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.

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.

Disability—as with other marginalized topics in social policy—is at risk for exclusion from social debate. This multivolume reference work provides an overview of challenges and opportunities for people with disabilities and their families at all stages of life. Once primarily thought of as a medical issue, disability is now more widely recognized as a critical issue of identity, personhood, and social justice. By discussing challenges confronting people with disabilities and their families and by collecting numerous accounts of disability experiences, this volume firmly situates disability within broader social movements, policy, and areas of marginalization, providing a critical examination into the lived experiences of people with disabilities and how disability can affect identity. A foundational introduction to disability for a wide audience—from those intimately connected with a person with a disability to those interested in the science behind disability—this collection covers all aspects of disability critical to understanding disability in the United States. Topics covered include characteristics of disability; disability concepts, models, and theories; important historical developments and milestones for people with disabilities; prominent individuals, organizations, and agencies; notable policies and services; and intersections of disability policy with other policy.

For decades, Screen World has been the film professional's, as well as the film buff's, favorite and indispensable annual screen resource, full of all the necessary statistics and facts. Now Screen World editor Barry Monush has compiled another comprehensive work for every film lover's library. In the first of two volumes, this book chronicles the careers of every significant film actor, from the earliest silent screen stars – Chaplin, Pickford, Fairbanks – to the mid-1960s, when the old studio and star systems came crashing down. Each listing includes: a brief biography, photos from the famed Screen World archives, with many rare shots; vital statistics; a comprehensive filmography; and an informed, entertaining assessment of each actor's contributions – good or bad! In addition to every major player, Monush includes the legions of unjustly neglected troupers of yesteryear. The result is a rarity: an invaluable reference tool that's as much fun to read as a scandal sheet. It pulsates with all the scandal, glamour, oddity and glory that was the lifeblood of its subjects. Contains over 1 000 photos!

Facets of the Fifties. A reference guide to an iconic Decade of Movie Palaces, Television, Classic Cars, Sports, Department Stores, Trains, Music, Food, Fashion and more

As Christopher Nolan’s Batman films and releases from the Marvel Cinematic Universe have regularly topped the box office charts, fans and critics alike might assume that the “comic book movie” is a distinctly twenty-first-century form. Yet adaptations of comics have been an integral part of American cinema from its very inception, with comics characters regularly leaping from the page to the screen and cinematic icons spawning comics of their own. Movie Comics is the first book to study the long history of both comics-to-film and film-to-comics adaptations, covering everything from silent films starring Happy Hooligan to sound films and serials featuring Dick Tracy and Superman to comic books starring John Wayne, Gene Autry, Bob Hope, Abbott & Costello, Alan Ladd, and Dean Martin and Jerry Lewis. With a special focus on the Classical Hollywood era, Blair Davis investigates the factors that spurred this media convergence, as the film and comics industries joined forces to expand the reach of their various brands. While analyzing this production history, he also tracks the artistic coevolution of films and comics, considering the many formal elements that each medium adopted and adapted from the other. As it explores our abiding desire to experience the same characters and stories in multiple forms, Movie Comics gives readers a new appreciation for the unique qualities of the illustrated page and the cinematic moving image.

Screen Ages is a valuable guide for students exploring the complex and vibrant history of US cinema and showing how this film culture has grown, changed and developed. Covering key periods from across American cinema history, John Alberti explores the social, technological and political forces that have shaped cinematic output and the varied impacts cinema of on US society. Each chapter has a series of illuminating key features, including: ‘Now Playing’, focusing on films as cinematic events, from The Birth of a Nation to Gone with the Wind to Titanic, to place the reader in the social context of those viewing the films for the first time ‘In Development’, exploring changing genres, from the melodrama to the contemporary super hero movies, ‘The Names Above and Below the Title’, portraying the impact and legacy of central figures, including Florence Lawrence, Orson Welles and Wes Anderson Case studies, analyzing key elements of films in more depth Glossary terms featured throughout the text, to aid non-specialist students and expand the readers understanding of changing screen cultures. Screen Ages illustrates how the history of US cinema has always been and continues to be one of multiple screens, audiences, venues, and markets. It is an essential text for all those wanting to understand of power of American cinema throughout history and the challenges for its future. The book is also supported by a companion website, featuring additional case studies, an interactive blog, a quiz bank for each chapter and an online chapter, ‘Screen Ages Today’ that will be updated to discuss the latest developments in American cinema.

This comprehensive survey of sources and scholarship should prove invaluable to anyone organizing a course in American humor, and to graduate students or advanced undergraduates as well. There are excellent summaries of respected histories of the field and such serious, well-planned chapters as `The Comics,' `Humor in Periodicals,' `Standup Comedy,' `Women's Humor,' `Racial and Ethnic Humor,' and `Political Humor.' . . . Well-written and clearly presented, this volume will greatly assist those making their way in this fascinating interdisciplinary area. Choice Focusing on a multitude of genres, this unusual collection stresses the overall importance of humor as an index to popular thought. Primarily descriptive rather than theoretical, each chapter is organized to provide an overview of a specific genre of expression or a significant topic in modern humor. Subjects range from literature, the comic strip, film, broadcast humor, the magazine, and standup comedy, to racial and ethnic humor, women's humor, and political humor. Each genre or topic is traced historically and analyzed with respect to those characteristics that make it unique. A bibliographical essay and checklist is provided for each chapter to facilitate further study.

Novelist and critic Alexander Theroux analyzes the pop song. National Book Award nominee, critic and one of America’s least compromising satirists, Alexander Theroux takes a comprehensive look at the colorful language of pop lyrics and the realm of rock music in general in The Grammar of Rock: silly song titles; maddening instrumentals; shrieking divas; clunker lines; the worst (and best) songs ever written; geniuses of the art; movie stars who should never have raised their voice in song but who were too shameless to refuse a mic; and the excesses of awful Christmas recordings. Praising (and critiquing) the gems of lyricists both highbrow and low, Theroux does due reverence to classic word-masters like Ira Gershwin, Jimmy Van Heusen, Cole Porter, and Sammy Cahn, lyricists as diverse as Hank Williams, Buck Ram, the Moody Blues, and Randy Newman, Dylan and the Beatles, of course, and more outré ones like the Sex Pistols, the Clash, Patti Smith, the Fall (even Ghostface Killa), but he considers stupid rhymes, as well ― nonsense lyrics, chop logic, the uses and abuses of irony, country music macho, verbal howlers, how voices sound alike and why, and much more. In a way that no one else has ever done, with his usual encyclopedic insights into the state of the modern lyric, Theroux focuses on the state of language ― the power of words and the nature of syntax ― in The Grammar of Rock. He analyzes its assaults on listeners’ impulses by investigating singers’ styles, pondering illogical lunacies in lyrics, and deconstructing the nature of diction and presentation in the language. This is that rare book of discernment and probing wit (and not exclusively one that is a critical defense of quality) that positively evaluates the very nature of a pop song, and why one over another has an effect on the listener.

The Must-Have Guide to Humor Writing Bring on the funny! With Comedy Writing Secrets 3rd Edition, you can discover the secrets of humor writing that will keep your readers rolling in their seats. Learn the basics of joke construction, as well as in-depth comedy-writing techniques that you can apply to a variety of print and online markets. If your aim is to make 'em laugh--and make a career in comedy writing--then look no further. In this completely revised and refreshed edition, you'll discover: • Hundreds of updated one-liners, anecdotes, and bits from top comedians like Louis C.K., Conan O’Brien, Tina Fey, Amy Schumer, Rodney Dangerfield, Jon Stewart, Steve Martin, Ellen DeGeneres, Jimmy Fallon, George Carlin, Zach Galifianakis, Stephen Colbert, Erma Bombeck, and more. • Exclusive tips for injecting humor into articles, speeches, advertisements, greeting cards, and more. • New instruction on writing for online markets and social media. • Advice on brainstorming and editing to beat writer's block and generate new material. • Exercises and expanded instructions for exaggeration, reverses, word play and more to practice and refine your writing skills. For more than twenty years, Comedy Writing Secrets has helped humor writers of all skill levels write and sell their work. With Comedy Writing Secrets 3rd Edition, you'll be laugh-out-loud funny and leave readers wanting more.