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Laughter in the Archives: Jackie "Moms" Mabley -- I Love You Bitches Back: Spect-Actors and Affective Freedom in I Coulda Been Your Cellmate! -- The Black Queer Citizenship of Wanda Sykes -- Contemporary Truth-Tellers: A New Cohort of Black Feminist Comics -- Conclusion.
From dour old women to buzzkills who can't take a joke, the stereotype of the humourless feminist has repeatedly been deployed to derail and delegitimize the women's rights movement. This collection skips the tired debates that ask whether feminists can be funny—we know the answer to this already—to instead investigate contemporary expressions and functions of humour within international feminist movements and communities. This interdisciplinary volume showcases critical analyses of cultural texts and events, personal accounts of producing and encountering feminist humour, and creative interruptions that pair laughter with insight. As a whole, this work seeks to sideline caricatures of the humourless feminist by promoting a vision of a diverse movement vibrant with innovative, generous, threatening, and, ultimately, triumphant laughter.
For fans of Tina Fey, Amy Poehler, Amy Schumer—and every other “funny woman”—comes a candid feminist comedy manifesto exploring the sisterhood between women’s comedy and women’s liberation. “I’m not funny at all. What I am is brave.” —Lucille Ball From female pop culture powerhouses dominating the entertainment landscape to memoirs from today’s most vocal feminist comediennes shooting up the bestseller lists, women in comedy have never been more influential. Marking this cultural shift, The Girl in the Show provides an in-depth exploration of how comedy and feminism have grown hand in hand to give women a stronger voice in the ongoing fight for equality. From I Love Lucy to SNL to today’s rising cable and web-series stars, Anna Fields’ entertaining retrospective combines amusing and honest personal narratives with the historical, political, and cultural contexts of the feminist movement. With interview subjects like Abbi Jacobson, Molly Shannon, Mo Collins, and Lizz Winstead among others—as well as actresses, stand-up comics, writers, producers, and female comedy troupes—Fields shares true stories of wit and heroism from some of our most treasured (and under-represented) artists. At its heart, The Girl in the Show captures the urgency of our continued struggle towards equality, allowing the reader to both revel in—and rebel against—our collective ideas of “women’s comedy.”
Kohen assembles America's most prominent comediennes to piece together an oral history about the revolution that happened to (and by) women in American comedy.
An academic study of stand-up comedy performed by females. This will aid in the understanding of power structures in our society.
Feminist Comedy: Women Playwrights of London identifies the eighteenth-century comedic stage as a key site of feminist critique, practice, and experimentation. While the history of feminism and comedy is undeniably vexed, by focusing on five women playwrights of the latter half of the eighteenth century--Catherine Clive, Frances Brooke, Frances Burney, Hannah Cowley, and Elizabeth Inchbald--this book demonstrates that stage comedy was crucial to these women’s professional success in a male-dominated industry and reveals a unifying thread of feminist critique that connects their works. Though male detractors denied women’s comic ability throughout the era, eighteenth-century women playwrights were on the cutting edge of comedy and their work had important feminist influence that can be traced to today’s stages and screens.
A new edition that brings the ways we watch and think about television up to the present We all have opinions about the television shows we watch, but television criticism is about much more than simply evaluating the merits of a particular show and deeming it “good” or “bad.” Rather, criticism uses the close examination of a television program to explore that program’s cultural significance, creative strategies, and its place in a broader social context. How to Watch Television, Second Edition brings together forty original essays—more than half of which are new to this edition—from today’s leading scholars on television culture, who write about the programs they care (and think) the most about. Each essay focuses on a single television show, demonstrating one way to read the program and, through it, our media culture. From fashioning blackness in Empire to representation in Orange is the New Black and from the role of the reboot in Gilmore Girls to the function of changing political atmospheres in Roseanne, these essays model how to practice media criticism in accessible language, providing critical insights through analysis—suggesting a way of looking at TV that students and interested viewers might emulate. The contributors discuss a wide range of television programs past and present, covering many formats and genres, spanning fiction and non-fiction, broadcast, streaming, and cable. Addressing shows from TV’s earliest days to contemporary online transformations of the medium, How to Watch Television, Second Edition is designed to engender classroom discussion among television critics of all backgrounds. To access additional essays from the first edition, visit the "links" tab at nyupress.org/9781479898817/how-to-watch-television-second-edition/.
An examination of comedy and feminism in the works of early women British novelists.
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.
Bridget Christie is a stand-up comedian, idiot and feminist. On the 30th of April 2012, a man farted in the Women’s Studies Section of a bookshop and it changed her life forever. A Book For Her details Christie’s twelve years of anonymous toil in the bowels of stand-up comedy and the sudden epiphany that made her, unbelievably, one of the most critically acclaimed British stand-up comedians this decade, drawing together the threads that link a smelly smell in the women’s studies section to the global feminist struggle. Find out how nice Peter Stringfellow’s fish tastes, how yoghurt advertising perpetuates rape myths, and how Emily Bronte used a special ladies’ pen to write Wuthering Heights. If you’re interested in comedy and feminism, then this is definitely the book for you. If you hate both then I’d probably give it a miss. “Christie is adept at turning on a sixpence between being comical, or serious, or both at once, and at pricking her own earnestness.” Telegraph ‘Christie piles derision and tomfoolery upon everyday sexism, while never pretending that jokes alone will solve the problem.’ Guardian