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The contributions collected in this book examine Lubitsch's best Hollywood pictures from the 1930s and '40s -- Trouble in paradise, Design for living, Ninotchka, To be or not to be, and Cluny Borwn -- to demonstrate that comedy, at its best, is not merely a matter of providing comic relief.
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Comedy films --- Films comiques --- History and criticism --- Histoire et critique
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Comedy films --- Films comiques --- History and criticism --- Histoire et critique
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Destiné aux scénaristes, cet ouvrage décrit les ressorts de la comédie à partir de l'analyse de séquences de films ou d'épisodes de séries télévisées dont il explique ce qui fonctionne ou ne fonctionne pas et propose des techniques utiles. ©Electre 2016 Cet ouvrage est construit pour permettre aux auteurs : - de bien se familiariser avec les mécanismes de la comédie, en analysant les séquences de grands films pour le cinéma et la télévision, et en expliquant ce qui fonctionne et ce qui ne fonctionne pas et pourquoi ; - de maitriser parfaitement les outils nécessaires et les techniques fondamentales pour écrire une comédie d'une manière aussi éclairante que pratique. L'auteur STEVE KAPLAN est l'un des experts en comédie les plus demandé de l'industrie de l'Audiovisuel aux États-Unis. Enseignant à UCLA, NYU et Yale, il est le créateur du HBO Workspace, le nouveau programme d'écriture de HBO, et a été le co-fondateur ainsi que le directeur artistique du Manhattan's Punch Line Théâtre. Il est consultant pour DreamWorks, Disney, Aardman Animation, HBO, et pour de nombreux producteurs indépendants. Il a écrit ou co-écrit une dizaine de films et série pour la télévision. Il a reçu 10 Emmys, 1 Oscar, 2 WGA Award et 1 American Comedy Award.
Comedy films --- Films comiques --- Authorship --- Art d'écrire
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Comedy films --- Films comiques --- History and criticism --- Histoire et critique
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Comedy films --- Films comiques --- History and criticism --- Histoire et critique
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Comedy films --- Films comiques --- History and criticism. --- Histoire et critique
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- Some trends in American and European film comedy from 1894 to 1929 / Frank Scheide##- Pie queens and virtuous vamps: The funny women of the silent screen / Kristen Anderson Wagner##- The American slapstick short and the coming of sound / Rob King##- Carnivalesque comedy and the Marx Brothers / Frank Krutnik##- Jacques Tati and comedic performance / Kevin W. Sweeney##- Woody Allen / David R. Shumway##- Mel Brooks / Henry Jenkins##- The intimate scenarios of romantic comedy / Celestino Deleyto##- Eternal sunshine of the spotless mind / Leger Grindon##- Comedy in the contemporary "Homme-com" cycle / Tamar Jeffers McDonald##- Flirting with disaster / Lucy Fischer##- Hollywood's mythical monarchies, troubled republics, and crazy kingdoms / Charles Morrow You can't take it with you / William Paul##- To be or not to be / Maria DiBattista##- Dark comedy from Dr. Strangelove to the Dude / Mark Eaton##- Black film comedy as vital edge: A reassessment of the genre / Catherine A. John##- American Indian film comedies on the hilarity of poverty / Joshua B. Nelson##- Ethnic humor in American film: The Greek Americans / Dan Georgakas##- Alexander Mackendrick: Dreams, nightmares, and myths in Ealing comedy / Claire Mortimer##- Gender, humor, and the plastic body in two Korean comedies / Jane Park##- Comedy "Italian style" and I soliti ignoti / Roberta Di Carmine##- Humor, loss, and the posibility for politics in recent Palestinian cinema / Najat Rahman##- The case of animated comedy / Paul Wells##- Theatrical cartoon comedy / Suzanne Buchan.
Comedy films --- Comic, The. --- Films comiques --- Comique --- History and criticism. --- Histoire et critique
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Miller and Van Riper provide a lively autopsy of a body of horror-comedy films. Grounded in Henri Bergson?s theories, the essays excavate a veritable graveyard of comic horror films. The five essays in the first section, "Playing with Genre, " address generic transformations with the comic, transforming the horrific into the zany and providing cultural analyses. The six essays in the second section, "Horror, in Theory, " theorize horror films through unexpected comic perspectives, showing how mirth and menace play off each other. Chris Yogerst eulogizes the familiar rules for survival in films such as Zombieland. The final five essays, under the heading "There Goes the Neighborhood, " look at how the intersection of horror and comedy provides a lens to critique the basic conventions of the horror film and its spectators. In his essay, Van Riper considers how comedy enables viewers to contend with the angst of everyday life. Miller wraps up with a provocative essay challenging the scientific elite, giving the creative power of life to ordinary people. Insightful and remarkably readable, these stimulating essays will delight, leaving readers laughing, screaming, and thinking.
Horror films --- Comedy films --- Films d'horreur --- Films comiques --- History and criticism. --- Histoire et critique
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