Comic Politics: Gender in Hollywood Comedy After the New Right
Are Jim Carrey, Robin Williams, and Eddie Murphy the celluloid compatriots of Ronald Reagan, Margaret Thatcher and Tony Blair? This book argues that the rubber faces of '80s and '90s comedy films, helped to transform us into the flexible, self-managing citizens beloved of the new right--and its successors. Through its sustained look at the box-office comedies of the last two decades, "Comic Politics" provides a critical introduction to key approaches to comedy. It tests the usefulness and limits of psychoanalytics, Bakhtinian and postmodernist theory against comedians and comedies from Woody Allen to "Wayne's World." The book includes a look at animation and computer enhanced comedies.
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Ace Ventura analysis argued argument audience author-director Bakhtin body Bourdieu carnival laughter Carry On films central character cinema classical realism comedian comedy comedy film comic contemporary context conventions critical cultural studies described diegesis discussed Doane Doane's Doisneau's Doubtfire example family comedies father fatherhood femininity feminist fiction forms gender parody genres Ghostbusters II Gil's Goldberg's hierarchies Hollywood Hutcheon idea identify individual instance intertextuality Ivan Reitman joke kind Kindergarten Cop Krutnik liberal Look Who's Talking male masculinity Modleski Morning Vietnam Naked Gun narrative neo-liberal notion on-screen Parenthood parody particular performances of identity personality photograph play political meanings popular comedy popular culture popular films popular parody postmodern psychic psychoanalytic responsibility rhetoric Robin Williams role screen theory self-reflexivity sexual social spoof stars strategies suggests television texts textual theorists tion transformations understanding viewers voice voice-over watching Wayne's World Williams's woman women Woody Allen writers