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Comedians --- Stand-up comedy.

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"How do Norwegians feel about religious humour? What do comedians take into consideration when producing and performing jokes about religion? How is humour about religion presented in television comedies, film comedies and men’s magazines? How do different religious groups relate to humour about their own faith? The relationship between religion and humour can be contentious – religion is not always something to make light of – and yet, religion and humour are in dialogue, negotiating ways to accommodate each other. There is also much humour to be found in religious milieus. This anthology addresses encounters between humour and religion in a variety of contexts.The book consists of contributions written by people from different disciplines with expertise in religion, media and humour. Practitioners are represented through interviews with stand-up comedians. The book is aimed at everyone interested in the role of religion in humoristic settings, as well as professionals in the fields of media and religion, politicians and other decision-makers, and students in social sciences, religious studies and media studies." "Hva mener nordmenn om religionshumor? Hvilke vurderinger gjør komikere i forbindelse med humor om religion? På hvilken måte fremstilles religionshumor i dagens mediehverdag? Hvordan forholder ulike religiøse miljøer seg til humor om deres egen trosretning? Det er liten tvil om at koblingen mellom religion og humor noen ganger kan være betent. Religion er ikke alltid til å spøke med. Samtidig finnes det mange eksempler på at religion og humor ikke trenger å stå i et motsetningsforhold, men at det foregår forhandlinger om hvordan humor og religion kan tilpasse seg til hverandre. Det er også mye humor i religiøse miljøer. Denne boken tar forseg møtet mellom humor og religion i ulike sammenhenger.Boken inneholder et knippe bidrag skrevet av personer fra ulike fagfelt med kompetanse på religion, medier og humor. Praktikere på humorfeltet er representert gjennom intervjuer med standupkomikere. Boken retter seg mot alle som er opptatt av religionens rolle i humorsammenhenger, mot praktikere på mediefeltet og religionsfeltet, politikere og andre beslutningstakere, og mot studenter i samfunnsfag, religionsfag og medievitenskap."

Humanities --- religion --- humour --- comedians --- media --- stand-up --- humor --- komikere --- standup

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This Pivot explores the cultural economy of comedy in the UK, looking specifically at the links between industry practices and structures and who produces comedy in the UK. The research is based on interviews with comedians in the East Midlands; significantly, this demographic has been historically under-researched in studies of precarity, where the East Midlands is typically overlooked in discussions of arts funding and access in favour of a more simplistic north/south divide narrative. Similarly, whilst there has been increased discussion of the precarity of the creative and cultural industries, as well as media articles on the difficulty of breaking into comedy as a member of a marginalised group, there has been relatively little academic research to support this. While Friedman’s work in particular has been helpful for understanding the link between comedy producers, class and taste making, there has been less attention paid to the sociologies of work within comedy. This book fills these gaps in research by exploring the experiences of comedians in the East Midlands, contributing to the rich body of scholarship on inequality in the cultural industries and promoting a better understanding of the impact of structural inequalities and precarity on access to the cultural industries. .

Comedians --- Stand-up comedy --- Comedy. --- Ethnology --- Culture. --- Comedy Studies. --- British Culture. --- Great Britain.

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Women explode out of chimneys and melt when sprayed with soda water. Feminist activists play practical jokes to lobby for voting rights, while overworked kitchen maids dismember their limbs to finish their chores on time. In early slapstick films with titles such as Saucy Sue, Mary Jane's Mishap, Jane on Strike, and The Consequences of Feminism, comediennes exhibit the tensions between joyful laughter and gendered violence. Slapstick comedy often celebrates the exaggeration of make-believe injury. Unlike male clowns, however, these comic actresses use slapstick antics as forms of feminist protest. They spontaneously combust while doing housework, disappear and reappear when sexually assaulted, or transform into men by eating magic seeds-and their absurd metamorphoses evoke the real-life predicaments of female identity in a changing modern world.Specters of Slapstick and Silent Film Comediennes reveals the gender politics of comedy and the comedic potentials of feminism through close consideration of hundreds of silent films. As Maggie Hennefeld argues, comedienne catastrophes provide disturbing but suggestive images for comprehending gendered social upheavals in the early twentieth century. At the same time, slapstick comediennes were crucial to the emergence of film language. Women's flexible physicality offered filmmakers blank slates for experimenting with the visual and social potentials of cinema. Specters of Slapstick and Silent Film Comediennes poses major challenges to the foundations of our ideas about slapstick comedy and film history, showing how this combustible genre blows open age-old debates about laughter, society, and gender politics.

Comedy films --- Silent films --- Women comedians. --- Women in motion pictures. --- Human body in motion pictures. --- Sex role in motion pictures. --- Motion pictures --- Body, Human, in motion pictures --- Comediennes --- Actresses --- Comedians --- History and criticism. --- Silent films. --- History and criticism

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The popularity of the comic performers of late-Georgian and Regency England and their frequent depiction in portraits, caricatures and prints is beyond dispute, yet until now little has been written on the subject. In this unique study Jim Davis considers the representation of English low comic actors, such as Joseph Munden, John Liston, Charles Mathews and John Emery, in the visual arts of the period, the ways in which such representations became part of the visual culture of their time, and the impact of visual representation and art theory on prose descriptions of comic actors. Davis reveals how many of the actors discussed also exhibited or collected paintings and used painterly techniques to evoke the world around them. Drawing particularly on the influence of Hogarth and Wilkie, he goes on to examine portraiture as critique and what the actors themselves represented in terms of notions of national and regional identity.

Iconography --- Theatrical science --- anno 1700-1799 --- anno 1800-1899 --- England --- Actors in art. --- Actors --- Comedians --- Portraits, British --- Art and society --- Theater and society --- History