Titlebook: Comedy and the Politics of Representation; Mocking the Weak Helen Davies,Sarah Ilott Book 2018 The Editor(s) (if applicable) and The Author

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Comedy and the Representation of the British Working Class from , to ,ad of “mocking the weak”, the series challenges neoliberal ideologies, introduced by Margaret Thatcher, which are still prevalent in contemporary society. Comedy has been used in popular British television from the 1950s onwards to represent the working class in both reactionary and radical ways. I

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Theorising Post-Socialist Sitcom: Imported Form, Vernacular Humour and Taste Boundaries on the Glob consider the interaction of the local and the global as well as possible paradoxes and tensions in small-nation/post-socialist sitcom humour, the chapter analyses selected shows on the production, textual and audience level. On the production level the specifics of local production context, influen

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Smile, Hitler? Nazism and Comedy in Popular Culture,is context serve a useful political purpose, or does it just reassert the status quo? Issues concerning taste, ethics, comedy as transgression, the unmasking of authority and the purpose of comedy and laughter are addressed here. Of key importance to the themes of this chapter is . (2015), based on

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,POTUS Stand-Up: The White House Correspondents’ Dinner, United States President—has held a gala dinner nearly every spring since 1922. In recent years, the guest speaker has been a comedian, and the event has included two comedy routines: one by a professional comedian and the other by the President of the United States. President Barack Obama was typic

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Helen Davies,Sarah IlottTakes an interdisciplinary approach by including contributions from researchers in the fields of literature, media, film and sociology.Discusses a broad range of comedic forms, such as stand-up, telev

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External Costs of Fossil Fuel Cyclesry culture. It contends that Stewart Lee’s stand-up warrants particular attention due to a set of properties—many of which it shares with literary texts and other art forms—that demand, interrogate, challenge, and enact trust on a number of levels: formal, thematic, ethical, and political. By making

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https://doi.org/10.1007/978-3-642-60365-5et romantic comedy offers an alternative version of the interpersonal relationship: one that is structured through desire, unity, and the social bond of marriage. Premised upon the successful union of the romantic leads, the genre reassures that the couple might function as guarantors for the future