Description
Book SynopsisComedy has been a feature of cinema since its inception. From mickey-moused accompaniments to slapstick scenes, ironic musical statements, clever musical allusions and jokes, well-worn sound effects, and even laugh tracks, sound has been integral to the development of the comedy on screen. This volume covers all aspects of sound (including dialogue) and music as they have been utilised in comedy film. The volume looks at various subsets of the 'comedy film' from the post-War period, including black comedy, romantic comedy, slapstick, dialogue comedy, parody and spoofs. This volume aims to explore the way in which music and sound articulate humour, create comedic situations and direct comedic identifications for viewer/listeners.
Table of Contents1. Sounding Funny: The Importance of Hearing the Joke Liz Giuffre, Independent scholar, and Mark Evans 2. The Soundtrack as Appropriate Incongruity Marshall Heiser, PhD student, Griffith University 3. Trading Places with Mozart Ben Winters, The Open University 4. Parody, Self-Parody and Genre-Parody: Music in The Magnificent Seven and !Three Amigos! Erik Heine, Oklahoma City University 5. Austin Powers: Intentional Music Man Liz Giuffre and Mark Evans 6. Paranormal Product: The Music and Promotion of Ghostbusters Jon Fitzgerald, Southern Cross University, and Philip Hayward 7. Red In Tooth And Lipstick: Music and Sound Design in Lesbian Vampire Killers Claire Butkus, Independent Scholar, and Jon Fitzgerald 8. 'Be a Clown' and 'Make 'Em Laugh': Comic Timing, Rhythm, and Donald O'Connor's Face Jonas Westover, Independent scholar 9. Sound, Comedy and Cinematic Modernism: Kaasua, komisario Palmu! Kimmo Laine and Anu Juva, University of Oulu 10. Spanish film music in the 1940s: Comedy, subversion, and dissident rhythms in the films of Manuel Parada Laura Miranda, Independent scholar 11. An Okinawan Romance: Lyrical Dialogue, Comedy and Music in Nabbie's Love Philip Hayward 12. A Special Flavour: Comic Song Scenes in the Hindi Cinema Gregory D. Booth, University of Auckland 13. Humour Between The Keys: A Detailed Analysis of The Cat Concerto Peter Morris, University of Surrey
