Titlebook: Humor, Entertainment, and Popular Culture during World War I; Clémentine Tholas-Disset,Karen A. Ritzenhoff Book 2015 Clémentine Tholas-Dis

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Hoaxes, Ballyhoo Stunts, War, and Other Jokes: Humor in the American Marketing of Hollywood War Filmpose to forego any discussion of film . as propaganda in order to analyze film . as a discursive space designed with audience engagement in mind; specifically, as a . used by the American nation to engage with patriotic values. What made this possible, I argue, was . jokes, hoaxes, carnival-inspired fun, and excessive theatricality.

acrophobia

J. M. Barrie and World War Iolleagues such as Arthur Wing Pinero and Henry Arthur Jones were “strangely quiet,”—the exception being Bernard Shaw, who caused a storm after writing . was one of the few recognized playwrights who continued to write new works throughout World War I (WWI), and to receive frequent revivals of his earlier works..

aggravate

Chunder Goes Forth: Humor, Advertising, and the Australian Nation in the , during World War I our contemporary will … claim Chunder Loo, of Akim Foo, as a brother kangaroo because his portrait figures in Australian newspaper advertisements.”. However, two years later, this advertising character would in fact assume the mantle of a “fighting ‘Australian,” as he did his part for King and Empire by providing some mirth during the Great War.

粘連

(1920): Comedy in the Trenchess, and working practices. Through the conscription act,. every member of the community became accountable to the state—their presence recorded in readiness to be called up either directly to the battlegrounds, or to war service at home.

改良

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(1920): Comedy in the Trenchesmoment when “the history of the English state and of the English people merged for the first time.”. The state entered into civilian life in ways that had previously been unthinkable, restricting not only the freedoms of business, movement, and information, but also food consumption, leisure pursuit

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嘲笑

Hoaxes, Ballyhoo Stunts, War, and Other Jokes: Humor in the American Marketing of Hollywood War Filmar movies and their assumed power to ., but on the marketing paratexts of such movies and their power to offer . for audiences.. More precisely, I propose to forego any discussion of film . as propaganda in order to analyze film . as a discursive space designed with audience engagement in mind; spec