This examination of dark comedies of the 1970s focuses on films which concealed black humor behind a misleading genre label. All That Jazz (1979) is a musical...about death--hardly Fred and Ginger territory. This masking goes beyond misnomer to a breaking of formula that director Robert Altman called "anti-genre." Altman's MASH (1970) ridiculed the military establishment in general--the Vietnam War in particular--under the guise of a standard military service comedy. The picaresque Western Little Big Man (1970) turned the bluecoats vs. Indians formula upside-down--the audience roots for the Indians instead of the cavalry. The book covers 12 essential films, including Harold and Maude (1971), Slaughterhouse-Five (1972), One Flew Over the Cuckoo's Nest (1975) and Being There (1979), with notes on A Clockwork Orange (1971). These films reveal a compounding complexity that reinforces the absurdity at the heart of dark comedy.
Buster Keaton "can impress a weary world with the vitally important fact that life, after all, is a foolishly inconsequential affair," wrote critic Robert Sherwood in 1918. A century later Keaton, with his darkly comic "theater of the absurd," speaks to audiences like no other silent comedian. If you thought you knew Keaton--think again!
Parody is the least appreciated of all film comedy genres and receives little serious attention, even among film fans. This study elevates parody to mainstream significance. A historical overview places the genre in context, and a number of basic parody components, which better define the genre and celebrate its value, are examined. Parody is differentiated from satire, and the two parody types, traditional and reaffirmation, are explained. Chapters study the most spoofed genre in American parody history, the Western; pantheon members of American Film Comedy such as The Marx Brothers, W. C. Fields, Mae West, and Laurel and Hardy; pivotal parody artists, Bob Hope and Woody Allen; Mel Brooks, whose name is often synonymous with parody; and finally, parody in the 1990s. Films discussed include Destry Rides Again (1939), The Road to Utopia (1945), My Favorite Brunette (1947), The Paleface (1948), Butch Cassidy and the Sundance Kid (1969), Blazing Saddles (1974), Young Frankenstein (1974), Hot Shots! Part Deux (1993) and Scream (1996). This examination of parody will appeal to scholars and students of American film and film comedy, as well as those interested in the specific comedians discussed and the Western genre. Gehring's work will also find a place in American pop culture studies and sociological studies of the period from the 1920s to the 1990s. The book is carefully documented and includes a selected bibliography and filmography.
The twelve classic comedy films examined within these pages are distinguished by an equal number of defining comic performances. Ranging from The Great Dictator (1940) to A Southern Yankee (1948), each film focuses on the most central theme of "clown comedy": Resilience, the encouragement or hope that one can survive the most daunting of life's dilemmas--even during the war-torn 1940s. And each film can be regarded as a microcosm of the antiheroic world of its central clown (or clowns). Among the performers represented are Charlie Chaplin, W.C. Fields, Abbott and Costello, Jack Benny, Eddie Bracken, Bob Hope, Bing Crosby, Danny Kaye, the Marx Brothers, Harold Lloyd and Red Skelton. This lavishly illustrated work includes an introduction by noted film critic and historian Anthony Slide.
Celebrated film director Frank Capra was a central architect of the "feel good" movie genre now known as populism, which celebrates people, families, second chances, and other traditional American icons such as small town or pastoral life and baseball. Capra developed his own brand of populism by interweaving traditional values of the genre with a younger, more vulnerable hero starting with Mr. Deeds Goes to Town in 1936. The result, Capraesque populism, has had a significant influence on American pop culture in general and forms a small but important subgenre of baseball movie. This book examines eight of these Capraesque baseball films, starting with the all-important Pride of the Yankees (1942), which one admiring critic has called "Mr. Deeds Goes to Yankee Stadium." An introduction provides an overview of baseball and populism. Individual chapters are devoted to the populist legacy from Will Rogers (Capra's mentor) to Capra, The Pride of the Yankees, The Stratton Story, Angels in the Outfield, The Natural, Bull Durham, Field of Dreams, Frequency and The Rookie.
This groundbreaking film study begins with a survey of American print humorists from eras leading up to and overlapping the advent of film--including some who worked both on the page and on the screen, like Robert Benchley, Will Rogers, Groucho Marx and W. C. Fields. Six comic film genres are identified as outgrowths of a national tradition of Cracker Barrel philosophers, personality comedy, parody, screwball comedy, romantic comedy and dark comedy. Whether it is Mark Twain or a parody film involving Steve Martin, comedy is most often about blowing "raspberries" at the world, and a reminder you are not alone.
Woody Allen's Manhattan Murder Mystery has been described as "a kind of Rear Window for retirees." As this quote suggests, an analysis of Alfred Hitchcock's methodical use of comedy in his films is past due. One of Turner Classic Movies' on-screen scholars for their summer 2017 online Hitchcock class, the author grew tired of misleading throwaway references to the director's "comic relief." This book examines what should be obvious: Hitchcock systematically incorporated assorted types of comedy--black humor, parody, farce/screwball comedy and romantic comedy--in his films to entertain his audience with "comic" thrillers.
Wes Furlotte critically evaluates Hegel's philosophy of human freedom in terms of his often-disregarded conception of nature. In doing so, he gives us a new portrait of Hegel's final system that is surprisingly relevant for our contemporary world, connecting it with recent work in speculative realism and new materialism.
Wes Williams explores the place of monsters in the early modern imagination, charting the migration of the monstrous from natural history to moral philosophy, from descriptions of creatures found in the external world to the drama of human motivation, of sexual and political identity. At its centre are readings of major works of French literature.
In the world of archeology nothing compares to the discovery. Whether it’s related to King Tut’s tomb, the Titanic, or Amelia Earhart, the uncovering of an artifact outdoes all the research; work; and blood, sweat, and tears into a singular rush of adrenaline. In the world of the muscle car, some of the greatest creations are still waiting to be discovered. This book is a collection of stories written by enthusiasts about their quest to find these extremely rare and valuable muscle cars. You find four categories (Celebrity, Rare, Race Cars, and Concept/Prototype/Show Cars) within three genres (Missing, Lost History, Recently Discovered) that take you through the search for some of the most sought after muscle cars with names such as Shelby, Yenko, Hurst, and Hemi. Along the way, success stories including finding the first Z/28 Camaro, the 1971 Boss 302, and the 1971 Hemi 'Cuda convertible will make you wonder if you could uncover the next great muscle car find. Lost Muscle Cars includes 45 intriguing stories involving some of the most significant American iron ever created during the celebrated muscle car era. Readers will be armed with the tools to begin the quest to make the next great discovery in automotive archaeology!
It is the 27th Century.The known worlds are spread among three disparate regions: The Earth-centered Stellar Consortium, the rogue worlds of the Fringe and the subjugated worlds of the Nall-dominated Parallax.A transdimensional race known as the Il'Ri'Kamm Hive Mind provide the means for faster-than-light travel. The price: Service in a genocidal war against an ancient Hiver enemy.OtherSpace: Revolutions chronicles the first three story arcs of Wes Platt's online interactive saga, which started in 1998 and continues to evolve with hundreds of participants from around the world in real-time.www.otherspace.org!
Learn about the rarest muscle cars ever produced with this new book. In the world of muscle cars, many were produced and sold in large enough quantities that they would be considered special but not particularly rare at the time of production. The Boss 429 and Plymouth Superbird were produced for racing homologation reasons, and since they were very expensive to produce, the manufacturers ensured that they would be rare. However, there is rare, and then there is rare. Prototypes and special factory builds, factory production cars, and super car tuners and builders are all covered in this new book by muscle-car historian Wes Eisenschenk. Some are single examples, some are very close to being the last remaining example, and all are extremely rare. Some have no surviving example known to exist. Featured cars include a Boss 429 Cougar, a 1971 Pontiac Ventura II Sprint 455, a 1965 Chevelle 300 COPO car with the L78 option, and a 1970 FK5 Deep Burnt Orange Metallic Superbird. Dealer promotional specials include a 1968 AMC AMX Von Piranha, a 1970 Dick Harrell LS6 454 Camaro, and a 1973 Nickey Chevrolet 427 Nova. These are cars that you will read about but likely never see. For a fun ride through muscle-car history and great stories of the rarest muscle cars ever produced, add this book to your automotive library today.
This is the first full-length biography of Irene Dunne, one of the most versatile actresses of Hollywood's Golden Age. A recipient of the Kennedy Center Honors award in 1985, Dunne's acting highlights include five Best Actress Oscar nominations, occurring in almost as many different genres: the Western Cimarron (1931), the two screwball comedies Theodora Goes Wild (1936) and The Awful Truth (1937), the romantic comedy Love Affair (1939), and the populist I Remember Mama (1948). Her other memorable films include My Favorite Wife (1940), Penny Serenade (1941), Anna and the King of Siam (1946), and Life with Father (1947). After delving into Dunne's childhood and early acting forays, the book reveals details about key events in her life and career, including a difficult, bi-coastal marriage. The author also examines Dunne's pivotal roles on stage and in film, her movement among the genres of melodrama and screwball comedy, her ties to director Leo McCarey, and her post-war film career. Gehring's research and insightful analysis shed light on what made Irene Dunne so unique and her performances so memorable. Includes 16 pages of photos.
ACS In Focus Electrochemical Imaging introduces some of the most exciting and important imaging techniques in electrochemistry. This digital primer, targeted at senior undergraduate students and first-year graduate students, demonstrates how electrochemical imaging has become increasingly important in enhancing our fundamental understanding of the electrode/solution interface. Chapter 1 introduces electrochemistry, the unique aspects of electrochemical reactions, and the key importance of electrochemical imaging. Chapter 2 focuses on array-based electrochemical imaging methods. Chapter 3 describes several electrochemical imaging methods based on small scanning probes. Chapter 4 introduces electrochemical imaging methods based on optical microscopies, such as fluorescence, dark field, and Raman spectroscopy. The last chapter is devoted to briefly discussing some imaging methods for examining the electrochemical interface with molecular and atomic scale resolution. It also reveals exciting ways of using in-situ methods, such as electron microscopies, to image electrochemical processes in situ.
In the style of Stuart Kaminsky, Wes D. Gehring of Ball State University has written an intriguing murder mystery involving a lost Chaplin film and a host of nefarious characters who want it. Using his vast knowledge of all things Chaplinian, Gehring perfectly captures the mindset of the little tramp and has produced a short novel worthy of the subject.
Fixing the carnage on our roadways requires a change in mindset and a dramatic transformation of transportation. This goes for traffic engineers in particular because they are still the ones in charge of our streets. In Killed by a Traffic Engineer, civil engineering professor Wes Marshall shines a spotlight on how little science there is behind the way that our streets are engineered, which leaves safety as an afterthought. While traffic engineers are not trying to cause deliberate harm to anyone, he explains, they are guilty of creating a transportation system whose designs remain largely based on plausible, but unproven, conjecture. Killed by a Traffic Engineer is ultimately hopeful about what is possible once we shift our thinking and demand streets engineered for the safety of people, both outside and inside of cars. It will make you look at your city and streets--and traffic engineers--in a new light and inspire you to take action.
Kentucky's culinary fame may have been built on bourbon and fried chicken, but the Commonwealth has much to offer the barbecue thrill-seeker. The Kentucky Barbecue Book is a feast for readers who are eager to sample the finest fare in the state. From the banks of the Mississippi to the hidden hollows of the Appalachian Mountains, author and barbecue enthusiast Wes Berry hit the trail in search of the best smoke, the best flavor, and the best pitmasters he could find. This handy guide presents the most succulent menus and colorful personalities in Kentucky. While other states are better known for their 'cue, the Kentucky style is distinct because of its use of mutton and traditional cooking methods. Many of the establishments featured in this book are dedicated to the time-honored craft of cooking over hot hardwood coals inside cinderblock pits. Time intensive and dangerous, these traditions are disappearing as methods requiring less manpower, less wood, and less skill gain ground. Pick up a copy of this book and hit the road before these great places are gone.
About the Book In assembling and organizing his wife Mary’s letters and diary, M. Wesley “Wes” Shoemaker’s constant goal has been to allow the documents to speak through her voice without intruding himself unnecessarily into the narrative. Yet it cannot be denied that he is the Wes who appears throughout, and that, in addition to the main theme of Mary’s life and Foreign Service Career, it is also a story of a marriage lasting over fifty-one years, in spite of the fact that fifteen of those years, their separate career patterns kept them separated for eight months each year. Containing a total of 191 letters (116 of which are to Wes), Marielo: A Foreign Service Life in Diary and Letters chronicles Mary’s incredible life as a Foreign Service Officer through the slowly dying medium of letter writing, which provided a lifeline that held their marriage together over the years and further explains how their long-distance relationship survived over the years of separation. About the Author M. Wesley “Wes” Shoemaker was a Foreign Service Officer and has been posted at locations all over the world. He later resigned from this role to enter a doctoral program in Russian history at Syracuse University and went on to teach at Lynchburg College.
First published in 2007. In early 1929, two organizers for the American Communist Party’s recently established National Textile Worker’s Union (NTWU) journeyed south by motorcycle to investigate the potential for beginning organizing work among textile workers in the Piedmont region. One of these organizers, Fred Beal, decided to try his luck in Gastonia, North Carolina, which had been described to him as key to organizing the South In a chain of events whose rapidity and magnitude took Beal by surprise, workers at the Loray mill became embroiled in a Communist-led strike that would eventually focus national and even international attention on Gastonia. This book focuses on Myra Page, Grace Lumpkin, and Olive Dargan—the three authors of Gastonia novels who penetrate most incisively into the working-class experience beneath historical and political accounts of the strike and its larger context.
For young adults and people who want help achieving their goals, Wes's advice based on his life experiences as the "Godfather of Canadian Hip Hop" will guide them on the right path. As someone who has experienced the highs and lows that come with being a performer, Wes "Maestro" Williams has had to overcome many challenges in his life. These are also the same challenges that we all face on the way to where we want to be, and Wes's practical and empowering strategies will help you get there. Sometimes these obstacles come from within, whether it's a fear of failure or low self-esteem. Sometimes they come from your circumstances; perhaps there are people around you who are keeping you down or "in your place," even if they don't mean to. In Stick to Your Vision, Wes shows you how to define your vision, how to achieve it, and what to do once you're there. He offers useful tips and advice, as well as inspirational stories and quotes, and exercises that will keep you moving towards your own vision. From the Hardcover edition.
The 1950s were a transitional period for film comedians. The artistic suppression of the McCarthy era and the advent of television often resulted in a dumbing down of motion pictures. Cartoonist-turned-director Frank Tashlin contributed a funny but cartoonish effect through his work with comedians like Jerry Lewis and Bob Hope. A new vanguard of comedians appeared without stock comic garb or make-up--fresh faces not easily pigeonholed as merely comedians, such as Tony Randall, Jack Lemmon and Tony Curtis. Some traditional comedians, like Charlie Chaplin, Red Skelton and Danny Kaye, continued their shtick, though with some evident tweaking. This book provides insight into a misunderstood decade of film history with an examination of the "personality comedians." The talents of Dean Martin and Bob Hope are reappraised and the "dumb blonde" stereotype, as applied to Judy Holliday and Marilyn Monroe, is deconstructed.
Magic, memetics, mastermind groups, egregores, and cybernetics are all discussed in the following chapters. We've relied on the terms above in developing this book to help you use these tools to achieve your own goals through the design and spread of memes across many different layers of networks." -- (page 8)
The 1930s are routinely considered sound film's greatest comedy era. Though this golden age encompassed various genres of laughter, clown comedy is the most basic type. This work examines the Depression decade's most popular type of comedy--the clown, or personality comedian. Focusing upon the Depression era, the study filters its analysis through twelve memorable pictures. Each merits an individual chapter, in which it is critiqued. The films are deemed microcosmic representatives of the comic world and discussed in this context. While some of the comedians in this text have generated a great deal of previous analysis, funnymen like Joe E. Brown and Eddie Cantor are all but forgotten. Nevertheless, they were comedy legends in their time, and their legacy, as showcased in these movies, merits rediscovery by today's connoisseur of comedy. Even this book's more familiar figures, such as Charlie Chaplin and the Marx Brothers, are often simply relegated to being recognizable pop culture icons whose work has been neglected in recent years. This book attempts to address these oversights and to re-expose the brilliance and ingenuity with which the screen clowns contributed a comic resiliency that was desperately needed during the Depression and can still be greatly appreciated today. The films discussed are City Lights (1931, Chaplin), The Kid From Spain (1932, Cantor), She Done Him Wrong (1933, Mae West), Duck Soup (1933, Marx Brothers), Sons of the Desert (1933, Laurel and Hardy), Judge Priest (1934, Will Rogers), It's a Gift (1934, W.C. Fields), Alibi Ike (1935, Brown), A Night at the Opera (1935, Marx Brothers), Modern Times (1936, Chaplin), Way Out West (1937, Laurel and Hardy), and The Cat and the Canary (1939, Bob Hope).
The book examines Charlie Chaplin's evolving perspective on dark comedy in his three war films, Shoulder Arms (1918), The Great Dictator (1940), and Monsieur Verdoux (1947). In the first he uses the genre in a groundbreaking manner but yet for a pro-war cause. In Dictator dark comedy is applied in an antiwar way. In Monsieur Verdoux Chaplin embraces the genre as an individual in defense against a society out to destroy him. All three are pivotal films in the development of the genre in film, with the latter two movies being very controversial for their time.
A clearly written introduction to using America Online's growing line of Internet access tools, this book could easily serve as the user's sole Internet resource. The coverage of each tool will include numerous real-life examples of things to do on the Internet with that particular tool. The disk includes the latest version of America Online's free starter kit software for Windows.
Traditionally identified with screwball comedies, Frank Capra has seldom been considered a conduit for populist concerns and issues. In this book, Gehring examines the influence of both Will Rogers and Frank Capra on modern populist movies, providing important background on Capra's links to the crackerbarrel personality of Rogers. He follows this theme forward, examining the populist roots in such films as The Electric Horseman, Field of Dreams, Dave, Grand Canyon, and others. A final chapter is a close-up of the contemporary, Capra-like director, Ron Howard. The inclusion of a bibliography and selected filmography makes this book an important contribution to film studies, popular culture, and American humor.
America's recent turmoil over taxes, spending, and debt has exposed a dangerous fiscal situation that has been building for a long, long time. Our country has a long-term debt problem. As if on autopilot, our government continually spends more money than it receives. The deficits between the two are financed by taking out debt. That debt accumulates, and if it gets large enough, America will risk insolvency. "American Solvency" takes a fresh look at the factors underlying our long-term debt problem and proposes a constitutional amendment to resolve those factors. Unlike a balanced budget amendment, this amendment will not merely demand that we balance our budgets. Instead, this amendment will create conditions guiding us to naturally balance our budgets ourselves. It is, for lack of a better term, a Solvency Amendment. The Solvency Amendment will solve our long-term debt problem in a non-partisan and unobjectionable way, by focusing strictly on budgeting procedures and by implementing only a modest change. Nevertheless, it will completely resolve the factors underlying our problem, and will therefore also solve our problem permanently. We will never again be subjected to an existential crisis over our country's finances in which we are forced to rely upon our elected officials to perform superhuman feats of wisdom and political forbearance. Under the Amendment, America's solvency will simply become the natural result of our ordinary political process in action. In this way, with a single constitutional amendment, we can permanently fix much of what is broken in American government.
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