American Political Humor 2 Volumes

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.

This book examines the role of humor in modern American politics. Written by a wide range of authors from the fields of political science and communication, this book is organized according to two general topics: how the modern media present political humor the various ways in which political humor influences politics. Laughing Matters is an excellent text for courses on media and politics, public opinion, and campaigns and elections.

In the past decade various studies have examined how political humor may influence various political attitudes and voting behavior; whether it affects learning, cognition and media literacy, how it might shape political participation; how people process different forms of political humor; and more. This book is devoted to anticipating and addressing where the field of political humor and its effects will move in the next generation of scholarship, exploring the continued evolution of the study of political humor as well as the normative implications of these developments. It includes research accounting for important changes and developments "on the ground" in the political humor landscape. These include the fact that the cadre of late-night television hosts have completely changed in the past 3 years; there are now more late night television choices; and many hosts have become more overtly political in their presentations. Recommended for scholars of communication, media studies, and political science.

This edited volume brings together scholars of comedy to assess how political comedy encounters neoliberal themes in contemporary media. Central to this task is the notion of genre; under neoliberal conditions (where market logics motivate most actions) genre becomes “mixed.” Once stable, discreet categories such as comedy, horror, drama and news and entertainment have become blurred so as to be indistinguishable. The classic modern paradigm of comedy/tragedy no longer holds, if it ever did. Moreover, as politics becomes more economic and less moral or normative under neoliberalism, we are able to see new resistance to comedic genres that support neoliberal strategies to hide racial and gender injustice such as unlaughter, ambiguity, and anti-comedy. There is also an increasing interest with comedy as a form of entertainment on the political right following both Brexit in the UK and the election of Trump in the U.S. Several essays confront this conservative comedy and place it in context of the larger humor history of these debates over free speech and political correctness. For comedians too, entry into popular media now follows the familiar neoliberal script of the celebration of self-help with the increasing admonishment of those who fail to win in market terms. Laughter plays an important role in shaming and valorizing (often at the same time!) the precarious subject in the aftermath of global recession. Doubling down on austerity, self-help policies and equivocation in the face of extremist challenges (right and left), politics foils the critical comedian’s attempt to satirize and parody its object. Characterized by ambiguity, mixed genre and the increasing use of anti-humor, political comedy mirrors the social and political world it mocks, parodies and celebrates often with lackluster results suggesting that the joke might be on us, as audiences.

Political humor has been a staple of late-night television for decades. The Trump White House, however, has received significantly greater attention than that of past presidents, such as Barack Obama, George W. Bush, and even Bill Clinton. In response to Trump’s strident politics, late-night comics, including Stephen Colbert, Jimmy Kimmel, Trevor Noah and Jimmy Fallon, have sounded key policy notes, further blurring the boundary between news and satire. Weekly humorists, including John Oliver and Samantha Bee, extend the critique with in-depth probing of key issues, while Saturday Night Live continues to tap the progression from outrage to outrageousness. Using unique content analysis techniques and qualitative discussions of political humor, Farnsworth and Lichter show how late-night political humor, and these seven programs in particular, have responded to the Trump presidency. Employing a dataset of more than 100,000 late night jokes going back decades, these noted media scholars discuss how the treatment of Trump differs from previous presidents, and how the Trump era is likely to shape the future of political humor. The authors also employ public opinion survey data to consider the growing role these late-night programs play in framing public opinion and priorities. This book will interest scholars, the curious public, and students of politics, communications and the media, and contemporary American culture.

If politics is a serious matter and humour a funny one, this volume investigates how and why the boundaries between the two are blurred: politics can be represented in a humorous manner and humour can have a serious intent. It shows how political humour can be manipulated in public debates or become an integral part of postmodern art.

A significant number of Americans get some of their "news" about politics and national affairs from comedy shows. Is "infotainment" a debasement, or a replacement, for traditional news outlets?