. This article revisits and augments Carroll’s taxonomy by analyzing the sight gags found in the films of Jacques Tati (1907-1982). Tati worked in a very different context than that of the silent Hollywood filmmakers from whose comic films Carroll largely derives his categories. He began making films in the sound era, and five of his six feature films were made in color. As a French filmmaker, he also sought to adapt the genre of comedian comedy in cinema to his culturally specific concerns. This article shows that he drew on at least three of the types of sight gag identified by Carroll. But he modified some of them and innovated several other kinds.
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A.Rahman, Suria Hani, Rosidayu Sabran, and Rosninawati Hussin. "Islamic Moral Comedy? The Representation of Islam in Malaysian Comedy Films Syurga Cinta (Paradise of Love, 2009) and Ustaz, Mu Tunggu Aku Datang! (Ustaz, I’m Coming! 2013)." ‘Abqari Journal 23, no. 2 (December 8, 2020): 128–38. http://dx.doi.org/10.33102/abqari.vol23no2.356.
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This article examines how Islam is being represented in Malaysian comedy films: Syurga Cinta/Paradise of Love (Ahmad Idham, 2009) and Ustaz, Mu Tunggu Aku Datang!/Ustaz, I’m Coming! (Pierre Andre, 2013). As one of a popular genre in film, comedy and its comical narratives has the ability to critique social, cultural and political conditions within the specific context of Malaysia. Using film narrative analysis, this study identifies that both films revolve around a similar plot of a male quest for haram (forbidden) obsessions, such as fortune or women, and a return to morality (i.e. humility and true love). As these comedies attempt to illuminate the intersection between religion and comical narrative, the way they feature the main characters are not simply as sinful or immoral. Rather, they are portrayed as misguided, but equally amusing in dealing with misfortune and wrongfulness. This article found that the central element of both films lies in its incongruity between the traditional Islamic principle and trajectories which against morality. Besides the call for morality, this article also argues that Malaysian comedy is also shaped in response to the Islamisation of the public sphere, thus, underlines the ‘re-imagine social life’ within the Malay (sian)-Muslim context.
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박윤철. "An analysis on Subtitling Translation in Comedy Films." Studies in English Language & Literature 36, no. 4 (November 2010): 203–20. http://dx.doi.org/10.21559/aellk.2010.36.4.012.
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Al-Ezzi, Rafal, and Isra Al-Qudah. "English Translation of Verbal Humour in Egyptian Comedy Films." World Journal of English Language 14, no. 1 (November 20, 2023): 157. http://dx.doi.org/10.5430/wjel.v14n1p157.
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Humour is deeply rooted in culture and may differ remarkably across societies. Translating humour interlingually necessitates navigating cultural variations and references, mainly because humour often relies on language-specific elements such as puns, idiomatic expressions and wordplay. Translating these linguistic features while preserving the comedic effect can be particularly challenging. This study investigates the complexity of translating humour that depends on a combination of both cultural and linguistic elements involving play with words and sounds from the Egyptian Arabic vernacular into English. To explore this area, the researchers examine three films in which humour is deemed by viewers as unique. The verbal humour investigated depends heavily on the replacement of words and sounds in a vast array of expressions that include puns, irony, jokes, spoonerisms, malapropisms, collocations, and proverbs. The results of the analysis of 34 examples extracted from the three films demonstrate that the translators of the films rejected several puns in the sense that they disregarded the translation of most puns, while resorting to communicative translation with some other puns. However, with other linguistic humorous devices such as malapropisms, irony, jokes, and spoonerisms, the translator used strategies including explicitation, transposition, literal translation (calque), and omission.
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Marsh, Leslie L. "Women, Gender and Romantic Comedy in Brazil." Feminist Media Histories 3, no. 2 (2017): 98–120. http://dx.doi.org/10.1525/fmh.2017.3.2.98.
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This essay examines the romantic comedies S.O.S. mulheres ao mar (2014) and Meu passado me condena (2013), which repeat several tropes of the chanchada—a film comedy genre with its beginnings in early twentieth-century Brazil. Both offer a negotiation of changing class status in Brazil during a period of increasing international attention and economic growth (2002 to 2014). Although these films promote new notions of Brazilian cultural identity, they also sustain established hierarchies (of gender, race, ethnicity, sexuality) in favor of promoting neoliberal values and ways of being. In particular they promote consumerism, self-improvement, and the cultivation of personal happiness. Unlike Brazilian popular comedy of the mid-twentieth century, these films do not offer self-deprecating critiques of modernity or the failings of capitalism. Rather, S.O.S. mulheres ao mar and Meu passado me condena celebrate and promote the idea of a new emergent Brazil, making gender and sexuality frameworks for thinking about contemporary Brazilian cultural identity.
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Yao, Shuo. "On the Awakening of Female Consciousness in It Happened One Night." Journal of Language Teaching and Research 13, no. 2 (March 1, 2022): 357–60. http://dx.doi.org/10.17507/jltr.1302.16.
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In the 1930s, the United States was at the beginning of the Great Depression, while at the same time its film industry was booming. The screwball comedy as a new type of film became popular. One of the most representative and successful screwball comedies, It Happened One Night by Frank Capra in 1934, which not only won five awards of the Seventh Oscar, but also saved the Columbia Pictures from bankruptcy, can be called a miracle in the history of American film. As a pioneering work of the screwball comedy, the film's theme, narrative and other aspects have exerted profound influences on the subsequent films of this kind. Among the many advantages of this film, it is worth noting that the image of the heroine breaks people's traditional idea about women, which is ahead of its time. Besides, we can see her gradual awakening of female consciousness. Therefore, combining with the social and historical background at that time and the characteristics of the screwball comedy, this paper attempts to reveal the female image of the heroine Ellie and give a general view of the course of her consciousness awakening by analyzing lens language of the film, including shots, lighting and sound, together with the narrative.
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Mikkel, Jensen. "Laughing all the Way to the Closed Factory: The Deindustrialization Comedy." Journal of Working-Class Studies 8, no. 1 (July 3, 2023): 58–70. http://dx.doi.org/10.13001/jwcs.v8i1.8041.
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This article explores the comedic treatment of deindustrialization in three films: Gung Ho (US, 1986), De frigjorte (Denmark, 1993), and The Full Monty (UK, 1997). Examining the films’ different ways of portraying deindustrialization, the article discusses how symptomatic it is that these films offered their audiences a form of comedic silver lining in an era when deindustrialization was still felt acutely as a crisis. Gung Ho’s comedic take on the 1980s deindustrialization crisis invokes hopeful discourses of reindustrialization, De frigjorte explores a crisis of masculinity after its protagonist is laid off after two decades’ employment at a local factory, and The Full Monty offers a story of men overcoming deindustrialization in a communal way. Reading these films in relation to each other, the article argues that these films offered viewers faced with the realities of deindustrialization a moment of comedic distance to economic hardship.
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Salnikova, E. V. "Laughter and the Comic in the Soviet Film Comedy of the 1960s-1970s." Art & Culture Studies, no. 1 (March 2024): 50–81. http://dx.doi.org/10.51678/2226-0072-2024-1-50-81.
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The author of the article notes the influence of the research of Russian folklorists and cultural historians on the interpretation of the 20th century art and captures the humanitarian trend towards searching for primarily archetypal situations and images in contemporary art, Soviet film comedy included. The article highlights the importance of the concepts by V. Propp and M. Bakhtin for the current perception of works of art and urges us not to limit ourselves to this, but to place new accents — to look for differences between the ancient and modern worldviews, between the impersonal solutions to dramatic situations and characters types, on the one hand, and the author’s aesthetics and individual interpretations of the world and man, on the other hand. Based on the material of the comedy films by L. Gaidai and E. Ryazanov, the fairy tale film An Ordinary Miracle by M. Zakharov, the author shows how far the artistic messages of these directors are from the archaic concepts of laughter and comedy, from the ideas of carnival freedom and harmony, which, however, does not deny the use of satire drama structures, palliata, and paired archetypical characters. This refers to the cultural layering of the images of Shurik, Nina, Saakhov, and the comical trio of the Coward, the Fool and the Pro. In addition, the article analyses the role of the water element in the comedy The Irony of Fate... and gives a detailed interpretation of the non-normative behaviours of Zhenya Lukashin and Ippolit possessing only external signs of carnivality. Conclusions are drawn about the dramatic heuristicity of laughter in the comedy films by Gaidai and Ryazanov, which had adaptive psychological functions and also contributed to the internal self-reflection of the Soviet audience.
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Kallioniemi, Noora. "Cultural populism in the Uuno Turhapuro films of the 1990s." Journal of Scandinavian Cinema 12, no. 3 (September 1, 2022): 249–68. http://dx.doi.org/10.1386/jsca_00076_1.
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This article examines the cultural meanings given to the comedy character Uuno Turhapuro, in particular during the early 1990s. Focusing on two films, Uuno Turhapuro herra Helsingin herra (‘Uuno Turhapuro, Mr Bigwig of Helsinki’) (1991) and Uuno Turhapuro Suomen tasavallan herra presidentti (‘Uuno Turhapuro, Mr President of the Republic of Finland’) (1992), I discuss the way this unemployed, idle but resourceful character belongs to the tradition of Finnish audio-visual popular culture and analyse the cultural populism related to the authorship of Pertti ‘Spede’ Pasanen. The figure of Uuno is also a presidential parody that reflects the changing attitude in Finland towards those in power after the long administration of President Urho Kekkonen. As a historian, I have endeavoured to illustrate the ways comedy relates to the time period in which it was made.
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Yugay, I. I. "Pierrick Sorin. Comedy in Video Art." Art & Culture Studies, no. 1 (March 2023): 180–99. http://dx.doi.org/10.51678/2226-0072-2023-1-180-199.
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The article reveals the genre-stylistic specificity of artworks of the French video artist Pierrick Sorin, created between the 1980s and the 2020s. It studies the methods and techniques characteristic of P. Sorin’s work, particular attention being paid to his use of comic techniques. The novelty of the research lies in the consideration of P. Sorin’s creative work as an integral artistic system in its development. The relevance of the present study is determined by the need to expand ideas about the principles of shaping and the features of drama in the genres of contemporary art. The article shows that P. Sorin developed the techniques and methods of video art in an original and spectacular way. Out of the creative methods used by the artist, the author of the article focuses on the following ones: the attraction of expressive means of other arts (cinema, circus, music hall, variety theatre, etc.) and the combination of modern technical and technological solutions with the style of comedy films, buffoonery, and clowning, which is manifested in the plots, expressive means, the specifics of the characters. The classification of P. Sorin’s works proposed by the author includes video art, optical theatres (miniature installations), stage performances and scenographic works. The author comes to the following conclusions: the plot structure of P. Sorin’s works, depending on the genre, includes miniature scenes-sketches, parody films that repeat scenario designs of the originals, and series of sketches combined in a holistic performance by means of recapitulation. In his scenographic works, P. Sorin creates a comic discourse, a play with the viewer based on technical attractions. The comic techniques characteristic of P. Sorin’s work are: comic absurdity, illogical or impossible combination of elements, the method of inconsistency, the method of unexpected, repetition, and the use of taboo topics.
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Wright, Andrea. "Eye of the Taika: New Zealand Comedy and the Films of Taika Waititi, Matthew Bannister (2021)." Journal of New Zealand & Pacific Studies 11, no. 2 (December 1, 2023): 224–27. http://dx.doi.org/10.1386/nzps_00160_5.
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Tsuji, Sahoko. "‘Salute to Radio’: The self-reflexive artistry of Betty Comden and Adolph Green in Fun with the Revuers." Studies in Musical Theatre 14, no. 2 (July 1, 2020): 149–61. http://dx.doi.org/10.1386/smt_00029_1.
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Betty Comden and Adolph Green are well-known librettists and lyricists of stage musicals and musical films; their artistic style and verbal expression are considered to bear urban witness to a period understanding of the 1940s and 1950s. Nonetheless, previous studies have scarcely investigated the aesthetic features of their dramaturgy, especially with regard to linguistic expression. This article focuses on the radio comedy Fun with the Revuers, for which they wrote scripts and lyrics. Through a close look at the scripts and sound recordings, it analyses the ‘interruptive sound and voice’ functions that construct the show, and examines how these satirize the conventions of the format, as well as the essential features of the medium. This article will offer a new perspective on the generational dynamics of Comden and Green’s artistry.
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Kim, Sungeun. "Irony Expression Techniques in the Genre of Black Comedy Films: Focused on Netflix Films <Don’t look up>." Korean Society of Culture and Convergence 44, no. 9 (September 30, 2022): 831–40. http://dx.doi.org/10.33645/cnc.2022.9.44.9.831.
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This study researched the irony expression technique used in the genre of black comedy film <Don’t look up> released in 2021 on Netflix. Black comedy is a genre that has the purpose of criticism, and proper delivery of this critical viewpoint through films is critical in this genre. To expose the theme, a film <Don’t Look Up> makes full use of ironic expressions. The comical effect of these expressions maintain the light atmosphere of this film, while emphasizing the parts to be criticized. A variety of ironic expression techniques in this work are worth analyzing since they are used as devices that can convey its message well. The investigator uses the classification of irony by Lee, Jeonggook, which classifies irony into dramatic irony, plot irony, irony of character, irony of place, irony of music, etc., to analyze the ironic expression techniques used in this film. The purpose of this study is to analyze how the irony occurs and find what effect it has on the narrative which may be helpful of creating scenario.
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Drieu, Cloé. "Rimgaila Salys, The Musical Comedy Films of Grigorii Aleksandrov." Cahiers du monde russe 50, no. 50/4 (December 15, 2009): 817–20. http://dx.doi.org/10.4000/monderusse.7173.
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Browne, Ray B. "The Road to Comedy: The Films of Bob Hope." Journal of American Culture 28, no. 3 (September 2005): 340. http://dx.doi.org/10.1111/j.1542-734x.2005.00235.x.
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Stamou, Anastasia G., and Stavros Christou. "Sociolinguistic representations of the military in Greek comedy films." Pragmatics and Society 8, no. 1 (April 10, 2017): 1–25. http://dx.doi.org/10.1075/ps.8.1.01sta.
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Abstract This paper aims to explore cinematic representations of the military in peacetime, and more importantly, from a socio-cultural setting in which mandatory military service is highly devalued. Focusing on three Greek popular comedy films, we examined humorous depictions of the military. By adopting the ‘identities in interaction’ model of Bucholtz and Hall, our analysis suggested that the use of the formal vs. the informal military sociolect indexed the contrasting identities of film officers vs. soldiers as well as their diverging views about the military. On the other hand, the use of the informal military sociolect by soldiers established an affinity among them, helping them to jointly construct the army in their talk as unjust, corrupted and ineffective for the Turkish ‘threat’.
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Zhurkova, D. A. "The Role of Song in Leonid Gaidai’s Films." Art & Culture Studies, no. 1 (March 2023): 104–33. http://dx.doi.org/10.51678/2226-0072-2023-1-104-133.
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The article is devoted to Leonid Gaidai’s work with soundtrack. The emphasis is made on the analysis of both original and borrowed songs in the entire filmography of the director. In the first part of the article, the author analyses the principles of Gaidai’s work with various musical genres and outlines the range of musical genres and styles used by the director. The article investigates how their meaning (reputation) changes, refracted through the prism of the comedy genre, and discusses various ways in which the director interprets the genres of an old-time sentimental gypsy romance, folk and criminal underworld songs. The second part of the article reveals the role of songs in the dramaturgy of Gaidai’s comedies. The author demonstrates that with the help of songs, Gaidai creates an interconnected musical universe both within one film and between films. The study presents the analysis of the contrast between the visual-narrative side of an episode and its soundtrack and provides a detailed examination of how Gaidai challenged stereotypes as to what characters can perform what genre songs in a comedy film.
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Andy Wicaksono, Galuh, and Fathul Qorib. "Pesan Moral Dalam Film Yowis Ben." Jurnal Komunikasi Nusantara 1, no. 2 (December 17, 2019): 72–77. http://dx.doi.org/10.33366/jkn.v1i2.23.
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The number of movies made in Indonesia there are several films that give a good moral message in it. Through the movie "Yowis Ben" the director tried to make something new and different from the comedy genre films on previous comedy films. The purpose of this research is to know and understand the moral messages contained in the movie Yowis Ben. In this study used qualitative research method by using the research object of the Film Yowes Ben. While the data analysis technique uses the semiotic analysis of Charles Sander Pierce which is based on logic, with reasoning through the signs. The Model that shows the three main elements of the marking forming is representament, object and Interpretant. The results of this research show that the YOWIS BEN film has a moral message in various sides of life through signs that are munncul both visual and verbal in their respective stories. There is a moral message related to Bayu's life. It can therefore be concluded that the figures and the talks that exist in each scene are a representation of the moral message.
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Lewicki, Arkadiusz. "Transgender/transvestitism/cross-dressing in Polish cinema." Dziennikarstwo i Media 11 (January 24, 2020): 49–56. http://dx.doi.org/10.19195/2082-8322.11.5.
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The first Polish film taking up the problem of cross-dressing was a comedy from 1934, titled Is Lucyna a Girl? Czy Lucyna to dziewczyna? by Juliusz Gardan. In the history of Polish cinema there were a few more films about transgender/transvestism. The paper describes these films and indicates what type of socio-moral influence changes the way of showing this type of characters and themes.
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Zhai, Ranqiu. "On the Chinese-English Subtitle Translation of Five Hundred Miles from the Perspective of Skopos Theory." Communications in Humanities Research 6, no. 1 (September 14, 2023): 241–47. http://dx.doi.org/10.54254/2753-7064/6/20230261.
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Film and television works play a significant role in cultural exchanges between countries. In recent years, more and more outstanding Chinese films and TV works have been transmitted to foreign countries and have been well received by foreign audiences, and the comedy film Five Hundred Miles, released during the Chinese Spring Festival in 2023, is a fantasy comedy film that has achieved widespread acclaim from audiences at home and abroad. In the process of transferring domestic films to foreign countries, subtitle translation attaches great importance. The quality of subtitle translation directly affects the understanding of the content for foreign audiences and the influence of Chinese culture in the international arena. This study analyses the Chinese-English translation of the subtitles of Five Hundred Miles under the guidance of the three principles of Skopos theory, so as to provide value for translators in the future translation of film subtitles.
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Addas, Reski Kartini. "ANALYSIS OF INSULT AS HUMOR IN THE CONTEXT OF POLITICS THROUGH STAND-UP COMEDY SHOW." Journal of Language, Literature, and Teaching 4, no. 2 (November 20, 2022): 44–62. http://dx.doi.org/10.35529/jllte.v4i2.44-62.
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This research explains the humor styles used in the stand-up comedy show by Kiki Saputri. She owns material that is known as "Roast." It is used for a specific person on the show. A roast consists of an insult, which is the background of this research. This kind of comedy can be found on TV programs or Youtube videos that contain comedy content because they get special attention from the viewers. Besides that, many films featured comedians, particularly stand-up comedians. They can use comedy to not only make people laugh but also to criticize, deliver messages, and capitalize on unrest. In this research, the researcher used descriptive qualitative research as the method of the research. The analysis used the theory of Arthur Asa Berger. In this theory, Berger said that there are 45 indicators of humor, but the researcher just used insult as one indicator to focus on this research. The researcher wants to analyze the use of insults in the Roast Stand Up Comedy Show in a political context from Youtube. The research results show that using insults can be humorous because it can make the audience laugh. Furthermore, the show was served in good humor but not for serious insults in front of politicians. Thus, they not only entertain the audience but also deliver messages or criticism directly to the politicians. Keywords: Humor, Roast, Insult, Comedian, Politician.
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ZHURKOVA, DARIA A. "Reflecting on “Red Laughter”: English-Language Studies of Soviet Comedy." Art and Science of Television 18, no. 4 (2022): 13–40. http://dx.doi.org/10.30628/1994-9529-2022-18.4-13-40.
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In this article, I address foreign English-language works on Soviet film comedy, tracing the waves of researchers’ interest to it, and identifying the time periods as well as film directors attracting scholars most often. The first surge of interest in Soviet film comedy came in the first half of the 1990s and was largely associated with the fall of the Iron Curtain. The major subject of research during those years were Soviet avant-garde cinema of the 1920s, musical comedies of the 1930s, and films of the Perestroika period. The second wave came in the 2010s with the emigration of a large number of Russian scholars who had personally witnessed the Soviet Union. Thanks to them, the range of the studied material has significantly expanded through the analysis of film comedies of the 1960s and 1970s. The main thematic directions and topics in the study of the comedy genre are structured in accordance with the history of film timeline. Soviet comedies of the 1920s–1930s are of specific interest to foreign researchers in terms of the ideological regulation of art, as well as in terms of how the mythology of the new socialist society was formed, and how Soviet filmmakers adapted or rejected Western standards. In the comedies of the 1960s and 1970s, scholars analyze the discordance between declared and unspoken humor and study the Aesopian language of famous comedy film directors (Ryazanov and Gaidai above all). Finally, in late-Soviet films, researchers note the growth of absurdist motifs as a sign of a complete and no longer hidden disillusionment with communist ideals.
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Isenberg, Noah. "Fatih Akin's Cinema of Intersections." Film Quarterly 64, no. 4 (2011): 53–61. http://dx.doi.org/10.1525/fq.2011.64.4.53.
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A career survey of the work of Turkish German director Fatih Akin, whose films (notably The Edge of Heaven and Soul Kitchen) combine comedy with darker notes, emphasizing the theme of dual identity and paying particular attention to the use of music.
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Lupher, Sonia. "Frustrating white men: Masculinity and genre instability in Eat and Gregory Go Boom." Short Film Studies 12, no. 2 (September 1, 2022): 161–71. http://dx.doi.org/10.1386/sfs_00080_1.
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This article draws a connection between the genre instability of Janicza Bravo’s first two short films and her subject position as a Black woman directing films about vulnerable white masculinity. In fluctuating between the tonal and genre markers of comedy and horror, Eat (2011) and Gregory Go Boom (2013) reveal the contradictions between mainstream representations that uplift flawed white male characters and how they are perceived by those they oppress.
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Donovan, Mary Kate. "Comedy, migration and post-crisis anxiety in Perdiendo el norte/Off Course (Narco García Velilla 2015) and Perdiendo el este/Off Course to China (Paco Caballero 2019)." Studies in Spanish & Latin American Cinemas 19, no. 3 (December 1, 2022): 335–52. http://dx.doi.org/10.1386/slac_00095_1.
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Comedy in Perdiendo el norte/Off Course (2015) and its sequel Perdiendo el este/Off Course to China (2019) is a tool for mitigating national anxieties related to migration and economic exchange following the global financial crisis. Both films follow Spaniards who emigrate in the wake of the economic crisis. While Perdiendo el norte follows a tradition of comedic españoladas (typically Spanish films), employing the familiar foil of Germany, Perdiendo el este introduces China as an economic challenger. Perdiendo el norte borrows heavily from its predecessor, Vente a Alemania, Pepe/Come to Germany, Pepe (1971), but ultimately flips the script on Vente’s nationalist nostalgia, advocating for greater transnationalism. Perdiendo el este, on the other hand, reinscribes a nationalist agenda by framing the Chinese as incompatible with Spanish national identity. Its preoccupation with Chinese investment in post-crisis Spain can be read as a reflection of the region’s angst about its own economic and cultural capital in the twenty-first century.
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Purba, Berehme Adyatma, and Raditya Alifamughni. "Examining musical elements in Toy Story soundtrack “You’ve Got a Friend in Me”." Interlude: Indonesian Journal of Music Research, Development, and Technology 3, no. 1 (November 30, 2023): 64–75. http://dx.doi.org/10.17509/interlude.v3i1.71191.
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Animated comedy and adventure films are highly enjoyable to watch. In addition to being an enjoyable film, it is also suitable for viewers of all ages, ranging from children to adults. Furthermore, films of this genre are often sought after by families seeking weekend entertainment. In addition to being captivating to watch, films in this genre typically aim to impart a moral message. The "Toy Story" is a well-known animated comedy about friendship and adventure. It effectively conveys a message of friendship, a familiar theme to viewers. The film's soundtrack, "You've Got a Friend in Me", is highly memorable and strongly associated with the movie. This essay will examine the audio of this renowned film. In this study, we employed qualitative methodologies. Qualitative methods refer to research approaches that aim to comprehend phenomena in a research object by describing them using language. This study aims to analyze the musical composition of the film "Toy Story" theme song to understand its characteristics and elements comprehensively. Data collection was conducted through discography investigations, book reviews, and observations. Discographic study involves analyzing, describing, and explaining the results of auditory experiences. We examined the "Toy Story" theme song in audio format, accessible on platforms like Spotify and YouTube, and the musical score. The purpose was to facilitate the evaluation of the song's form, structure, and musical elements. "You've Got a Friend in Me" exhibits a higher level of complexity in terms of chords and melody than a usual song. It surpasses the average in chord complexity, melodic complexity, chord melodic tension, chord progression novelty, and chord-bass melodies.
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O'Donoghue, Darragh. "Whatever It Is, I'm Against It: Comedy and Jewishness in the Work of Stephen Dwoskin." Jewish Film & New Media: An International Journal 10, no. 1 (March 2022): 36–80. http://dx.doi.org/10.1353/jfn.2022.a914336.
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ABSTRACT: This essay reframes the infamously grave and grueling experimental filmmaker Stephen Dwoskin as a comic artist. Experimental film in the UK is usually discussed in terms of the marginal history of artists' film and video, or the form's relationship to elite contemporary art. Stephen Dwoskin was engaged with these concerns. He was, however, also a devotee of Hollywood film, like his fellow filmmakers in the New York underground, and like the group of "film enthusiasts" that founded the London Film-Makers' Co-op on its model and screened popular and generic American cinema alongside avant-garde and arthouse works. This essay will argue that comedy in particular, a genre enriched by Jewish artists between his birth in 1939 and his leaving for Europe in 1964, was a major shaping intertext on Dwoskin's work. It will further argue that an engagement with comedy and its practitioners allowed Dwoskin to explore Jewish-related themes in a subterranean manner when Jewish identity was not a usual subject in experimental film—unlike the directly queer, black, or post-colonial films made by his contemporaries. After a survey of two major Jewish thinkers on comedy—Henri Bergson and Sigmund Freud—the major intertext discussed in the essay will be the early work of the Marx Brothers. In the first films where he played a version of himself, Dwoskin appropriated themes, images, and even narrative approaches introduced by American Jewish comics like the Marx Brothers, such as the foregrounding of the precarious, unstable, or disruptive body; the comedy of sexual dysfunction and bodily failure; and identity crisis resulting from social marginality. With Dwoskin, as with these comics, such themes and structures resulted in the subversion of mainstream narrative modes and character stereotypes.
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Sin, Won-Seon. "A Study of Interracial Marriage Conflicts in the Comedy Films." Institute of Humanities at Soonchunhyang University 38, no. 1 (March 31, 2019): 231–53. http://dx.doi.org/10.35222/ihsu.2019.38.1.231.
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Park, Sun Young. "“Myŏngnang” and “Vulgarity” in Comedy Films from the Late 1960s." Journal of Korean drama and theatre ll, no. 51 (March 2016): 169–201. http://dx.doi.org/10.17938/tjkdat.2016..51.169.
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Gillota, David. "Hitchcock and Humor: Modes of Comedy in Twelve Defining Films." Studies in American Humor 8, no. 2 (September 1, 2022): 384–87. http://dx.doi.org/10.5325/studamerhumor.8.2.0384.
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