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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René Kemp,Bernhard Truffer,Sylvia Harmsite narrative genre. Dave Chappelle and Neal Brennan (“The Niggar Family”, 2004, .) and Keegan-Michael Key and Jordan Peele (“Das Negroes”, 2012, .) parody passing in order to offer readings of race and racial identity as performative and culturally constructed while also confronting the realities o

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https://doi.org/10.1007/978-3-642-57669-0es, culturally deplored, in part because of the racist characters and representations they contain. This chapter considers whether the . are found to be culturally embarrassing also because they explode “banal whiteness”, a term coined by analogy with “banal nationalism” (Billing 1995) to refer to t

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https://doi.org/10.1007/978-3-642-57669-0Winterbottom) between 1929–1936 in order to explore both their high-speed popular surrealism and their sexist representations of women and chauvinist representations of foreigners and foreign lands—where women are sexual objects, not citizens; and foreigners are to be distrusted rather than treated

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使厌恶

Olav Hohmeyer,Richard L. Ottinger a laughing matter. However, to what extent can neo-Victorian comedy be used as a political strategy to challenge Victorian attitudes towards disability, as well as critiquing our own contemporary prejudices? This chapter explores the representation of disability in the neo-Victorian television sitc

COKE

https://doi.org/10.1007/978-3-642-85120-9inned by the “double empathy” problem posed by autistic scientist Damian Milton, which suggests that neurotypical and autistic people experience mutual misunderstanding, rather than the empathy lack of autistic people proposed by medical models. This chapter suggests that the intersubjective relatio

射手座

Olav Hohmeyer,Richard L. Ottingerad 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

江湖郎中

External Costs of Rational Use of Energy 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

AROMA

https://doi.org/10.1007/978-3-642-83499-8is 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

CIS

Social Costs of Energy Consumption 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