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A moving and in-depth biography of one of Hollywood's early, forgotten pioneers.
First published in 1993. When do we laugh? Why do we laugh? What makes us stop? What does ‘humour’ consist of? Listen to any everyday conversation: it is full of the constant interruptions and detours of humour. Look at the TV schedules for any evening—how many of the programmes are comedies or contain a degree of humour? Humour and comedy invite our pleasure at every step we take—they are absolutely integral to any culture. In Taking Humour Seriously, Jerry Palmer argues that we must take humour seriously (as well as humorously) or fail to understand a fundamental part of culture. Taking Humour Seriously unravels the reasons why humour is a challenge for every different theoretical approach. It is multi-dimensional, it is part of personality and part of our cognitive and emotional processes; it is subject to social rules governing appropriate behaviour on different occasions. It is part of literary and audio-visual narrative; it is subject to moral and aesthetic judgment, and it is a rhetorical instrument. Palmer argues that it is only through investigating those separate dimensions that we can begin to understand the phenomenon of humour. Taking Humour Seriously examines the role humour and comedy play in many different types of society. It also looks at the many different approaches to its study—from Freud to anthropology, from literary criticism to biology. Finally it considers its limits—the things that prevent humour and comedy from delivering their usual pleasures—and explores the aesthetic value of those pleasures.
From one of America’s most important voices of protest, an urgent polemic about the strangling of meaningful dissent—the lifeblood of our democracy—at the hands of a government and media increasingly beholden to the wealthy few. Dissent is democracy. Democracy is in trouble. Never before, Lewis Lapham argues, had voices of protest been so locked out of the mainstream conversation, so marginalized and muted by a government that recklessly disregards civil liberties, and by an ever more concentrated and profit-driven media in which the safe and the selling sweep all uncomfortable truths from view. In the midst of the “war on terror”—which made the hunt for communists in the 1950s look, in its clarity of aim and purpose, like the Normandy landings on D-Day—we faced a crisis of democracy as serious as any in our history. The Bush administration made no secret of its contempt for a cowed and largely silenced electorate, and without bothering to conceal its purpose the government coordinates, “not the defense of the American citizenry against a foreign enemy, but the protection of the American oligarchy from the American democracy.” Gag Rule is a rousing and necessary call to action in defense of one of our most important liberties, the right to raise our voices in dissent and have those voices heard.
The author, a computer science professor diagnosed with terminal cancer, explores his life, the lessons that he has learned, how he has worked to achieve his childhood dreams, and the effect of his diagnosis on him and his family.
Every aspect of the science fiction classic The Hitchhiker's Guide to the Galaxy is analyzed in a variety of quirky ways in this collection of essays. Topics include the logistics of the restaurant at the end of the universe, how the Internet is creating the real Hitchhiker's Guide, an assessment of Vogon poetry, and an analysis of computing. The essays are written by both science fiction greats, such as Cory Doctorow, Lawrence Watt-Evans, Stephen Baxter, Jacqueline Carey, and Alastair Reynolds, and up-and-coming writers.
With one of the longest and most controversial careers in Hollywood history, Blake Edwards is a phoenix of movie directors, full of hubris, ambition, and raving comic chutzpah. His rambunctious filmography remains an artistic force on par with Hollywood's greatest comic directors: Lubitsch, Sturges, Wilder. Like Wilder, Edwards's propensity for hilarity is double-helixed with pain, and in films like Breakfast at Tiffany's, Days of Wine and Roses, and even The Pink Panther, we can hear him off-screen, laughing in the dark. And yet, despite those enormous successes, he was at one time considered a Hollywood villain. After his marriage to Julie Andrews, Edwards's Darling Lili nearly sunk the both of them and brought Paramount Studios to its knees. Almost overnight, Blake became an industry pariah, which ironically fortified his sense of satire, as he simultaneously fought the Hollywood tide and rode it. Employing keen visual analysis, meticulous research, and troves of interviews and production files, Sam Wasson delivers the first complete account of one of the maddest figures Hollywood has ever known.
Wound healing and its treatment are subjects that have been discussed for centuries in the medical literature. Wounds are everywhere, occurring in the young and elderly and in hospital and at home, and affect patients in every clinical specialty around the world. There are many publications on wound healing, but this book intends to give an overview of its current perspectives so as to be useful to practice care in wound healing and to improve the quality of life. It is considered that this book will be useful for clinicians who are interested in wound care.
The comedians of the 1950s and 1960s were a totally different breed of relevant, revolutionary performer from any that came before or after, comics whose humor did much more than pry guffaws out of audiences. Gerald Nachman presents the stories of the groundbreaking comedy stars of those years, each one a cultural harbinger: • Mort Sahl, of a new political cynicism • Lenny Bruce, of the sexual, drug, and language revolution • Dick Gregory, of racial unrest • Bill Cosby and Godfrey Cambridge, of racial harmony • Phyllis Diller, of housewifely complaint • Mike Nichols & Elaine May and Woody Allen, of self-analytical angst and a rearrangement of male-female relations • Stan Freberg and Bob Newhart, of encroaching, pervasive pop media manipulation and, in the case of Bob Elliott & Ray Goulding, of the banalities of broadcasting • Mel Brooks, of the Yiddishization of American comedy • Sid Caesar, of a new awareness of the satirical possibilities of television • Joan Rivers, of the obsessive craving for celebrity gossip and of a latent bitchy sensibility • Tom Lehrer, of the inane, hypocritical, mawkishly sentimental nature of hallowed American folkways and, in the case of the Smothers Brothers, of overly revered folk songs and folklore • Steve Allen, of the late-night talk show as a force in American comedy • David Frye and Vaughn Meader, of the merger of showbiz and politics and, along with Will Jordan, of stretching the boundaries of mimicry • Shelley Berman, of a generation of obsessively self-confessional humor • Jonathan Winters and Jean Shepherd, of the daring new free-form improvisational comedy and of a sardonically updated view of Midwestern archetypes • Ernie Kovacs, of surreal visual effects and the unbounded vistas of video Taken together, they made up the faculty of a new school of vigorous, socially aware satire, a vibrant group of voices that reigned from approximately 1953 to 1965. Nachman shines a flashlight into the corners of these comedians’ chaotic and often troubled lives, illuminating their genius as well as their demons, damaged souls, and desperate drive. His exhaustive research and intimate interviews reveal characters that are intriguing and all too human, full of rich stories, confessions, regrets, and traumas. Seriously Funny is at once a dazzling cultural history and a joyous celebration of an extraordinary era in American comedy.