Böcker av Wes D. Gehring

""This unusual film study begins with a survey of American print humorists from eras leading up to and overlapping the advent of film-including some who worked both on the page and on the screen, like Will Rogers, Groucho Marx and W.C. Fields. Six comic film genres are indentified as outgrowths of a national tradition of cracker barrel philosophers and country store raconteurs-personality comedy, populism, parody, screwball comedy, romantic comedy and dark comedy. Tracing a rambling lineage from Ben Franklin to Mark Twain to Bob Hope to Steve Martin, the author presents a genealogy of glib antiheroes blowing raspberries at the world."-Provided by publisher"--

Charlie Chaplin's A Woman of Paris (1923) was a groundbreaking film which was neither a simple recycling of Peggy Hopkins Joyce's story, nor quickly forgotten. Through heavily-documented "period research," this book lands several bombshells.

The author grew tired of misleading throwaway references to the director's "comic relief." This book examines what should be obvious: Hitchcock systematically incorporated assorted types of comedy - black humour, parody, farce/screwball comedy and romantic comedy - in his films to entertain his audience with "comic" thrillers.

Traditionally identified with screwball comedies, Frank Capra has seldom been considered a conduit for populist concerns and issues. In this book, Gehring examines the influence of both Will Rogers and Frank Capra on modern populist movies, providing important background on Capra's links to the crackerbarrel personality of Rogers.

If you thought you knew Buster Keaton's silent features, think again. By keying on 1920 period texts one sees how a popular but yet cult star (yes, cult star ) is now on a par with Charlie Chaplin. Why? Because his dark comedy anticipation of the Theater of the Absurd speaks to a modern audience like no other silent comedian.

With the cooperation of Benchley family members, and using diaries and correspondence and much archival material, Gehring has written a fresh and lively biography of humorist Robert Benchley.

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"All students of the Great Man's'career will have to rely on this work. . . . Perhaps Gehring's greatest contributio here is his discussion of 23 sketches that Fields copyrighted that are now in the Library of Congress." Choice

Before Groucho Marx and W.C. Fields American comedy was innocent. After they left their hilarious smudges on the genre, comedy was anything but. Here in a captivating book comparing and contrasting these two premier American comics is the history of how flimflam came to prevail as a major comic form.

This examination of dark comedies of the 1970s focuses on films which concealed black humour behind a misleading genre label. The book covers 12 essential films, including Harold and Maude (1971), One Flew Over the Cuckoo's Nest (1975) and Being There (1979). These films reveal a compounding complexity that reinforces the absurdity at the heart of dark comedy.

This examination of 1950s film clowns suggests the decade was the 20th century's most volatile for the genre. Besides McCarthyism and TV and their potential for the dumbing down of pictures, this was the first decade when all major screen clowns were not so easily pigeonholed as comedians. This text is a decoder ring to a misunderstood decade.

Introducing Joe E Brown's likeable features that commanded attention on the screen, this work enables the reader to learn of Joe's challenging childhood and how it prepared him for later screen roles, and how his love of baseball translated into screen successes. The final chapters reveal what happened after he left Warner Bros.

Examines twelve classic comedy films which are distinguished by an equal number of defining comic performances. Ranging from The Great Dictator to A Southern Yankee, each film focuses on the most central theme of "clown comedy": resilience, the encouragem

This is the first full-length biography of Irene Dunne, one of the most versatile actresses of Hollywood's Golden Age. A recipient of the Kennedy Center Honors award in 1985, Dunne's acting highlights include five Best Actress Oscar nominations, occurring in almost as many different genres: the Western Cimarron (1931), the two screwball comedies Theodora Goes Wild (1936) and The Awful Truth (1937), the romantic comedy Love Affair (1939), and the populist I Remember Mama (1948). Her other memorable films include My Favorite Wife (1940), Penny Serenade (1941), Anna and the King of Siam (1946), and Life with Father (1947). After delving into Dunne's childhood and early acting forays, the book reveals details about key events in her life and career, including a difficult, bi-coastal marriage. The author also examines Dunne's pivotal roles on stage and in film, her movement among the genres of melodrama and screwball comedy, her ties to director Leo McCarey, and her post-war film career. Gehring's research and insightful analysis shed light on what made Irene Dunne so unique and her performances so memorable. Includes 16 pages of photos.

The second section is concerned with the influences of the Marx Brothers as icons of anti-establishment comedy, as contributors to developments in American comedy, as early examples of saturation comedy, and as a crucial link between silent films and the talkies.

This first full-length biography of a legendary and award-winning Hollywood writer, producer, and director (Duck Soup, My Favorite Wife, An Affair to Remember, Going My Way, andThe Bells of St. Marys) explores the directors life as filtered through his art.

Part Deux (1993) and Scream (1996). This examination of parody will appeal to scholars and students of American film and film comedy, as well as those interested in the specific comedians discussed and the Western genre.

The success of clown comedy is dependent on the comic or comics who take center stage. The comedians discussed are drawn from four genre periods: the silent era, the depression era, the post-World War II period, and the modern era.

Famous co-stars such as Katharine Hepburn and Cary Grant to Tom Hanks and Meg Ryan, have made screwball and romantic comedies a big seller at the box office. These seemingly timeless genres are as popular today as ever! This book takes a closer look at the precise meanings of the terms screwball and romantic. Film fans and scholars alike tend to lump film with laughter and love under a screwball/romantic umbrella and use the terms screwball and romantic interchangeably. In reality, there is a distinction; the screwball variety places its emphasis on "e;funny,"e; while the more traditional romantic comedy accents "e;love."e;Covering over 60 titles each of romantic and screwball comedy dating from the 1930s to the present, this research tool not only demonstrates how screwball and romantic comedy are two distinct genres, but also highlights pivotal social and artistic changes which impacted both genres. Includes 24 black and white movie stills, countless quotations from selected films, an annotated bibliography, and a two-part filmography.Not only an informative resource for film students and scholars, but also an interesting read for film buffs.

This book presents a combined biographical, critical, and bibliographical estimate of Laurel & Hardy's significance in film comedy, the arts in general, and as popular culture icons.

From Charlie Chaplin's The Gold Rush to Quentin Tarantino's Pulp Fiction, Gehring presents a compelling theory of the black comedy film genre. Placing the movies he discusses in a historical and literary context, Gehring explores the genre's obession with death and the characters' failure to be shocked by it.