Lame Brains And Lunatics 2

A new batch of unsung practitioners and overlooked aspects of silent film comedy.

A new batch of unsung practitioners and overlooked aspects of silent film comedy.

Silent Film Comedy was a fortuitous combination of art and technology, where the physical comedy skills and artistry passed down from the Commedia dell'Arte, English music hall, and American vaudeville were captured for posterity by the newly created motion picture camera. While the Chaplins, Keatons, and Laurel & Hardys are still remembered and celebrated, this book profiles unsung practitioners such as Billie Ritchie, Marcel Perez, Lige Conley, and George Rowe, with special focus on the neglected comediennes Alice Howell, Gale Henry, Fay Tincher, and Josie Sadler. Popular icons on the order of Mack Sennett, Marie Dressler, Roscoe "Fatty" Arbuckle, and W.C. Fields are re-examined, plus detailed histories of silent comedy teams and kid's comedies are offered. The book also includes selected filmographies and is lavishly illustrated with more than 225 rarely-seen photographs and advertising images.

Winner of the 2022 Peter C. Rollins Book Award and the 2022 Browne Best Edited Reference/Primary Source Work in Popular and American Culture Award In Vitagraph: America's First Great Motion Picture Studio, Andrew A. Erish provides a comprehensive examination and reassessment of the company most responsible for defining and popularizing the American movie. This history challenges long-accepted Hollywood mythology that Paramount and Fox invented the feature film, that Universal created the star system, and that these companies, along with MGM and Warner Bros., developed motion pictures into a multimillion-dollar business. In fact, the truth about Vitagraph is far more interesting than the myths that later moguls propagated about themselves. Established in 1897 by J. Stuart Blackton and Albert E. Smith, Vitagraph was the leading producer of motion pictures for much of the silent era. Vitagraph established America's studio system, a division of labor utilizing specialized craftspeople and artists and developed fundamental aspects of American movies, from framing, lighting, and performance style to emphasizing character-driven comedy and drama in stories that respected and sometimes poked fun at every demographic of Vitagraph's vast audience. For most of its existence America's most influential studio was headquartered in Brooklyn, New York, before relocating to Hollywood. A historically rigorous and thorough account of the most influential producer of American motion pictures during the silent era, Erish draws on valuable primary material long overlooked by other historians to introduce readers to the fascinating, forgotten pioneers of Vitagraph.

Amy Schumer, Samantha Bee, Mindy Kaling, Melissa McCarthy, Tig Notaro, Leslie Jones, and a host of hilarious peers are killing it nightly on American stages and screens large and small, smashing the tired stereotype that women aren't funny. But today's funny women aren't a new phenomenon—they have generations of hysterically funny foremothers. Fay Tincher's daredevil stunts, Mae West's linebacker walk, Lucille Ball's manic slapstick, Carol Burnett's athletic pratfalls, Ellen DeGeneres's tomboy pranks, Whoopi Goldberg's sly twinkle, and Tina Fey's acerbic wit all paved the way for contemporary unruly women, whose comedy upends the norms and ideals of women's bodies and behaviors. Hysterical! Women in American Comedy delivers a lively survey of women comics from the stars of the silent cinema up through the multimedia presences of Tina Fey and Lena Dunham. This anthology of original essays includes contributions by the field's leading authorities, introducing a new framework for women's comedy that analyzes the implications of hysterical laughter and hysterically funny performances. Expanding on previous studies of comedians such as Mae West, Moms Mabley, and Margaret Cho, and offering the first scholarly work on comedy pioneers Mabel Normand, Fay Tincher, and Carol Burnett, the contributors explore such topics as racial/ethnic/sexual identity, celebrity, stardom, censorship, auteurism, cuteness, and postfeminism across multiple media. Situated within the main currents of gender and queer studies, as well as American studies and feminist media scholarship, Hysterical! masterfully demonstrates that hysteria—women acting out and acting up—is a provocative, empowering model for women's comedy.

Alice Howell (1886-1961) is slowly gaining recognition and regard as arguably the most important slapstick comedienne of the silent era. This new study, the first book-length appreciation, identifies her place in the comedy hierarchy alongside the best-known of silent comediennes, Mabel Normand. Like Normand, Howell learned her craft with Mack Sennett and Charlie Chaplin. Beginning her screen career in 1914, Howell quickly developed a distinctive style and eccentric attire and mannerisms, successfully hiding her good looks, and was soon identified as the "Female Charlie Chaplin." Howell became a star of comedy shorts in 1915 and continued her career through 1928 and the advent of sound in film. While she is today recognized as a pioneering female filmmaker, during her career she never expressed much interest in her work, seeing it only as a means to an end, with her income carefully invested in real estate. It has taken many years for her to gain her rightful place in film history, not only as a comedienne, but also as matriarch of a prominent American family that includes son-in-law and director George Stevens and grandson George Stevens Jr., founder of the American Film Institute and the Kennedy Center Honors, who provides a foreword.

Comprised of 43 innovative contributions, this companion is both an overview of, and intervention into the field of cinema and gender. The essays included here address a variety of geographical contexts, from an analysis of cinema. Islam and women and television under Eastern European socialism, to female audience reception in Nigeria, to changing class and race norms in Bollywood dance sequences. A special focus is on women directors in a global context that includes films and filmmakers from Asia, Africa, Australia, Europe, North and South America. The collection also offers a solid overview of feminist contributions to thinking on genre from the "chick flick" to the action or Western film, to film noir and the slasher. Readers will find contributions on a variety of approaches to spectatorship, reception studies and fandom, as well as transnational approaches to star studies and essays addressing the relationship between feminist film theory and new media. Other topics include queer and trans* cinema, eco-cinema and the post-human. Finally, readers interested in the history of film will find essays addressing the methodological dimensions of feminist film history, essays on silent and studio era women in film, and histories of female filmmakers in a variety of non-Western contexts.