Computational Analysis of Humour
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THIS ISSUE: Comedy
2014-2015 September ISSUE 1 scene. THE JOURNAL OF THE INTERNATIONAL SCHOOLS THEATRE ASSOCIATION THIS ISSUE: Comedy www.ista.co.uk WHO’S WHO @ ISTA… CONTENTS Patron 2 Connections Professor Jonothan Neelands, by Rebecca Kohler National Teaching Fellow, Chair of Drama and Theatre Education in the Institute of Education 3 Comedy d’un jour and Chair of Creative Education in the Warwick Business School (WBS) at the University of by Francois Zanini Warwick. 4 Learning through humour Board of trustees by Mike Pasternak Iain Stirling (chair), Scotland Formerly Superintendent, Advanced Learning Schools, Riyadh. Recently retired. 8 Desperately seeking the laughs Jen Tickle (vice chair), Jamaica by Peter Michael Marino Head of Visual & Performing Arts and Theory of Knowledge at The Hillel Academy, Jamaica. 9 “Chou” – the comic actor in Chinese opera Dinos Aristidou, UK by Chris Ng Freelance writer, director, consultant. 11 Directing comedy Alan Hayes, Belgium by Sacha Kyle Theatre teacher International School Brussels. Sherri Sutton, Switzerland 12 Videotape everything, change and be Comic, director and chief examiner for IB DP Theatre. Theatre teacher at La Chataigneraie. grateful Jess Thorpe, Scotland by Dorothy Bishop Co Artistic Director of Glas(s) Performance and award winning young people’s company 13 Seriously funny Junction 25. Visiting. Lecturer in the Arts in Social Justice at the Royal Conservatoire of Scotland. by Stephen Finegold Honorary life members 15 How I got the best job in the world! Dinos Aristidou, UK Being a clown, being a -
Smart Cinema As Trans-Generic Mode: a Study of Industrial Transgression and Assimilation 1990-2005
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by DCU Online Research Access Service Smart cinema as trans-generic mode: a study of industrial transgression and assimilation 1990-2005 Laura Canning B.A., M.A. (Hons) This thesis is submitted to Dublin City University for the award of Ph.D in the Faculty of Humanities and Social Sciences. November 2013 School of Communications Supervisor: Dr. Pat Brereton 1 I hereby certify that that this material, which I now submit for assessment on the programme of study leading to the award of Ph.D is entirely my own work, and that I have exercised reasonable care to ensure that the work is original, and does not to the best of my knowledge breach any law of copyright, and has not been taken from the work of others save and to the extent that such work has been cited and acknowledged within the text of my work. Signed:_________________________________ (Candidate) ID No.: 58118276 Date: ________________ 2 Table of Contents Chapter One: Introduction p.6 Chapter Two: Literature Review p.27 Chapter Three: The industrial history of Smart cinema p.53 Chapter Four: Smart cinema, the auteur as commodity, and cult film p.82 Chapter Five: The Smart film, prestige, and ‘indie’ culture p.105 Chapter Six: Smart cinema and industrial categorisations p.137 Chapter Seven: ‘Double Coding’ and the Smart canon p.159 Chapter Eight: Smart inside and outside the system – two case studies p.210 Chapter Nine: Conclusions p.236 References and Bibliography p.259 3 Abstract Following from Sconce’s “Irony, nihilism, and the new American ‘smart’ film”, describing an American school of filmmaking that “survives (and at times thrives) at the symbolic and material intersection of ‘Hollywood’, the ‘indie’ scene and the vestiges of what cinephiles used to call ‘art films’” (Sconce, 2002, 351), I seek to link industrial and textual studies in order to explore Smart cinema as a transgeneric mode. -
How Ninja from Die Antwoord Performs South African White Masculinities Through the Digital Archive
ZEF AS PERFORMANCE ART ON THE ‘INTERWEB’: How Ninja from Die Antwoord performs South African white masculinities through the digital archive by Esther Alet Rossouw Submitted in fulfilment of the requirements of the degree MAGISTER ARTIUM in the Department of Drama Faculty of Humanities University of Pretoria Supervisor: Dr M Taub AUGUST 2015 1 ABSTRACT The experience of South African rap-rave group Die Antwoord’s digital archive of online videos is one that, in this study, is interpreted as performance art. This interpretation provides a reading of the character Ninja as a performance of South African white masculinities, which places Die Antwoord’s work within identity discourse. The resurgence of the discussion and practice of performance art in the past thirty years has led some observers to suggest that Die Antwoord’s questionable work may be performance art. This study investigates a reconfiguration of the notion of performance art in online video. This is done through an interrogation of notions of risk, a conceptual dimension of ideas, audience participation and digital liveness. The character Ninja performs notions of South African white masculinities in their music videos, interviews and short film Umshini Wam which raises questions of representation. Based on the critical reading of Die Antwoord’s online video performance art, this dissertation explores notions of Zef, freakery, the abject, new ethnicities, and racechanges, as related to the research field of whiteness, to interpret Ninja’s performance of whiteness. A gendered reading of Die Antwoord’s digital archive is used to determine how hegemonic masculinities are performed by Ninja. It is determined that through their parodic performance art, Die Antwoord creates a transformative intervention through which stagnant notions of South African white masculinity may be reconfigured. -
Humour and Colonialism Krebs CPSA Final Draft
Did you hear the one about…:Exclusionary Humour and Micropolitics Andreas Krebs Department of Political Science, University of Ottawa DRAFT – please do not cite or circulate without author’s permission Abstract Humour plays a central role in our daily lives, yet is rarely the object of research within political science. There has been a recent upsurge in humour that deals with controversial issues, such as race, gender, and sexual preference, mostly using irony in its approach. Comics such as Sarah Silverman, Dave Chappelle and Russell Peters participate in this resurgence. Much of the literature on the political ramifications of the use of ‘exclusionary humour’ – humour which has a racial, gendered, or other group as its target – claims that its use is by definition negative and against the political goals of equality for the groups targeted. According to these arguments, the use of such humour constitutes a micropolitical threat to state policies that work towards incorporation of minorities into the fabric of society, such as multiculturalism. However, I contend that certain forms of exclusionary humour have a far more ambivalent role in politics, and may work to subtly undermine inequality through making light of racism, sexism, and homophobia. This paper is an analysis of a series of interviews exploring how the dominant group of White, Anglophone males in Canada view and mobilize exclusionary humour in their daily lives. Focusing exclusively on members of the Charter Generation, i.e. those who have grown up with multiculturalism as official policy, the paper will evaluate the use of exclusionary humour for political goals of equality, and attempt to determine the effect that multicultural socialization has had on the way exclusionary humour manifests itself. -
Kent Academic Repository Full Text Document (Pdf)
Kent Academic Repository Full text document (pdf) Citation for published version Declercq, Dieter (2018) What is satire? . Blog. DOI Link to record in KAR https://kar.kent.ac.uk/75358/ Document Version Publisher pdf Copyright & reuse Content in the Kent Academic Repository is made available for research purposes. Unless otherwise stated all content is protected by copyright and in the absence of an open licence (eg Creative Commons), permissions for further reuse of content should be sought from the publisher, author or other copyright holder. Versions of research The version in the Kent Academic Repository may differ from the final published version. Users are advised to check http://kar.kent.ac.uk for the status of the paper. Users should always cite the published version of record. Enquiries For any further enquiries regarding the licence status of this document, please contact: [email protected] If you believe this document infringes copyright then please contact the KAR admin team with the take-down information provided at http://kar.kent.ac.uk/contact.html AESTHETICS FOR BIRDS ABOUT Aesthetics and Philosophy of Art for Everyone STAFF POSTS GUEST POSTS PROFESSIONAL MATTERS INTERVIEWS JAAC X AFB "Aesthetics is for the artist as JAAC x AFB: WHAT IS SATIRE? ornithology is for the birds." - September 6, 2018 by aestheticsforbirds | Leave a comment Barnett Newman SEARCH Flock Leader Alex King Wing Commanders Rebecca Victoria Millsop C. Thi Nguyen Birds What follows is a post in our ongoing collaborative series with the Journal of Aesthetics and Roy Cook Nick Stang Art Criticism. This is based on a new article by Dieter Declercq, “A Definition of Satire (And Matt Strohl Why a Definition Matters)” which you can find in the current issue of JAAC. -
THE MODERN ROYALS by AFUA HIRSCH
JUNE 4, 2018 COMMEMORATIVE ISSUE THE MODERN ROYALS by AFUA HIRSCH plus by DAISY GOODWIN by TINA BROWN time.com VOL. 191, NO. 21 | 2018 4 | Conversation TheView TimeOf △ 6 | For the Record The Royal Wedding Spectators line the Ideas, opinion, What to watch, read, innovations How Britain Celebrated 30 see and do streets of Windsor TheBrief following the News from the U.S. 23 | How By Kate Samuelson 63 | Summer wedding of Prince and around the world protectionism The Revolutionary Royal 36 Reading: 25 new Harry and Meghan 11 | The haunting limits global growth By Daisy Goodwin page-turners Markle on May 19 pattern of school Regal Family Tree 40 27 | Ian Bremmer on 64 | Rachel Cusk, shootings By Kate Samuelson Photograph by Italy’s odd-couple author of Kudos Simon Roberts for A New Kind of History 42 TIME 13 | The European leaders By Afua Hirsch 65 | The best novels Union’s strict new 27 | Writer The Dress 46 for book clubs privacy law Michael Pollan By Cady Lang 66 | The latest short 14 | Will the on the beneits of Meghan by the Book 48 stories summit between psychedelic drugs By Tina Brown North Korea and the Who Needs the Royals? 51 67 | Six historical U.S. happen? By Graham Smith reads 16 | Ebola spreads Features 68 | Movies: Solo: in the Democratic A Star Wars Story Republic of Congo Taking On Texas 70 | Food: Tips for 16 | FDA allows irst Inside Beto O’Rourke’s bid to unseat healthier summer drug for migraines ON THE COVER: Ted CruzBy Nash Jenkins54 grilling Photograph Campus Revival by Gareth 18 | TIME with .. -
Comedy for Dinner
Page intentionally left in blank Título: Comedy for dinner – and other dishes Coordenador: Constantino Pereira Martins © dos autores das respectivas comunicações Colecção: eQVODLIBET 4 1ª edição: março de 2019 ISBN: 978-989-54328-1-3 What if everything in the world were a misunderstanding; what if laughter really were weeping! (...) As a special dispensation, I was granted the favor of making a wish. "What do you want," asked Mercury. "Do you want youth, or beauty, or power, or a long life, or the most beautiful girl, or anyone of the other glorious things we have in the treasure chest? Choose-but only one thing." For a moment I was bewildered; then I addressed the gods, saying: My esteemed contemporaries, I choose one thing-that I may always have the laughter on my side. Not one of the gods said a word; instead, all of them began to laugh. From that I concluded that my wish was granted and decided that the gods knew how to express themselves with good taste, for it would indeed have been inappropriate to reply solemnly: It is granted to you. Kierkegaard, Diapsalmata1 1 (Ed.) Howard & Edna Hong, Kierkegaard, Diapsalmata, Either/or, Princeton University Press, 1987. To the shining laughter of my son Guilherme combined complicity of loud radiant symphony that bravely defies the hard rule of time and space. May God always favor laughter on your side. Contents Acknowledgements ………………………………………………………………………….……………………... ix Foreword ………………………………………………………………………...…………………………..…... x-xix 1. Carl Jung and the Role of Shadow and Trickster in Political Humor: Social Philosophical Analysis, Jarno Hietalahti ………………………………………....………………... 20-41 This chapter analyzes the relationship between humor and power in the light of court jesters (comedians) and sovereign (president) based on C.G. -
Global Media Seminar
Global Media Seminar Class code MCC-UE 9456 – 001 Instructor Sacha Molitorisz Details [email protected] Consultations by appointment Please allow at least 24 hours for your instructor to respond to your emails. Class Details Spring 2017 Global Media Seminar Wednesday 9:00am – 12:00pm February 1 to May 10 Room 302 NYU Sydney Academic Centre Science House: 157-161 Gloucester Street, The Rocks 2000 Prerequisites None Class This course examines the fast-changing landscape of global media. Historical and theoretical Description frameworks will be provided to enable students to approach the scope, disparity and complexity of current developments. These frameworks will be supplemented with the latest news and developments. In short, we ask: what is going on in the hyperlinked and hyper- turbulent realm of blogs, Buzzfeed and The Sydney Morning Herald? Key issues examined include: shifts in patterns of production, distribution and consumption; the implications of globalisation; the disruption of established information flows and emergence of new information channels; the advent of social media; the proliferation of mobile phones; the ethics and regulation of modern media; the rise of celebrity culture; the demise (?) of privacy; the entertainment industry and its pirates; Edward Snowden and the NSA; and the irrepressible octogenarian Rupert Murdoch. The focus will be international, with an emphasis on Australia. Ultimately, the course will examine the ways in which global communication is undergoing a paradigm shift, as demonstrated by the Arab spring and its uncertain legacy, as well as the creeping dominance of Google, Facebook and Twitter. In other words Toto, I’ve a feeling we’re not in Kansas anymore. -
The Sundae Presents Ciara Moloney
The Sundae presents God Sent Me To Piss The World Off Ciara Moloney Intro 3 I’m just relaying what the voice in my head’s saying. Don’t shoot the messenger. 4 How many records you expecting to sell after your second LP sends you directly to jail? 15 Though I’m not the first king of controversy, I am the worst thing since Elvis Presley. 29 I’m a piece of fucking white trash, I say it proudly. 38 Eminem is an underground horrorcore rapper who, through some mix-up in the cosmic order, instead became the best-selling artist of the 2000s. To remember how incredibly big Eminem became in the late 1990s and early 2000s while rapping about killing himself, raping his mother, and murdering his wife seems like peering into some long-distant era: much further away than twenty years should be, more like a time memorialised only in photographs and letters. But that’s not quite right, either. It’s less like a far away past than a hole torn in the fabric of the universe, just wide enough to let a single impossible thing leak through. Eminem managed to feel dangerous even as he became ubiquitous, at once a fact of life and a radical notion that must be supressed at all costs. That tension is one of the defining features of Eminem’s discography: both boundary-pushing and mainstream, both snotty, scrappy underdog and superstar. Listening to his early albums, it seems at times like he’s trying to Tom Green himself and see what he has to say to get kicked out of the music industry. -
Resume Wizard
Class code MCC-UE 9456 001 Instructor Details Sacha Molitorisz [email protected] 0423 306 769 Consultations Tuesdays after class by appointment. Class Details Global Media Seminar Tuesdays: 9.30am - 12.30pm. NYU Sydney Academic Centre Science House, 157 Gloucester St, The Rocks. Prerequisites None Class Description This course brings together diverse issues and perspectives in rapidly evolving areas of international/global communication. Historical and theoretical frameworks will be provided to help students approach the scope, disparity and complexity of current developments in the media landscape. These frameworks will be supplemented with the latest media news and developments, often in relation to pop culture. Students will be encouraged to think critically, assessing shifts in national, regional and international media patterns of production, distribution and consumption over time. The aim is to come to an understanding of the tumultuous contemporary global communication environment. The key concepts under examination include: trends in national and global media consolidation; the radical cultural implications of globalisation; the disruption of established information flows and the emergence of new information channels; the ethics, law and regulation of modern media; and trends in communication and information technologies. Specific issues addressed include: the rise of celebrity culture; the challenges facing the entertainment industry; and the rise, rise and potential demise of Rupert Murdoch. The focus will be international, with a particular emphasis on Australia. Ultimately, the course will examine the ways in which global communication is undergoing a fundamental paradigm shift, as demonstrated by the Arab spring, the Olympics coverage and the creeping dominance of Google, Facebook and Twitter. -
1 a Queer Tension
1 A Queer Tension: The difficult comedy of Hannah Gadsby’s Nanette Live Olu Jenzen Introduction This article concerns itself with feminist comedy that is deemed angry and difficult, yet has had critical and commercial success. Hannah Gadsby’s stand-up show Nanette Live1 can be described as difficult because it is politically challenging, emotionally demanding and disrupts the established format of stand-up comedy. Nanette challenges the underpinning assumption of postfeminism: that feminism is no longer needed.2 It is feminist and angry. Which, arguably, does not have an obvious place in today’s popular culture where comedians are expected to be postfeminist. An example of cultural expectations in the postfeminist era is the figure of the female comedian as an ‘empowered’ individual who is seen as a product of feminism, because she can take centre stage and speak out, whilst dismissing the need for feminism in her comedy. Another example would be the reframing and revalidation of sexist jokes – what Susan Douglas calls ‘enlightened sexism’, whereby the assumption that full gender equality has been achieved, makes it ‘okay, even amusing, to resurrect sexist stereotypes of girls and women’.3 To explore the phenomenon of angry feminist comedy in the postfeminist era further, the article considers the comedy of Gadsby through the prism of the figure of the feminist killjoy4, asking what place the feminist killjoy has in comedy? It also draws a different take on the figure of the feminist killjoy as outlined by Jack Halberstam in Queer Art -
What's So Funny?
WHAT’S SO FUNNY? An original text by Monique Polak I adjust the mic. The guy before me was way taller. Pretty much every guy my age is way taller than me. I look out into the audience, focusing on the two first rows. I’ve seen professional comedians do this a zillion times, so I know I need to work quickly. Choose my targets. There! I got them! The spotlight lands on me, which is my cue to begin. “Hey you,” I say, pointing to a girl in the second row. She looks up, giving me a shy smile. She obviously hasn’t been to too many comedy shows. “You have really nice glowy skin….” I tell her. The girl looks surprised. Then I add, “between all those pimples.” The girl covers her face with her hands. “Didn’t anyone ever tell you kids with acne shouldn’t touch their faces?” I ask her. There’s some uncomfortable laughter, mostly from the back of the school auditorium. I move on to my next target, a boy sitting in the middle of the front row. He’s wearing an Ariana Grande T-shirt. When our eyes meet, he crosses his arms over his chest. “Too late!” I tell him. “I already know you’re an Ariana Grande superfan. What’d you do, steal your sister’s T- shirt?” This time, nobody laughs. Not one single person. I look out at the audience. “Haven’t you guys ever heard of Don Rickles? Don Rickles was the king of insult comedy!” I hear someone clear their throat.