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When the World Laughs is a book about the intersection of humor, history, and culture. It explores how film comedy, one of the world's most popular movie genres, reflects the values and beliefs of those who enjoy its many forms, its most enduring characters and stories, its most entertaining routines and funniest jokes. What people laugh at in Europe, Africa, or the Far East reveals important truths about their differences and common bonds. By investigating their traditions of humor, by paying close attention to what kinds of comedy cross national boundaries or what gets lost in translation, this study leads us to a deeper understanding of each other and ourselves. Section One begins with a survey of the theories and research that best explain how humor works. It clarifies the varieties of comic forms and styles, identifies the world's most archetypal figures of fun, and traces the history of the world's traditions of humor from earliest times to today. It also examines the techniques and aesthetics of film comedy: how movies use the world's rich repertoire of amusing stories, gags, and wit to make us laugh and think. Section Two offers a close look at national and regional trends. It applies the concepts set forth earlier to specific films-across a broad spectrum of sub-genres, historical eras, and cultural contexts-providing an insightful comparative study of the world's great traditions of film comedy.
When the World Laughs is a book about the intersection of humor, history, and culture. It explores how film comedy, one of the world's most popular movie genres, reflects the values and beliefs of those who enjoy its many forms, its most enduring characters and stories, its most entertaining routines and funniest jokes. What people laugh at in Europe, Africa, or the Far East reveals important truths about their differences and common bonds. By investigating their traditions of humor, by paying close attention to what kinds of comedy cross national boundaries or what gets lost in translation, this study leads us to a deeper understanding of each other and ourselves. Section One begins with a survey of the theories and research that best explain how humor works. It clarifies the varieties of comic forms and styles, identifies the world's most archetypal figures of fun, and traces the history of the world's traditions of humor from earliest times to today. It also examines the techniques and aesthetics of film comedy: how movies use the world's rich repertoire of amusing stories, gags, and wit to make us laugh and think. Section Two offers a close look at national and regional trends. It applies the concepts set forth earlier to specific films-across a broad spectrum of sub-genres, historical eras, and cultural contexts-providing an insightful comparative study of the world's great traditions of film comedy.
Moving away from the explicitly political content of his previous novels, Victor Hugo turns to social commentary in The Man Who Laughs, an 1869 work that was made into a popular film in the 1920s. The plot deals with a band of miscreants who deliberately deform children to make them more effective beggars, as well as the long-lasting emotional and social damage that this abhorrent practice inflicts upon its victims.
Uncovering an archive of laughter, from the forbidden giggle to the explosive guffaw. Most of our theories of laughter are not concerned with laughter. Rather, their focus is the laughable object, whether conceived of as the comic, the humorous, jokes, the grotesque, the ridiculous, or the ludicrous. In Laughter, Anca Parvulescu proposes a return to the materiality of the burst of laughter itself. She sets out to uncover an archive of laughter, inviting us to follow its rhythms and listen to its tones. Historically, laughter—especially the passionate burst of laughter—has often been a faux pas. Manuals for conduct, abetted by philosophical treatises and literary and visual texts, warned against it, offering special injunctions to ladies to avoid jollity that was too boisterous. Returning laughter to the history of the passions, Parvulescu anchors it at the point where the history of the grimacing face meets the history of noise. In the civilizing process that leads to laughter's “falling into disrepute,” as Nietzsche famously put it, we can see the formless, contorted face in laughter being slowly corrected into a calm, social smile. How did the twentieth century laugh? Parvulescu points to a gallery of twentieth-century laughers and friends of laughter, arguing that it is through Georges Bataille that the century laughed its most distinct laugh. In Bataille's wake, laughter becomes the passion at the heart of poststructuralism. Looking back at the century from this vantage point, Parvulescu revisits four of its most challenging projects: modernism, the philosophical avant-gardes, feminism, and cinema. The result is an overview of the twentieth century as seen through the laughs that burst at some of its most convoluted junctures.
Do men and women laugh at the same things? Is laughter contagious? Has anyone ever really died laughing? Is laughing good for your health? Drawing upon ten years of research into this most common-yet complex and often puzzling-human phenomenon, Dr. Robert Provine, the world's leading scientific expert on laughter, investigates such aspects of his subject as its evolution, its role in social relationships, its contagiousness, its neural mechanisms, and its health benefits. This is an erudite, wide-ranging, witty, and long-overdue exploration of a frequently surprising subject.
When life is funny, make some jokes about it. Billy Plimpton has a big dream: to become a famous comedian when he grows up. He already knows a lot of jokes, but thinks he has one big problem standing in his way: his stutter. At first, Billy thinks the best way to deal with this is to . . . never say a word. That way, the kids in his new school won’t hear him stammer. But soon he finds out this is NOT the best way to deal with things. (For one thing, it’s very hard to tell a joke without getting a word out.) As Billy makes his way toward the spotlight, a lot of funny things (and some less funny things) happen to him. In the end, the whole school will know -- If you think you can hold Billy Plimpton back, be warned: The joke will soon be on you!
Honorable Mention Recipient for the Charles Hatfield Book Prize Taking up the role of laughter in society, How the Other Half Laughs: The Comic Sensibility in American Culture, 1895–1920 examines an era in which the US population was becoming increasingly multiethnic and multiracial. Comic artists and writers, hoping to create works that would appeal to a diverse audience, had to formulate a method for making the “other half” laugh. In magazine fiction, vaudeville, and the comic strip, the oppressive conditions of the poor and the marginalized were portrayed unflinchingly, yet with a distinctly comic sensibility that grew out of caricature and ethnic humor. Author Jean Lee Cole analyzes Progressive Era popular culture, providing a critical angle to approach visual and literary humor about ethnicity—how avenues of comedy serve as expressions of solidarity, commiseration, and empowerment. Cole’s argument centers on the comic sensibility, which she defines as a performative act that fosters feelings of solidarity and community among the marginalized. Cole stresses the connections between the worlds of art, journalism, and literature and the people who produced them—including George Herriman, R. F. Outcault, Rudolph Dirks, Jimmy Swinnerton, George Luks, and William Glackens—and traces the form’s emergence in the pages of Joseph Pulitzer’s New York World and William Randolph Hearst’s Journal-American and how it influenced popular fiction, illustration, and art. How the Other Half Laughs restores the newspaper comic strip to its rightful place as a transformative element of American culture at the turn into the twentieth century.
A tragicomic story of bad dates, bad news, bad performances, and one girl's determination to find the funny in high school from the author of Denton Little's Deathdate. Winnie Friedman has been waiting for the world to catch on to what she already knows: she's hilarious. It might be a long wait, though. After bombing a stand-up set at her own bat mitzvah, Winnie has kept her jokes to herself. Well, to herself and her dad, a former comedian and her inspiration. Then, on the second day of tenth grade, the funniest guy in school actually laughs at a comment she makes in the lunch line and asks her to join the improv troupe. Maybe he's even . . . flirting? Just when Winnie's ready to say yes to comedy again, her father reveals that he's been diagnosed with ALS. That is . . . not funny. Her dad's still making jokes, though, which feels like a good thing. And Winnie's prepared to be his straight man if that's what he wants. But is it what he needs? Caught up in a spiral of epically bad dates, bad news, and bad performances, Winnie's struggling to see the humor in it all. But finding a way to laugh is exactly what will see her through. **A Junior Library Guild Selection**
Earth Weeps, Saturn Laughs opens with the return of Khalid Bakhit, a government employee, to his hometown in Oman after a time away in the big city, and concludes with his return to the city with a new maturity born of a series of wrenching encounters with reality. Khalid's return home, sparked by his flight from a painful love affair, coincides with events that reveal the force of long-established traditions that have a stranglehold on the town: from racial prejudice, to religious bigotry, to ossified patterns of leadership. Khalid's awakening and transformation are catalyzed by his encounters with a certain "Saturnine poet" who, in the course of chasing after an elusive ode, has stumbled upon this unnamed village. For a period of time "the Saturnine" becomes Khalid's closest companion: listening to his woes, helping him see himself with new eyes, and imparting to him a wisdom from a world beyond untainted by human smallness. "As the full moon listened in, Walad Sulaymi said, 'Thirty years ago I heard my grandfather say to my father (God have mercy on them both), "If God allows a country to be chastised, He causes everyone who has left it to come back." So here you are again, and with your return, that completes the number of those who left the village and have come back. Mark my words: the chastisement will descend soon.'"