High Comedy in American Movies: Class and Humor from the 1920s to the Present
Rowman & Littlefield, 2005 - 209 páginas
High Comedy in American Movies explores the 'comedy of manners' film throughout the twentieth century, from the advent of movie sound to recent films, and shows how class comedy's inside view of the aristocratic lifestyle has been influenced by the culture and times in which the movies are produced. Outlining the conventions of class comedy, Steve Vineberg discusses its British roots and analyzes how many American filmmakers have modified the genre, creating a distinctly American approach to class. Easily accessible, High Comedy in American Movies makes an engaging supplement to courses in American film, film genre, and film studies.
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actors actress Alice Altman Ambersons American movies aristocrats audience Barbara Based Blume in Love Bob and Carol Broadway camera career Cary Grant characters comedy of manners comic dinner Directed by George Donald Ogden Donald Ogden Stewart Edward Ernst Lubitsch feels film filmmakers friends genre George Cukor hard-boiled comedy Heiress Henry Herman hero heroine high comedy high-comic Holiday Hollywood Howard husband Jean Johnny Julia Kael Katharine Hepburn Kittredge Leslie Letter Linda lives looks lover Manhattan Marlowe married Mary Mazursky's melodrama movie's never night Noel Coward novel Ouisa party Paul Mazursky Pauline Kael performance Philadelphia Story Philip Barry play Preston Sturges protagonist Richard Robert role romantic comedy Samson Raphaelson satirical scene Screenplay script Seton sexual social stage stars Stewart style takes tells theatrical There's tone Tracy uncredited wants who's wife William woman writers Written and directed Wyler young
Página 11 - You find it faintly when you look over old letters the rats have nibbled at, one evening you don't go out; there is a little of it, impure and odorous, in the very sound of barrel organs, in quiet squares in the evenings, puffing out in gusts that intoxicate your heart. It is all right for beasts to have no memories; but we poor humans have to be compensated.
Página 6 - ... Times, sums up the playwright's point of view in this statement: "What makes the essence of high comedy is not the furniture of the room where the action takes place, but the articulateness of the characters, the plane on which they talk, the intellectual and moral climate in which they live. . . . One of the endless sources of high comedy is seriousness of temperament and intensity of purpose in contrast with the triviality of the occasion.
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