scholarly journals “Mitogenicity”—the latest and most hilarious episode in the slapstick comedy of melanoma management

2012 ◽  
Vol 2 (3) ◽  
Author(s):  
Wolfgang Weyers
Keyword(s):  
Slapstick Comedy

A tribute to Charlie Chaplin: How feedback-based learning benefits from watching slapstick comedy (and other dopamine-boosters)

2011 ◽  
Author(s):  
K. R. Ridderinkhof ◽  
N. C. Van Wouwe ◽  
G. P. Band ◽  
I. Van De Vijver ◽  
W. P. Van Den Wildenberg ◽  
...  
Keyword(s):  
Charlie Chaplin ◽  
Slapstick Comedy

Buster Keaton’s Climate Change

2018 ◽  
Author(s):  
Jennifer Fay
Keyword(s):  
Climate Change ◽  
World War I ◽  
Storm Surges ◽  
Weather Conditions ◽  
Detailed Knowledge ◽  
World War ◽  
Precise Control ◽  
Naturally Occurring ◽  
Peter Sloterdijk ◽  
Slapstick Comedy

Much of Buster Keaton’s slapstick comedy revolves around his elaborate outdoor sets and the crafty weather design that destroys them. In contrast to D. W. Griffith, who insisted on filming in naturally occurring weather, and the Hollywood norm of fabricating weather in the controlled space of the studio, Keaton opted to simulate weather on location. His elaborately choreographed gags with their storm surges and collapsing buildings required precise control of manufactured rain and wind, along with detailed knowledge of the weather conditions and climatological norms on site. Steamboat Bill, Jr. (1928) is one of many examples of Keaton’s weather design in which characters find themselves victims of elements that are clearly produced by the off-screen director. Keaton’s weather design finds parallels in World War I strategies of creating microclimates of death (using poison gas) as theorized by Peter Sloterdijk.

Slapstick Against Stereotypes in South Sudan’s Cymbeline

2017 ◽  
Author(s):  
Rose Elfman
Keyword(s):  
African Country ◽  
South Sudan ◽  
Violent Conflict ◽  
African Continent ◽  
The South ◽  
Arabic Translation ◽  
Theatre Company ◽  
Constructing Knowledge ◽  
Slapstick Comedy

The South Sudan Theatre Company (SSTC) brought its Juba Arabic translation of Cymbeline to the Globe to Globe Festival in London in 2012 amid expectations that the production would represent the country’s recent independence struggle. Associating the African country with violent conflict while representing Shakespeare as a force for peace, the advance publicity for the production repeated neocolonial tropes that stereotypically inform both entities. The production itself, however, presented a very different version of both ‘Shakespeare’ and ‘Africa’. Instead of depicting a bloody war that yields to reconciliation only after great suffering, the SSTC retold Cymbeline as a melodramatic, slapstick comedy. The production’s playfulness opened a space for the company to deflect, redirect, and expose to question the very process of constructing knowledge. The obligation to represent South Sudan therefore became an opportunity to challenge the structures of thought undergirding stereotypes about the country and the African continent.

scholarly journals Origins and functions of comic in feuilleton as literature phenomenon

2020 ◽  
pp. 107-117
Author(s):  
V. E. Golovchiner ◽  
◽  
T. L. Vesnina ◽  
Keyword(s):  
19Th Century ◽  
Short Fiction ◽  
Printing Press ◽  
Artistic Expression ◽  
Free Form ◽  
The 19Th Century ◽  
Regulatory Trends ◽  
Slapstick Comedy

The genesis of a feuilleton phenomenon in the periodic press, always attracting the readers’ attention, has not been thoroughly researched. The work aims to identify the feuilleton origins and clarify the nature of its expressive means and comic functions. The research materials include the records of the feuilleton discussions in the Soviet press (1922–1926), a collection of works “Feuilleton” (1927), later works on the feuilleton and historical poetics. The following factors are considered to have contributed to the rise of the feuilleton: increased potential of the printing press at the turn of the 19th century, emergence of commercial periodicals, publishers’ interest in increasing the subscribers’ number, growing opposition to the regulatory trends of classicism and acute interest of romanticists in folklore and freedom to use its expressive means in the artistic sphere. The feuilleton is conceptualized as a young form, independent of genre canons, developing the low farce and slapstick comedy expressive means and its comic potential. According to ancestral memory, the comic means as basic artistic expression suggests both mockery and pleasure function for the feuilleton audience and predetermines the double existence of the feuilleton text and difference in naming at different times and in different publications. Texts published in periodicals are traditionally viewed as feuilletons, though the same texts published elsewhere can be considered short fiction forms. The paper defines the feuilleton as belonging to periodicals but distinguished among official and serious papers by its wording and free form of a mostly comic statement, pleasing for readers.

scholarly journals Tom And Jerry Projecting Violence in Slapstick Comedy: A qualitative content analysis

2021 ◽  
Vol 23 (1) ◽  
pp. 65-82
Author(s):  
Md Mohiul Islam ◽  
Hamedi Mohd Adnan ◽  
Mohd Amir Mat Omar ◽  
Nilufa Akter
Keyword(s):  
Content Analysis ◽  
Qualitative Content Analysis ◽  
Media Industry ◽  
Analysis Method ◽  
Content Analysis Method ◽  
The World ◽  
Slapstick Comedy

Tom and Jerry has already celebrated its Platinum Jubilee as it was produced firstly in 1940 and bit by bit Tom and Jerry has been dominating the watch-lists of the cartoon lovers from all over the world by retaining itself as one of the most popular cartoons of all time. But it is not only the never-ending rivalry between the cat and the mouse with the slapstick comedy that helps the cartoon to be as one of the talked of the topics in the entertainment and media industry, it has created some controversies regarding its contents; and violence is one those that has made the scholars and critics talk about it and its possible impacts on the audience. Apart from lamenting for the impacts of violence on the juveniles’ mind, this study rather focuses on how Tom and Jerry projects violence alongside with the slapstick comic elements in the name of entertainment since it is significant to discern what violence is and then categorize them into different type as different categories of violence may have impact on the audience in different ways. By defining the term violence, this study shows how Tom and Jerry displays the actions which can be the ribs and stretchers of the umbrella known as violence. Whereas most of the scholars concentrate on the outcome of showing violence among the different programs in media, this study categorizes the actions performed by the characters in the cartoon into different categories through a qualitative content analysis method and defines those actions according to the definitions of violence.

Slapstick Comedy

2018 ◽  
Author(s):  
Burke Hilsabeck
Keyword(s):  
Commedia Dell'arte ◽  
Slapstick Comedy

The term "slapstick comedy" refers to film comedies in which the humor relies upon physical gags and stunts. The slapstick—a wooden paddle to which a second piece of wood was attached by means of a hinge—was a tool of the Italian commedia dell’arte. When swung against an actor’s body, it made a loud thwacking noise that helped to emphasize an act of stage violence.

Talking Back: Voice in Screwball Comedy

2016 ◽  
Author(s):  
Heidi Wilkins
Keyword(s):  
Detective Story ◽  
Film Performance ◽  
Great Demand ◽  
Narrative Cinema ◽  
Gangster Film ◽  
Screwball Comedy ◽  
New Generation ◽  
Film Genres ◽  
Silent Era ◽  
Slapstick Comedy

Film had always been accompanied by sound in one form or another, but the ‘talkies’ introduced the prospect of a wider variety of film genres within mainstream narrative cinema that had not been possible during the silent era: genres that were reliant on language and verbalisation rather than mime and gesture. This development marked a change in film performance and acting style. As noted by Robert B. Ray: ‘Sound and the new indigenous acting style encouraged the flourishing of genres that silence and grandiloquent acting had previously hindered: the musical, the gangster film, the detective story, screwball comedy and humour that depended on language rather than slapstick.’ Although silent slapstick comedy remained in Hollywood, championed by the Marx Brothers, among others, the ‘talkies’ created great demand for a new generation of actors, those who could speak; it also generated a near-panic when these proved to be not that easily obtainable. Writers and directors of screwball comedy seized this opportunity, recognising that the comedy genre needed to incorporate the possibilities offered by synchronised sound.

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