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Titlebook: Comedies of Nihilism; The Representation o Amir Khan Book 2017 The Editor(s) (if applicable) and The Author(s) 2017 Pursuits of happiness.S

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發(fā)表于 2025-3-21 19:17:36 | 只看該作者 |倒序?yàn)g覽 |閱讀模式
書(shū)目名稱Comedies of Nihilism
副標(biāo)題The Representation o
編輯Amir Khan
視頻videohttp://file.papertrans.cn/231/230131/230131.mp4
概述Presents an interdisciplinary study of comedy using Canadian communications and literary theory.Features close readings of the following popular films: Up in the Air, Tropic Thunder, JCVD, Winnebago M
圖書(shū)封面Titlebook: Comedies of Nihilism; The Representation o Amir Khan Book 2017 The Editor(s) (if applicable) and The Author(s) 2017 Pursuits of happiness.S
描述.This book presents close-readings of seven post-millennial comedic films: .Up in the Air.,.?Tropic Thunder.,?.JCVD.,?.Winnebago Man.,.?The Trotsky.,.?Be Kind Rewind., and?.Hamlet 2.. It is a sequel to Stanley Cavell’s 1981 landmark study of the comedic genre,.?Pursuits of Happiness., where he examines seven comedies of Hollywood’s “Golden Age.” Khan puts forward the idea that comedies, once centred on the conventional “happy ending,” are no longer interested in detailing the steps to any ending we might call happy. Instead, the agenda of most culturally serious comedies today is to “spoof,” to make all that is fair foul. The seven films presented here risk a type of cultural nihilism—spoofing for the sake of spoofing and nothing else, indicative not of film’s promise but its failure...By equating the failure of film with the failed national politics of Canada (or the failed politics of nationalism andcommunity more generally), this study shows that comedy has less to do with happiness and more to do with the grotesque. The films analysed represent hyper-realized forms of comic irony and move towards what theatre knows as tragedy, or a tragic vision..
出版日期Book 2017
關(guān)鍵詞Pursuits of happiness; Stanley Cavell; Northrop Frye; Be Kind Rewind; JCVD; post-millennial comedy; Up in
版次1
doihttps://doi.org/10.1007/978-3-319-59894-9
isbn_softcover978-3-319-86727-4
isbn_ebook978-3-319-59894-9
copyrightThe Editor(s) (if applicable) and The Author(s) 2017
The information of publication is updating

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沙發(fā)
發(fā)表于 2025-3-21 23:43:58 | 只看該作者
板凳
發(fā)表于 2025-3-22 02:27:45 | 只看該作者
Worlds of Fashion, Lives of Leisure,Taylor does not square with an earlier Taylor, what . attempts is to make something like the “politics of polarization” matter once again, which is to say it attempts to reclaim some of the lessons put forward in .. One could also say this film attempts to reclaim the dialectic, in particular the no
地板
發(fā)表于 2025-3-22 05:38:56 | 只看該作者
The Firm and Its Contradictions,f nihilism” rather than simply another nihilistic comedy. I will list some areas of overlap between this and several other films I have discussed. Yet it is clear to me that this film is at the pinnacle of our genre, which is to say that its hilarity is too important to take lightly.
5#
發(fā)表于 2025-3-22 12:21:53 | 只看該作者
Reflexivity and Social Science,om . considerations of what we think of as romance? . is certainly a fictional film, but it fictionalizes the conventions of non-fiction, including unreal movie trailers, unreal media gossip, and an unreal “reality” in which we are watching the supposed filming of the actual . this film is named aft
6#
發(fā)表于 2025-3-22 15:34:49 | 只看該作者
happiness and more to do with the grotesque. The films analysed represent hyper-realized forms of comic irony and move towards what theatre knows as tragedy, or a tragic vision..978-3-319-86727-4978-3-319-59894-9
7#
發(fā)表于 2025-3-22 17:55:41 | 只看該作者
Introduction,e Stanley Cavell, the comedies of nihilism, I want to emphasize that film, for whatever reason, has . to show its hand as bare. The possibilities of the art form are not to be explored here and the possibility of recovery—say, of possibilities for, or of, the medium lost—only tentatively expressed.
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發(fā)表于 2025-3-22 22:07:40 | 只看該作者
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發(fā)表于 2025-3-23 02:08:06 | 只看該作者
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發(fā)表于 2025-3-23 07:14:04 | 只看該作者
Conclusion,om . considerations of what we think of as romance? . is certainly a fictional film, but it fictionalizes the conventions of non-fiction, including unreal movie trailers, unreal media gossip, and an unreal “reality” in which we are watching the supposed filming of the actual . this film is named aft
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