About Comedy Films Our exam topic is based on Comedy films. Comedy is very individual and subjective. Comedy is inherent, different audiences find different things funny. Recently we had just seen a movie called, "There's Something about Marry," starring Cameron Diaz and Ben Stiller. This is a prime example of a comedy film.
The main drive of the story remains in the movie form: Kubrick utilizes the means, such as a musical score and the visual dimension, unique to the dramatic genre to find ways around the loss of Nadsat and first person narration. He also tries to maintain the twisted sense of humor found in the book while working to promote the audience’s understanding of Alex’s universe. Kubrick preserves the unusual opportunity A Clockwork Orange offers the audience—a chance to immerse itself in Alex’s character and actions, and have its "nastier propensities titillated" (Burgess ix)2 by Alex’s "ultra-violence", instead of being frightened away. In the novel, Burgess is able to speak indirectly through Alex’s narration, telling the reader about the novel’s political setting as well as revealing Alex’s (and perha... ... middle of paper ... ... Nadsat, is lost. And with the loss of a large and comprehensive language such as Nadsat, goes part of Burgess’ voice.
No It’s More Than That: Analyzing the p¬¬revalence and significance of objects and symbol in films such as “El laberinto de fauno,” “Tesis” and “Te doy mis ojos” By Mac Beckwith Objects and symbols can be a lot more than what they appear in films. The actual definition of a symbol is a physical representation that stands in for another object or idea. They can hold hidden meaning that the director is trying to show without using words and obvious actions. The subtly of the objects and symbols can vary from film to film, showing viewers what the director’s real message was when he created his piece. Things like this can make seemingly harmless thriller movie like “Tesis” into a serious statement about how sick and twisted our society.
Most of these great works, old or new, are presented as either comedies or tragedies, where great storylines outline the theatrical production’s life philosophy. Comedies usually portray a philosophical meaning through the use of satire, while tragic writers utilize a series of unfortunate events to deliver a message. Whether one or the other, it is undoubtedly necessary to add philosophical meaning into a work in order to incite thought within the audience. Some playwrights believe their moral lesson is best presented with a comedic coating.
We often judge each other and ourselves by what we find funny. Laughter also affects us emotionally acting as a temporary amnesia making us forget or become less aware of our problems. Most sitcoms use stereotype and conflict of characters as an aspect of comedy creation. This combined with an emphasis on contrast, conflict and incongruity. By using incongruity the teller of a joke or former of comedy can tell the joke as if it were original, whether we laugh or not depends on if the joke contains some form of punch line that is in some way incongruous with the linguistic or physical environment in which it occurs but which at first sight had not been apparent or in any way anticipated by the audience.
“Every joke has a kernel of truth.” A common saying such as this has numbed us to the reality of what jokes really are. Many comedians allow their outrageously dark thoughts to dictate their routines. Audiences listen waiting to hear ridiculous puns and jokes completely unaware of the twisted messages behind most punch lines. By analyzing comedians Jim Gaffigan, Dane Cook, Maz Jobrani, and Aries Spears through the frame of reference given by Professor Peter McGraw in “What Makes Things Funny,” we will understand the implicit message received through an explicit joke. In order to understand the message being conveyed through humor, we need to explore the science of a joke.
A final case which Hume proposes is an imagined world in which another caste of rational beings exist. These beings, however, are inferior to humanity in mind and body; they pose no threat whatsoever to man. In this case, Hume argues, there is no necessity of keeping to the laws of justice in dealing with these beings, for it is not useful. Since these entities cannot possibly harm us, nothing is gained from acting justly toward them. Therefore we might exploit them in any way.
No matter when the film is viewed, Howard Hawks' film engages the audience presenting interesting themes in a sleek, stylistic fashion. His version may contain a limited amount of bare skin and violence, but proves that these inclusions are unnecessary if the film has voice and direction. To Winner, there is no direction or voice. He makes a hollow shell of a film extracting Chandler's exact scenes, harnessing the nudity and violence instead of the deeper themes that stand out in Hawks'. Works Consulted: Chandler, Raymond.
This makes their life meaningless because everything in their life serves no purpose. Even if they were good and did everything right while having fun. Without an afterlife or god that makes life meaningless. Even with the freedom that we have life without believing in a god is forlorn, because freedom is not happiness. Freedom is for us to be ourselves no matter what anyone or anything says.
"(Page 27) This type of sight gag tends to be a favorite in the silent ... ... middle of paper ... ...nd I believe that these six techniques are excellent examples of how humor can be conveyed to the audience without words. Sight gags tend to suggest the possibility of interpreting a situation in more than one way. The author points out that "the sight gag flies in the face of the prejudice that movies can only brutishly recapitulate from a single point of view what stands before the camera." From the conflicts of interpretation to the literal and metaphoric points of view, it is these things that confuse but amuse us. I am sure that most of us have seen variations of these six basic techniques in both movies and real life.