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Journal articles on the topic 'Black comedy'

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Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2024

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1

Xuan, Zhou, and Wang Yichun. "Laughing Mechanism and Social Value of Chinese Black Comedy Films——From the Perspective of Bergson's Comedy Theory." Journal of Education, Humanities and Social Sciences 20 (September 7, 2023): 29–36. http://dx.doi.org/10.54097/ehss.v20i.11417.

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This article aims to explore the mechanism of laughter and social functions of Chinese black comedy films from the perspective of Bergson's comedy theory. As a popular comedy subgenre in the Chinese film market, black comedy films combine dark and absurd tragic themes with comedy forms to form a unique film style. By using Bergson's comedy theory, while analyzing the comedy and the production mechanism of laughter in Chinese black comedy films, it also analyzes the social functions and cultural values of black comedy films, and explains how to use universal comedy techniques to empower them Black themes are accepted by the current Chinese society, providing some useful ideas and perspectives for further understanding of the creation and appreciation of Chinese black comedy films.

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2

Fitzpatrick, Sheila. "Soviet History as Black Comedy." Ab Imperio 2023, no. 4 (2023): 30–46. http://dx.doi.org/10.1353/imp.2023.a922248.

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SUMMARY: Opening a discussion forum "Mainstream Narratives of Soviet History and the Laughter of Surprise," Sheila Fitzpatrick's essay proposes applying the mode of black comedy to the narration of Soviet history. Noting that all comedy thrives on the unexpected, Fitzpatrick points to humorous reactions to social paradoxes and conflicts in the Russian and Soviet literary tradition as well as in western Sovietology. The essay implies that the comedic mode can be productive in highlighting heterogeneity and incongruities in Soviet history. Резюме: Эссе Шейлы Фитцпатрик, в котором черная комедия рассматривается как возможный модус повествования советской истории, открывает форум "Мейнстримные нарративы советской истории и смех от удивления". Отмечая, что жанр комедии использует эффект неожиданности, Фитцпатрик отмечает случаи юмористической реакции на социальные парадоксы и конфликты в российской и советской литературной традиции, а также западной советологии. В эссе аргументируется продуктивность использования жанра черной комедии для демонстрации гетерогенности советской истории и несоответствий в советском прошлом.

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3

Fulton, DoVeanna S. "Comic Views and Metaphysical Dilemmas: Shattering Cultural Images through Self-Definition and Representation by Black Comediennes." Journal of American Folklore 117, no. 463 (January 1, 2004): 81–96. http://dx.doi.org/10.2307/4137614.

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Abstract Using the paradigm of Gary Alan Fine’s "folklore diamond," this essay analyzes comedic material of contemporary African American women comics. This comedic material conveys the uniqueness of African American women’s position at the intersections of race, gender, and class dynamics, thereby marking the performers as not only Black, not only female, but as Black women entertainers who are changing the face of Black women’s comedy.

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4

Ellis, D. "Black Comedy in Shakespeare." Essays in Criticism 51, no. 4 (October 1, 2001): 385–403. http://dx.doi.org/10.1093/eic/51.4.385.

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5

Suny, Ronald Grigor. "Sheila Fitzpatrick's Black Comedy." Ab Imperio 2023, no. 4 (2023): 101–6. http://dx.doi.org/10.1353/imp.2023.a922256.

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SUMMARY: This essay is a contribution to the discussion forum "Mainstream Narratives of Soviet History and the Laughter of Surprise," framed as responses by literary scholars, historians, and political scientists to Sheila Fitzpatrick's essay "Soviet History as Black Comedy." Ronald Suny's central question is: How does one reveal absurdity without descending into mockery? He finds a partial answer in Fitzpatrick's bottom-up, archives-based approach, which was emphatic, ironic, and skeptical, but never mocking. Although Fitzpatrick's positionality contrasts with the most recent version of partisan, deadly serious "decolonization," Suny argues that both these approaches overlook the source of Soviet irony such as the contradiction between nation-making and the imperial frame. That said, to productively apply the black-humor perspective to narrate this and other contradictions of the Soviet past one must, as Fitzpatrick does, retain empathy for and understanding of its imperfect actors. Резюме: Это эссе является частью форума "Мейнстримные нарративы советской истории и смех от удивления," в котором литературоведы, историки и политологи реагируют на эссе Шейлы Фитцпатрик "Советская история как черная комедия". Рональд Суни задает ключевой вопрос: как раскрыть абсурдность, избегая при этом издевательского тона? Частичный ответ на этот вопрос представляет научный подход Фитцпатрик: исследовательская перспектива снизу вверх; архивная база; выразительный, иронический и скептический, но никогда не издевательский взгляд. Хотя эта позиция противоположна недавно оформившемуся узкопартийному и убийственно серьезному пониманию "деколонизации," оба подхода не способны увидеть источник иронии советской истории, который кроется в противоречии между советским нациестроительством и советской имперской рамкой. При этом для продуктивного использования черной комедии как жанра нарратива советской истории, выявляющего заложенные в ней противоречия, необходимо, подобно Фитцпатрик, сохранять эмпатию и с пониманием относиться к неидеальным историческим действующим лицам.

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6

Michelle Edmonds, Brittney. "Katelyn Hale Wood, Cracking Up: Black Feminist Comedy in the Twentieth and Twenty-First Century United States." Modern Drama 65, no. 2 (June 1, 2022): 264–66. http://dx.doi.org/10.3138/md-65-2-br7.

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Katelyn Hale Wood’s Cracking Up: Black Feminist Comedy in the Twentieth and Twenty-First Century United States is a welcome addition to a growing body of scholarship in Black humour studies. Wood analyses the stage comedy of Black feminists including Jackie “Moms” Mabley, Mo’Nique, Wanda Sykes, Amanda Seales, and others.

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7

La Farge, Benjamin. "Comic Anxiety and Kafka's Black Comedy." Philosophy and Literature 35, no. 2 (2011): 282–302. http://dx.doi.org/10.1353/phl.2011.0024.

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8

Györgyey, Clara, and Tibor Fisher. "Under the Frog: A Black Comedy." World Literature Today 69, no. 3 (1995): 581. http://dx.doi.org/10.2307/40151456.

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9

Curley, Maureen, and Gene A. Plunka. "The Black Comedy of John Guare." South Atlantic Review 67, no. 2 (2002): 79. http://dx.doi.org/10.2307/3201965.

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10

刘, 园. "An Analysis of Danish Black Comedy." Journalism and Communications 11, no. 04 (2023): 768–74. http://dx.doi.org/10.12677/jc.2023.114115.

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11

Wood, Katelyn Hale. "Cracking Up Time." Departures in Critical Qualitative Research 5, no. 3 (2016): 10–32. http://dx.doi.org/10.1525/dcqr.2016.5.3.10.

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This essay theorizes how black feminist comedic performance queers white supremacist and heteronormative notions of time by centering Wanda Sykes's performance in her comedy special I'ma Be Me and her performance at the White House Correspondents' Dinner—both in 2009. Sykes's jokes articulate how queer bodies of color experience temporalities that are in constant tension with dominant narrations of “coming out,” national heritage, and white nostalgia. I argue that Sykes uses comedic performance to: (1) reveal the limits of “progressive” coming out narratives for black queer women, (2) reinstate black subjectivity into US collective memory, (3) debunk myths of the United States as “post-” identity politics, and (4) challenge broader publics to think beyond linear and binary constructions of identity/ies, space, and time.

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12

Rullyanti, Merry, and Nurdianto Nurdianto. "LANGUAGE STYLE OF HUMOR ON STAND-UP COMEDY VIDEO." JOALL (Journal of Applied Linguistics & Literature) 4, no. 1 (February 22, 2019): 60–68. http://dx.doi.org/10.33369/joall.v4i1.6886.

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This research explained about language styles which used in stand-up comedy script brought by Chris Rock. Chris Rock owns famous joke material that is affected by the black comedy pioneers like Richard Pryor and Redd. He attacked the subject of much avoided by comics such as politics, race and celebrity. Openness and honesty witch extremely bold that what makes Chris Rock as one of the most successful and a famous comic in modern comedy. Chris Rock is known for his insulting comedian, he is also known for using satire and surreal in his joke. Language style has several functions in its uses. Stand up comedy brought by Chris Rock is usually shows about the different in human right between black and white skin.Based on the description above, the researcher decided to research language style in stand-up comedy brought by Chris Rock. In this research the researcher uses Keraf (2007) to analyze the language styles. This research is a qualitative descriptive research. This research source of data is stand-up comedy script with tittle “kill the messenger” brought by Chris Rock. Based on research, there are 2 language styles used in “kill the messenger”, there are 10 rhetorical language styles and 17 figurative language styles. Based on the data, hyperbole rhetorical language style is dominantly used in “kill the messenger”. And Epithet figurative language is dominantly used too.The reason is because Chris Rock is still try to persuade the white skin American to be humble to black skin American and must respect to each other. Keywords: Language Styles, Humor, Stand-Up Comedy

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13

Wiszniewska, Adriana. "“Half a wit is better than none”: Race, Humor, and the Grotesque in Fran Ross’s Oreo." Studies in American Humor 8, no. 2 (September 1, 2022): 317–36. http://dx.doi.org/10.5325/studamerhumor.8.2.0317.

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ABSTRACT This article focuses on race and humor in Fran Ross’s satirical novel Oreo, about a half-Black, half-Jewish young woman named Oreo, who goes on a quixotic quest to find her absentee father. I argue that Oreo blends high and low forms of comedy, the intellectual and the grotesque, into a complex and irreverent sense of humor that highlights the absurdity of racial and gender hierarchies. I demonstrate how the novel uses representations of animated, mechanized bodies as a site for much of its comedy and as commentary on the racial and gender politics of its moment. The novel’s comedic sensibility finds its parallel in Oreo’s hybrid identity, which allows her to traverse boundaries and situates her as a cyborg-like figure that resists being sexualized, discriminated against, or humiliated. Ross takes these issues up further on the level of form and aesthetics, creating a carnivalesque world in which racial stereotypes are inverted and structures of power are destabilized. In the end, Ross’s simultaneous mastery and bastardization of the comedic form of the satirical novel destabilizes the rigid binaries typically associated with race, gender, and comedy.

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14

Warońska, Joanna. "Kobiecość a płeć żeńska. Komediopisarki dwudziestolecia międzywojennego wobec dyskursu emancypacyjnego." Wielogłos, no. 2 (44) (2020): 91–116. http://dx.doi.org/10.4467/2084395xwi.20.013.12404.

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Femininity and the Female Gender: Female Comedy Writers of the Interwar Period in Relation to the Emancipation Discourse The article presents an analysis of selected interwar comedies written by women – Marcelina Grabowska, Maria Morozowicz-Szczepkowska, Maria Pawlikowska- -Jasnorzewska and Magdalena Samozwaniec – and dealing with issues related to the emancipation discourse: motherhood, abortion, shaping a new female role model, and relationships in women’s groups. The heroines of those plays, increasingly liberated and self-aware, demanded the rights traditionally assigned to men, while trying to free themselves from widespread stereotypes. The authors of the dramatic works used various comedic techniques and traditions: satirical, ludic, or Young Poland’s “black comedy.” Comedy influenced the construction of the depicted world and its individual elements as well as the linguistic forms. The amusing heroines became negative characters, going beyond the limits of femininity accepted by the society or postulated by the authors, and their awkwardness evoked compassion in the audience or revealed the malfunctioning of social institutions.

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Warońska, Joanna. "Kobiecość a płeć żeńska. Komediopisarki dwudziestolecia międzywojennego wobec dyskursu emancypacyjnego." Wielogłos, no. 2 (44) (2020): 91–116. http://dx.doi.org/10.4467/2084395xwi.20.013.12404.

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Femininity and the Female Gender: Female Comedy Writers of the Interwar Period in Relation to the Emancipation Discourse The article presents an analysis of selected interwar comedies written by women – Marcelina Grabowska, Maria Morozowicz-Szczepkowska, Maria Pawlikowska- -Jasnorzewska and Magdalena Samozwaniec – and dealing with issues related to the emancipation discourse: motherhood, abortion, shaping a new female role model, and relationships in women’s groups. The heroines of those plays, increasingly liberated and self-aware, demanded the rights traditionally assigned to men, while trying to free themselves from widespread stereotypes. The authors of the dramatic works used various comedic techniques and traditions: satirical, ludic, or Young Poland’s “black comedy.” Comedy influenced the construction of the depicted world and its individual elements as well as the linguistic forms. The amusing heroines became negative characters, going beyond the limits of femininity accepted by the society or postulated by the authors, and their awkwardness evoked compassion in the audience or revealed the malfunctioning of social institutions.

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16

Putri, Maharani Widya, Erwin Oktoma, and Roni Nursyamsu. "FIGURATIVE LANGUAGE IN ENGLISH STAND-UP COMEDY." English Review: Journal of English Education 5, no. 1 (December 1, 2016): 115. http://dx.doi.org/10.25134/erjee.v5i1.396.

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This descriptive qualitative research was about the analysis of figurative language in English stand-up comedy. The purposes of this study were to identify the types of figurative language and to describe the functions of figurative language found in the selected video of stand-up comedy show. The data source was taken from one of selected videos of Russell Peters stand-up comedy show. Russell Peters’s speech contained about figurative language in the video is observed. The data were collected through content analysis technique by collecting the verbal language used by Russell Peters. The first research questions was analyzed by McArthur (1992) theory and supported by Crystal (1994) theory to find out the types of figurative language found in English stand-up comedy. To answer the second research questions about the functions of figurative language found in English stand-up comedy was analyzed by Chunqi (2014) theory and suppoted by Kokemuller (2001) theory and Turner (2016) theory. After analyzing data, it was found that Irony was the most dominant figurative language used by Russell Peters in “Russell Peters Comedy Now! Uncensored” with 29.94%. It was happened because the kind of topics used by Russell Peters in that show were about ethnics (canadian, white people, black people, brown people and asian), society case (beating child) and culture (accent and life style of various ethnics in the world, habitual of various ethnics in the world). Irony and Hyperbole were needed dominantly in the performance, to entertain the audiences in the stand-up comedy show. The function of eleven types of figurative language which were used by Russell were concluded. The functions were to amuse people in comedic situations, to expand meaning, to explain abstract emotions, to make sentence interesting represented and give creative additions. Keywords: Figurative Language, Stand-Up Comedy, English Stand-Up Comedy

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Britt, Erica. "Stylizing the preacher: Preaching, performance, and the comedy of Richard Pryor." Language in Society 45, no. 5 (November 2016): 685–708. http://dx.doi.org/10.1017/s0047404516000567.

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AbstractThis article illustrates the ‘moving parts’ involved in the stylization of the voice of the Black preacher in the comedic performances of Richard Pryor with the ultimate goal of uncovering what these linguistic features help the performer to accomplish in interaction. Overall, while Pryor often utilizes hyperbolic and exaggerated features of Black preaching traditions and potentially Southern-inflected speaking styles in his performances, I argue that he engages in a type of linguistic subterfuge, blending elements of his own voice into a more favorable depiction of a witty, street-wise preacher. In fact, stretches of working-class speech, whose features overlap considerably with Pryor's ‘stage voice’, may blur the line between Pryor's ‘own’ personal stance and that of the preacher that he is constructing. (Black preachers, performance, stylization, comedy, African American English)*

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18

Athali, Nadia, and Aris Munandar. "N-words in Black Stand-Up Comedy: A Linguistic Reclamation." Lexicon 9, no. 1 (April 1, 2022): 33. http://dx.doi.org/10.22146/lexicon.v9i1.72804.

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In the United States of America, the stand-up comedy community consists of comics from a diverse range of ethnicities/races, one of them being African American (black people). Among this particular group, the use of the N-word has been prominent throughout the years. Although commonly used as a slur, the N-word becomes an interesting discussion, as its function within stand-up comedy is not solely derogatory when uttered by black comics. In this research, the functions of the N-word used by black comics in stand-up comedy are investigated. Moreover, its relation to linguistic reclamation is also examined. The data were obtained from a YouTube channel named Laugh Factory in the form of videos by black comics aired in 2020. The analysis of the functions was conducted by categorizing the functions of the N-word. In order to relate the functions of the N-word with linguistic reclamation, a qualitative analysis was conducted by using Illocutionary Force Indicator Account to see whether the N-word succeeds or fails to function as a slur. Despite some of the occurrences of the N-word having derogatory functions, the ends of uttering them are not actually regarded as a slur. Moreover, it is discovered that the N-word used by black comics in stand-up comedy fails to function as a slur, proving that there is a process of linguistic reclamation with the N-word being non-derogatory.

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19

Alfie, Fabian. "Black Comedy: The Poetry of Niccola Muscia." Romance Philology 61, no. 2 (January 2007): 193–211. http://dx.doi.org/10.1484/j.rph.2.305834.

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20

Teramura, Misha. "Black Comedy: Shakespeare, Terence, and Titus Andronicus." ELH 85, no. 4 (2018): 877–908. http://dx.doi.org/10.1353/elh.2018.0032.

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21

Kim, Dongwook. "Reading Byeongangsoi-ga as a Black Comedy." Society Of Korean Literature 49 (May 30, 2024): 63–88. http://dx.doi.org/10.52723/jkl.49.063.

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22

Zamaletdinov, Radif R., and Mileusha M. Khabutdinova. "The creative history of Naki Isanbet’s comedy “Red-haired chichyan and Black-haired beauty”." GOLDEN HORDE REVIEW 11, no. 4 (December 29, 2023): 934–56. http://dx.doi.org/10.22378/2313-6197.2023-11-4.934-956.

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The purpose of the study. The purpose of our research is to study the genesis of Naki Isanbet’s comedic text “Jiran chichan belan Karachach sylu” (“Red-haired chichyan and Black-haired beauty”, 1942). Materials and methods of research: The material for the study was preserved in the archives of Naki Isanbet’s “Red-haired chichyan and Black-haired beauty” comedy versions. Its study allows us to reconstruct the nature of the author’s idea. The study was conducted using genetic, cultural-historical, and comparative research methods, the choice of which is determined by the nature of the analyzed text. The novelty of the research consists in a comprehensive study of the history of the creation and existence of this comedy in Tatar culture and the identification of its role in popularizing information about the Golden Horde among the Tatars. Research results. Naki Isanbet’s comedy “Jiren chichan belan Karachach sylu” (“Red-haired chichyan and Black-haired beauty”, 1942) is a vivid evidence of the valorization of national cultural values during the Great Patriotic War. During the short period the playwright managed to perpetuate national images of heroes on the stage: Idegey, Tulyak, Jiren chichyan and Karachech sylu. Their roots go back to the glorious history of medieval Tatar states. During the Great Patriotic War, the voices of Jiren chichyan and Karachech sylu (14th century) were heard from the Tatar stage, and people got acquainted with the instructions of Jamukha chichyan (12th century). The performance and the work were banned by censorship. The work was published in 1963 and returned to the stage in 1999 (directed by Farid Bikchantaev).

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23

Pickette, Samantha. "The Last Black (Jewish) Unicorn: Tiffany Haddish’s Black Mitzvah and the Reframing of Jewish Female Identity." Studies in American Jewish Literature (1981-) 41, no. 2 (September 1, 2022): 165–84. http://dx.doi.org/10.5325/studamerijewilite.41.2.0165.

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Abstract This paper explores the work of Tiffany Haddish, the Black Jewish stand-up comedian and actress, both in terms of Haddish’s contributions to the well-established canon of Jewish female comedy and in terms of the ways that Haddish’s work paves new ground. Through an analysis of Haddish’s 2019 Netflix special, Black Mitzvah, this paper first traces the stylistic and aesthetic methods that connect Haddish’s comedy with that of her Jewish peers (both historical and contemporaneous) and then considers the areas where Haddish breaks new ground in her assertion of a non-paradigmatic Jewish identity that is simultaneously embraced and othered within popular culture at large. The paper then transitions into a larger discussion of the ways in which Haddish’s work challenges how popular culture “expects” Jewish identity to manifest itself; her double visibility both as a Black woman and as a Jewish woman destabilizes the hegemonic understanding of Jewishness as homogenously white and Ashkenazic. Perhaps more importantly, Haddish acts as an important case study of the shifting demographics of Jewish visibility within American popular culture, and consequently, the critical and popular response to her work demonstrates the contradictory role that popular culture—and comedy specifically—plays in confirming and subverting stereotypes.

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Taylor, Stayci. "Battle of the sketches: Short form and feminism in the comedy mode." Journal of Screenwriting 11, no. 3 (September 1, 2020): 363–77. http://dx.doi.org/10.1386/josc_00039_1.

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The screenwriting of sketch comedy and, in particular, how female writers of sketch comedy engage with this form to illuminate female experience, are topics not yet widely theorized. This article reviews the scholarship, in order to bring together histories, definitions and distribution of sketch comedy from which to investigate how this form of comedy screenwriting can contribute to feminisms that ‘engage openly and playfully with humor and irony as weapons of choice’ (Willet et al. 2012). Drawing on anecdotal accounts and available archives from A Black Lady Sketch Show (2019–present), French and Saunders (1987–present), Inside Amy Schumer (2013–present), Wood & Walters (1981–82) and others, this article considers these against the theories of writing sketch comedy to draw some conclusions on how this short form, combined with its most popular form of distribution, can accommodate multiple perspectives and serve their audiences. This article offers itself as a starting point in identifying the unique challenges and strategies for women writing sketch comedy, and the possibilities offered by the form more broadly, while highlighting the need for further empirical exploration of the creative practice of female sketch comedy writers, and further critical attention to short form comedy screenwriting.

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Litvak, Joseph. "Black comedy and the Bildungsroman: Fran Ross’s Oreo." Textual Practice 34, no. 12 (October 29, 2020): 2003–20. http://dx.doi.org/10.1080/0950236x.2020.1834696.

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Angelina, Amy, and Suparto Suparto. "Deceptive Character in Peter Shaffer’s Play “Black Comedy” a Psychoanalysis Approach." International Journal of English and Applied Linguistics (IJEAL) 3, no. 3 (December 1, 2023): 216–27. http://dx.doi.org/10.47709/ijeal.v3i3.2801.

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This research discusses about the deceptive characters from Peter Shaffer's plays Black Comedy with a psychoanalysis approach. The aims of this research are to identify the personality traits of deceiver and describe the characteristic of deception in the deceptive characters using Alder Vrij's theory of deception. The method that is used in this research is qualitative research method which all data are analyzed in the form of words and sentences. The source data is from drama script of Black Comedy by Peter Shaffer. The results of this research are Brindsley’s personality traits as a deceiver. The characteristics of deception that are found through Brindsley’s character namely, processes of lying and the behavior of liar.

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Kiseleva, Irina. "Paradox and black clowning in Friedrich Durrenmatt's comedy “Meteor”." Ivanovo state university bulletin Series "The Humanities", no. 3 (September 30, 2022): 22–27. http://dx.doi.org/10.46726/h.2022.3.3.

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28

Frolova-Walker, M. "Lady Macbeth of Mtsensk: Bleak Tragedy or Black Comedy?" Opera Quarterly 25, no. 1-2 (December 1, 2009): 150–56. http://dx.doi.org/10.1093/oq/kbp027.

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TITIRISCA, Alina-Marilena. "Alazon and Eiron in The Black Prince." ANALELE UNIVERSITĂȚII DIN CRAIOVA SERIA ȘTIINȚE FILOLOGICE LIMBI STRĂINE APLICATE 2024, no. 1 (July 19, 2024): 524–27. http://dx.doi.org/10.52744/aucsflsa.2024.01.55.

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In Iris Murdoch's novel The Black Prince, the characters Alazon and Eiron draw from Greek comedy archetypes, representing the boastful and self-deceiving versus the modest and clever respectively. These characters serve to explore themes of deception, self-awareness, and the interplay between appearance and reality. Through the interactions between Alazon (represented by Arnold Baffin) and Eiron (represented by Bradley Pearson), Murdoch delves into the complexities of human relationships and the dynamics of power and manipulation

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30

Gray, Herman. "Television and the new black man: black male images in prime-time situation comedy." Media, Culture & Society 8, no. 2 (April 1986): 223–42. http://dx.doi.org/10.1177/016344386008002007.

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31

Lu, Feiyang. "Analysis of black comedy elements in "The Annual Meeting Must Not Stop"." Frontiers in Humanities and Social Sciences 4, no. 7 (July 24, 2024): 262–71. http://dx.doi.org/10.54691/1jnnbm82.

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"The Annual Meeting Must Go On" is one of the representatives of contemporary literary works. By subverting traditional annual meeting customs and ingeniously integrating elements of black humor, the work reveals deep-seated social realities and conflicts of human nature behind the laughter. Starting from the exploration of the definition of black humor, the article digs into the artistic expression of black humor in "The Annual Meeting Must Go On" by summarizing and comparing similar narrative techniques in various literary works, such as the clever use of dialogue, prominent contrasts in setting scenes, and extreme characterization of characters. Through in-depth investigation, the study validates the unique artistic charm and profound social significance of black humor as a literary narrative technique in shaping a dark worldview and revealing deeper meanings.

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Nathans, Benjamin. "The Longue Durée of Dark Humor." Ab Imperio 2023, no. 4 (2023): 107–12. http://dx.doi.org/10.1353/imp.2023.a922257.

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SUMMARY: This essay is a contribution to the discussion forum "Mainstream Narratives of Soviet History and the Laughter of Surprise," framed as responses by literary scholars, historians, and political scientists to Sheila Fitzpatrick's essay "Soviet History as Black Comedy." Benjamin Nathans reviews genres that have been used to narrate Soviet history, such as irony and tragedy, and shows that black comedy alone fosters irreverence and cognitive distance from the Soviet project. It builds a bridge between emic and etic interpretations of Soviet culture. But these functions of black comedy, Nathans argues, are older than the Soviet period. The prominence of these functions during the late Soviet era exposes its specificity vis-à-vis earlier periods. Furthermore, insiders and outsiders (like Fitzpatrick) found the Soviet experience funny for different reasons. Finally, black humor persists in Putin's Russia. Nathans concludes with the question of whether what we have understood as Soviet is, in fact, Russian or universal. Резюме: Это эссе является частью форума "Мейнстримные нарративы советской истории и смех от удивления," в котором литературоведы, историки и политологи реагируют на эссе Шейлы Фитцпатрик "Советская история как черная комедия". Рассматривая основные жанры восприятия советского прошлого – иронию и трагедию, – Бенджамин Натанс отмечает, что только черная комедия поощряет непочтительность и когнитивную дистанцию от советского проекта. Она связывает эмическую и этическую интерпретацию советской культуры. Эти функции черной комедии были характерны и для предшествующих эпох. Их особая заметность в позднесоветский период лишь подчеркивает ее отличия от более ранних этапов советской истории. Кроме того, инсайдеры и аутсайдеры (такие как Фитцпатрик) находили советский опыт смешным по разным причинам. Наконец, черный юмор не исчез и в путинской России. Натанс заканчивает эссе вопросом: насколько то, что мы понимаем как советское, на самом деле является российским или даже универсальным?

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Ramadanovic, Petar. "Black Boy's Comedy: Indestructibility and Anonymity in Autobiographical Self-Making." Callaloo 27, no. 2 (2004): 502–21. http://dx.doi.org/10.1353/cal.2004.0083.

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Williams, James S. "Vision, Mystery, and Release in the Reverse Field." Film Quarterly 69, no. 1 (2015): 9–19. http://dx.doi.org/10.1525/fq.2015.69.1.9.

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While working around a basic plot-line of betrayal, Bruno Dumont’s L’il Quinquin references the codes and clichés both of comedy and television crime series by using the serial format to convey the work of a serial killer, and fully exploiting the possibilities for expanding characterization and reduplicating key actions and motifs. Comedy has always been present in Dumont’s work, of course, but only in small doses and only implicitly. If in Humanity the absurdity and burlesque effects were often just plain odd, in L’il Quinquin the laughter is frontal and explicit. It ranges from brutal black humor and caricature to social parody and satire of the police, the Church, science, and the media (long-standing themes in Dumont), and from physical gags and carnivalesque farce to vaudeville grotesquerie. L’il Quinquin swings constantly between the genres of light comedy, murder mystery, social drama, and the study of rural life.

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Park, Jungman. "Utopian Vision and Its Double: An Allegorical Portrait of Black Life in Hurston’s One-act Play Mr. Frog." Institute of British and American Studies 59 (October 30, 2023): 3–20. http://dx.doi.org/10.25093/ibas.2023.59.3.

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Zora Neale Hurston was an anthropologist and a woman writer participating in the African American literary movement known as the Harlem Renaissance in the 1920s. A prolific and versatile writer, she wrote a number of plays, and, in particular, devoted herself to creating ‘black folk comedy’ as a form of ‘the new and the real Negro theatre’ that honestly showed the language and daily life of black people in South Florida. This study focuses on Herston’s one-act play Mr. Frog as an example of black folk comedy. A fable story, the short dramatic skit represents the utopian model of coexistence and symbiotic community by portraying the lives of animals. On the other hand, this utopia created on stage is a space that does not exist in reality, so in return, it indirectly suggests ‘other’ picture hidden behind the surface, namely, the portrait of contemporary black people in South Florida living the harsh reality of racism. In the play, the utopian vision is presented as ‘double’ and this writing strategy meets the nature and effects of an allegorical narrative deriving from the correlation of surface text and the hidden meaning or subtext. This study concludes that Mr. Frog, through the fable story of animals, dramatizes the ‘double’ of the utopian vision that diverges into the ideal community for coexistence and the reality of black life, thereby suggesting a model for allegorical playwriting.

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Tyree, J. M. "No Fun: Debunking the 1960S in Mad Men and A Serious Man." Film Quarterly 63, no. 4 (2010): 33–39. http://dx.doi.org/10.1525/fq.2010.63.4.33.

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Both the TV show Mad Men and the Coen brothers' black comedy feature, A Serious Man, are set in the 1960s and, this essay argues, depict the decade as a time of alienation and unhappiness, contrary to Baby Boomer myths and hippy wishful thinking.

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Hope, Jeanelle Kevina. "An Ode to Black British Girls." Race and European TV Histories 10, no. 20 (December 1, 2021): 34. http://dx.doi.org/10.18146/view.266.

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This article delves into Michaela Coel’s Chewing Gum, examining how the cultural text builds upon Black feminist media discourse, and intimately grapples with the nuances of Black women’s sexuality while explicitly challenging misogynoir. This work illustrates how Coel is helping develop a Black British cultural aesthetic that centers Black women’s liberation, specifically from an African immigrant perspective, by using satire, all the beauty, pain, and struggles that come with #blackgirlmagic, eccentric adornments, and ‘awkward’ ostentatious characters that at times play into racist images and tropes of Black womanhood to expose the absurdity of life in an anti-Black, sexist, and xenophobic society. In sum, this article understands Coel’s work in Chewing Gum to be Black girl surrealism – the intersection of Afro-surrealism, British dark comedy, and Black feminism.

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Schlueter, Jennifer. "“How you durrin?”: Chuck Knipp, Shirley Q. Liquor, and Contemporary Blackface." TDR/The Drama Review 57, no. 2 (June 2013): 163–81. http://dx.doi.org/10.1162/dram_a_00266.

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F. Charles “Chuck” Knipp claims his portrayal of Shirley Q. Liquor, a saucy, middle-aged Louisiana black woman, is more “an extended drag comedy character” than a minstrel routine. But the most salient feature of the live performances by Knipp—a gay, white male—is his blackface makeup.

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Acham, Christine. "Black-ish: Kenya Barris on Representing Blackness in the Age of Black Lives Matter." Film Quarterly 71, no. 3 (2018): 48–57. http://dx.doi.org/10.1525/fq.2018.71.3.48.

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African American studies and television scholar Christine Acham interviews Kenya Barris the creator of the top-rated primetime network show Black-ish (ABC, 2014—). Acham tuned in during the 2014 political climate of #BlackLivesMatter to find a show that veered so far from television's traditionally monolithic or culturally void versions of blackness. Her conversation with Kenya Barris took place on June 23, 2017, in Burbank, California. They discussed Black-ish in detail, and also engaged questions of politics, the specificity of black storytelling, the contemporary “Black Television Renaissance,” and the pressures and responsibilities facing black creatives in the industry. At press time, Barris had gone on to create a new spinoff show, Grown-ish, and to collaborate with some of its writers to launch yet another series, Bright Futures, a twenty-something comedy, also at ABC.

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Liu, Hui. "Black comedy films in postsocialist China: Case study of Ning Hao'sCrazyseries." Journal of Chinese Cinemas 12, no. 2 (May 4, 2018): 158–73. http://dx.doi.org/10.1080/17508061.2018.1475969.

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Finley, Jessyka. "Raunch and Redress: Interrogating Pleasure in Black Women's Stand-up Comedy." Journal of Popular Culture 49, no. 4 (August 2016): 780–98. http://dx.doi.org/10.1111/jpcu.12439.

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Kristiansen, Kristian. "The black and the red: Shanks & Tilley's programme for a radical archaeology." Antiquity 62, no. 236 (September 1988): 473–82. http://dx.doi.org/10.1017/s0003598x00074573.

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Prominent in the new literature of a ‘post-processual’, ‘critical’ or ‘radical’ archaeology are a pair of books, conveniently colour-coded as one black and one red, written by Michael Shanks 6. Christopher Tilley, and both published in 1987. The ‘black book’, from Cambridge University Press, has a stark cover mostly of solid black; the cover of the ‘red book’, from Polity Press, is a more cheerful crimson, though its picture, a 19th-century Comedy of death, is a despairing image of dismal decay.Kristian Kristiansen, of the Center for Research in the Humanities, University of Copenhagen, reviews here the black and the red, and the post-modern vision of archaeology they amount to.

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Stevenson, A. E. "A Sleight of Hair." Feminist Media Histories 6, no. 4 (2020): 13–41. http://dx.doi.org/10.1525/fmh.2020.6.4.13.

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This essay considers the presence of Black women’s hair as a necessary fact of embodiment that disrupts postfeminist romantic comedies. It focuses on Something New (2006), notable as the first film in which the director, producer, writer, and star were all Black women, arguing that the ontological ruptures created by Kenya, the main character, disrupt the film’s neat classification into the postfeminist romantic comedy genre. The article argues that the Black female body, through the signifier of Black natural hair, invites a chaos into the narrative that makes the film’s contribution to the genre invisible. This calls for a critique of the social order that the genre treats as essential to its foundation.

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Wąsik, Przemysław. "Obrazy czarnoskórych bohaterów w polskim kinie popularnym." Literatura i Kultura Popularna 28 (October 7, 2022): 179–204. http://dx.doi.org/10.19195/0867-7441.28.13.

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The purpose of this paper is to describe the ways in which the image of black characters is constructed in Polish-produced films. The text also seeks to demonstrate that in numerous cases, the method of depicting representatives of the described group is racist in its nature. The introduction presents the social and cultural perception of black people in Poland. The next part of the study analyzes individual film examples in which the creators portrayed black characters using one of the two dominants identified by the research: exoticism or comedy. By showing various images in a chronological order, the text emphasizes how the perception of black people has changed in Polish society.

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Kim, Sungeun. "Irony Expression Techniques in the Genre of Black Comedy Films: Focused on Netflix Films <Don’t look up>." Korean Society of Culture and Convergence 44, no. 9 (September 30, 2022): 831–40. http://dx.doi.org/10.33645/cnc.2022.9.44.9.831.

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This study researched the irony expression technique used in the genre of black comedy film <Don’t look up> released in 2021 on Netflix. Black comedy is a genre that has the purpose of criticism, and proper delivery of this critical viewpoint through films is critical in this genre. To expose the theme, a film <Don’t Look Up> makes full use of ironic expressions. The comical effect of these expressions maintain the light atmosphere of this film, while emphasizing the parts to be criticized. A variety of ironic expression techniques in this work are worth analyzing since they are used as devices that can convey its message well. The investigator uses the classification of irony by Lee, Jeonggook, which classifies irony into dramatic irony, plot irony, irony of character, irony of place, irony of music, etc., to analyze the ironic expression techniques used in this film. The purpose of this study is to analyze how the irony occurs and find what effect it has on the narrative which may be helpful of creating scenario.

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Ridley, LaVelle. "Imagining Otherly." TSQ: Transgender Studies Quarterly 6, no. 4 (November 1, 2019): 481–90. http://dx.doi.org/10.1215/23289252-7771653.

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Abstract In this article the author focuses on Mya Taylor's singing performance as Alexandra in the 2015 comedy-drama film Tangerine as a performative index of black trans women's futures. Contextualizing her performance within the larger, dangerous world for most black trans sex workers that the film portrays largely without critique, the author argues that this scene offers Alexandra, and black trans viewers of the film, a brief reprieve from the anxieties of social and state oppression and allows her (and us) to breathe, and within that breath to imagine toward radical futures that resist the binary of resistance and compliance, to imagine otherly. The author draws on black trans studies, black feminist theory, and black cultural and media studies to articulate how this film as a unique and crucial moment of black trans cultural production also offers us a key moment in theorizing black trans epistemology.

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Beringer, Lisa M. "Resistance TV." Studies in American Humor 8, no. 1 (April 1, 2022): 75–94. http://dx.doi.org/10.5325/studamerhumor.8.1.0075.

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ABSTRACT African American sketch comedy uses satirical humor to decenter common white tropes of Blackness that are reinforced in media depictions through an intellectual and emotional approach that both frees satirists from traditional form and structure and that asks viewers—especially white ones—to question the root cause of their laughter and in turn their embrace of racist systems. Focusing on the harmfulness of racism and its intersection with sexism, this article argues that sketch comedy uses satirical humor to flip the script on commonly held stereotypes of Blackness, resist American racism, and in the end assert a claim for Black humanity in self-defined terms, offering humorous resistance as a modality that may get us closer to finding an “off switch” to racism.

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Peek, Philip S. "Black Humour in Ovid's Metamorphoses." Ramus 30, no. 2 (2001): 128–51. http://dx.doi.org/10.1017/s0048671x00001491.

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Ovidians today agree that humour is central to understanding the Metamorphoses; but much disagreement exists about what passages are funny; what type of humour is used; and what response it is intended to elicit. Since his own time Ovid's humour has provoked criticism: Quintilian and the two Senecas criticise him for introducing to the Metamorphoses an inappropriate tone. The Romantics found Ovid's humour in bad taste. For much of the 19th and 20th centuries it was taken to be light and on the surface. More recently scholars identify his humour as either deep and humane or hateful and misogynistic. This division is caused, in my opinion, by Ovid's black humour, which by its very nature is easily misunderstood or missed, especially by those inclined to see the tragic in things, disinclined to see comedy mixed into a scene of death or rape, inclined to think the tragic, serious and universal more worthy, profound and significant than the comic, base and particular.

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Ponder, Justin. "“We Are Joined Together Temporarily” The Tragic Mulatto, Fusion Monster in Lee Frost's The Thing with Two Heads." Ethnic Studies Review 34, no. 1 (January 1, 2011): 135–55. http://dx.doi.org/10.1525/esr.2011.34.1.135.

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In Lee Frost's 1972 film The Thing with Two Heads, a white bigot unknowingly has his head surgically grafted onto the body of a black man. From that moment on, these two personalities compete for control of their shared body with ridiculous results. Somewhere between horror and comedy, this Blaxploitation film occupies a strange place in interracial discourse. Throughout American literature, the subgenre of tragic mulatto fiction has critiqued segregation by focusing on the melodramatic lives of those divided by the color line. Most tragic mulatto scholarship has analyzed overtly political novels written by African American writers from the Reconstruction Era or Harlem Renaissance, and examining these overtly political texts has produced valuable ways to understand American racism's harsh reality. Beyond this focus on reality, however, The Thing with Two Heads is a valuable contribution to the field of tragic mulatto studies because its focus on the fantastic plot of a black/white conjoined twin provides opportunities to theorize race in ways that more reality-bound works cannot. This article explores how this horror-comedy articulates different discourses regarding interracialism, conjoined twins, and monstrosity in ways that reveal much about American ideas about race, selfhood, and identity.

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Johnson, Patrick. "“It’s a Man Thing, Gina”: Watching Gender in Martin." Communication, Culture and Critique 14, no. 3 (February 23, 2021): 422–37. http://dx.doi.org/10.1093/ccc/tcab005.

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Abstract In the almost three decades since the hit situation-comedy Martin (1992–1997) originally aired on Fox, the show has not only enjoyed a vibrant second life through syndication and streaming platforms, but has functioned as a form of television heritage, reflected in fashion, music, games, and memes. Martin has developed a particularly loyal following among black millennials, many of whom were too young to watch the show during its original network television run. In this article, I explore the series’ representations of black women through individual and focus group interviews with 26 black viewers. My interviews reveal that participants have ambivalent relationships with the show. While several cite Martin as their favorite show of all-time, they were disturbed by the show’s troubling depictions of black heterosexual romantic relationships and its reliance on stereotypical representations of black women.

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