Written by a scholar of satire and politics, Trump Was a Joke explains why satire is an exceptional foil for absurd political times and why it did a particularly good job of making sense of Trump. Covering a range of comedic interventions, Trump Was a Joke analyzes why political satire is surprisingly effective at keeping us sane when politics is making us crazy. Its goal is to highlight the unique power of political satire to encourage critical thinking, foster civic action, and further rational debate in moments of political hubris and hysteria. The book has been endorsed by Bassem Youssef, who has been referred to as the “Jon Stewart of Egypt,” and Srdja Popovic, author of Blueprint for Revolution, who used satirical activism to bring down Serbian dictator Slobodan Milosevic. With a foreword by award-winning filmmaker, satirist, and activist Michael Moore, this study will be of interest to readers who follow politics and enjoy political comedy and will appeal to the communications, comedy studies, media studies, political science, rhetoric, cultural studies, and American studies markets.

In this book, Nathan Miczo demonstrates that humor operates at different levels of identity, exploring how within- and between-group dynamics shape the creation and reception of disparagement humor. While positive forms of humor arise in interpersonal settings, negative forms reflect the activation of group-based, communal identities. Building on this dual sociality view, Miczo critiques the superiority theory of disparagement humor, rooted in Hobbes’s definition of laughter, and tied to his notion of a “war of all against all.” Miczo employs the agōn (Greek for contest) to replace the Hobbesian metaphor with a view that groups use disparagement humor to pursue rival goals. This perspective forwards the multifunctional utility of humor in social life, analyzing examples of naturally occurring interaction drawn from studies in Communication, Psychology, and Anthropology. Scholars of humor studies, communication, and anthropology, will find this book of particular interest.

A 2022 Best Comedy Book, Vulture A rousing call for liberals and progressives to pay attention to the emergence of right-wing comedy and the political power of humor. "Why do conservatives hate comedy? Why is there no right-wing Jon Stewart?" These sorts of questions launch a million tweets, a thousand op-eds, and more than a few scholarly analyses. That's Not Funny argues that it is both an intellectual and politically strategic mistake to assume that comedy has a liberal bias. Matt Sienkiewicz and Nick Marx take readers––particularly self-described liberals––on a tour of contemporary conservative comedy and the "right-wing comedy complex." In That's Not Funny, "complex" takes on an important double meaning. On the one hand, liberals have developed a social-psychological complex—it feels difficult, even dangerous, to acknowledge that their political opposition can produce comedy. At the same time, the right has been slowly building up a comedy-industrial complex, utilizing the humorous, irony-laden media strategies of liberals such as Jon Stewart, Samantha Bee, and John Oliver to garner audiences and supporters. Right-wing comedy has been hiding in plain sight, finding its way into mainstream conservative media through figures ranging from Fox News's Greg Gutfeld to libertarian podcasters like Joe Rogan. That's Not Funny taps interviews with conservative comedians and observations of them in action to guide readers through media history, text, and technique. You will find many of these comedians utterly appalling, some surprisingly funny, and others just plain weird. They are all, however, culturally and politically relevant—the American right is attempting to seize spaces of comedy and irony previously held firmly by the left. You might not like this brand of humor, but you can't ignore it.

What does the name Trump stand for? If branding now rules over the production of value, as the coauthors of Sovereignty, Inc. argue, then Trump assumes the status of a master brand whose primary activity is the compulsive work of self-branding—such is the new sovereignty business in which, whether one belongs to his base or not, we are all “incorporated.” Drawing on anthropology, political theory, philosophy, psychoanalysis, and theater, William Mazzarella, Eric L. Santner, and Aaron Schuster show how politics in the age of Trump functions by mobilizing a contradictory and convoluted enjoyment, an explosive mixture of drives and fantasies that eludes existing portraits of our era. The current political moment turns out to be not so much exceptional as exceptionally revealing of the constitutive tension between enjoyment and economy that has always been a key component of the social order. Santner analyzes the collective dream-work that sustains a new sort of authoritarian charisma or mana, a mana-facturing process that keeps us riveted to an excessively carnal incorporation of sovereignty. Mazzarella examines the contemporary merger of consumer brand and political brand and the cross-contamination of politics and economics, warning against all too easy laments about the corruption of politics by marketing. Schuster, focusing on the extreme theatricality and self-satirical comedy of the present, shows how authority reasserts itself at the very moment of distrust and disillusionment in the system, profiting off its supposed decline. A dazzling diagnostic of our present, Sovereignty, Inc., forces us to come to terms with our complicity in Trump’s political presence and will immediately take its place in discussions of contemporary politics.

This book explores Donald Trump’s political communication as a candidate and in the first two years in office. The 45th US President is dominating the media system and 'building the agenda' through the combined action of five strategies. He disintermediates his communication and manufactures a permanent campaign climate based on strong and inflammatory language to attract a constant and decisive media coverage. In disarticulating old-style political rhetoric, he privileges emotions over contents, slogans above thought. Trump’s jokes, mockeries and distinct rhetoric – showing similarities to rhetorical strategies of Nazis during the 1930s – help him impersonate the populist ‘everyday man’ who fights against the elites. His dominance of the news cycle also reflects a desire for higher TV ratings and Web traffic numbers. Essentially, Trump has critically exploited the media’s news logics and taken advantage of the American public's lack of trust in journalism.

This book engages anthropologically with humor as political expression. It reveals how humor is in many instances central to human efforts to cope with political struggle and significant to understanding power dynamics in socio-political life. The chapters examine humor and joking activities across a diverse range of geographic areas and cultural contexts. The contributors consider humor as it is constituted in political anxiety, aggression and power, and when it becomes a tool to resist, repair, reconcile or make a moral claim. Collectively they demonstrate that humor can provide a powerful critique, a non-violent form of political protest and the space for restoration of human dignity.

Richard Dyer is a foundational figure for the critical study of cinema and popular culture. Across a career spanning five decades, he has made path breaking contributions to our understanding of stardom and celebrity, gay and queer politics and cultural history, film music, race and whiteness and the pleasures of popular entertainment. The Richard Dyer Reader brings together for the first time key writings by this vital and influential figure, many of which are not otherwise available. The anthology guides readers through Dyer's prolific and rich output through six thematic selections of essays and extracts, each centred on a key theme in Dyer's work: stardom and the image; entertainment and ideology; gay politics and representation; whiteness; the pleasures of popular entertainment, and textual analysis. A seventh section comprises a selection of interviews conducted across the span of his career, as well as a new interview with editors Glyn Davis and Jaap Kooijman. The book will provide an introduction for those new to Dyer's writings, as well as offering a fresh perspective for readers with a more comprehensive knowledge of his work. The collection includes archival and recent pieces of writing never previously anthologised, newly commissioned essays, a substantial introduction to Dyer's life and work and framing introduction to each section.

This two-volume set surveys the profound impact of political humor and satire on American culture and politics over the years, paying special attention to the explosion of political humor in today's wide-ranging and turbulent media environment. Historically, there has been a tendency to regard political satire and humor as a sideshow to the wider world of American politics—entertaining and sometimes insightful, but ultimately only of modest interest to students and others surveying the trajectory of American politics and culture. This set documents just how mistaken that assumption is. By examining political humor and satire throughout US history, these volumes not only illustrate how expressions of political satire and humor reflect changes in American attitudes about presidents, parties, and issues but also how satirists, comedians, cartoonists, and filmmakers have helped to shape popular attitudes about landmark historical events, major American institutions and movements, and the nation's political leaders and cultural giants. Finally, this work examines how today's brand of political humor may be more influential than ever before in shaping American attitudes about the nation in which we live.

The Pulitzer Prize–winning opinion columnist at The New York Times explores how people in power reveal themselves through their books and writings and, in so doing, illuminates the personal, political, and cultural conflicts driving Washington and the nation. As a long-time book critic and columnist in Washington, Carlos Lozada dissects all manner of texts: commission reports, political reporting, Supreme Court decisions, and congressional inquiries to understand the controversies animating life in the capital. He also reads copious books by politicians and top officials: tell-all accounts by administration insiders, campaign biographies by candidates longing for high office, revisionist memoirs by those leaving those offices behind. With this provocative essay collection, Lozada argues that no matter how carefully political figures sanitize their experiences, positions, and records, no matter how diligently they present themselves in the best and safest and most electable light, they almost always let slip the truth. They show us their faults and blind spots, their ambitions and compromises, their underlying motives and insecurities. Whether they mean to or not, they tell us who they really are. In his memoirs and speeches, Barack Obama constantly invoked the power and meaning of his life story, Lozada notes, a sign of how the former president capitalized on his personal symbolism, trying to transform it from inspiration on the campaign trail into an all-purpose governing tool. In a soliloquy about his hair in a self-help book published two decades ago, Donald Trump revealed not just his vanity, Lozada explains, but his utter isolation from the world, long before he entered the bubble of the White House. In deft and lacerating prose, Lozada interprets the unresolved tensions of Hillary Clinton’s ideological beliefs. He imagines the wonderful memoir George H.W. Bush could have given us but instead left scattered in throughout various books and letters. He explores why Kamala Harris has struggled to carve out a distinctive role as vice president. He explains how Ron DeSantis’s pitch to America is just a list of enemies. And he even glimpses what Vladimir Putin fears the most, and why he seeks conflict with the West. He does so all through their own books, and their own words. Lozada reads these books so you don’t have to. The Washington Book is the perfect guide to the state of our politics, and then men and women who dominate the terrain. It explores the construction of personal identity, the delusions of leadership, and that mix of subservience and ambition that can define a life in politics. The more we read the stories of Washington, Lozada contends, the clearer our understanding of the competing visions of our country.