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Television Satire and Discursive Integration in the Post-Stewart/Colbert Era
University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Masters Theses Graduate School 5-2017 On with the Motley: Television Satire and Discursive Integration in the Post-Stewart/Colbert Era Amanda Kay Martin University of Tennessee, Knoxville, [email protected] Follow this and additional works at: https://trace.tennessee.edu/utk_gradthes Part of the Journalism Studies Commons Recommended Citation Martin, Amanda Kay, "On with the Motley: Television Satire and Discursive Integration in the Post-Stewart/ Colbert Era. " Master's Thesis, University of Tennessee, 2017. https://trace.tennessee.edu/utk_gradthes/4759 This Thesis is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Masters Theses by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a thesis written by Amanda Kay Martin entitled "On with the Motley: Television Satire and Discursive Integration in the Post-Stewart/Colbert Era." I have examined the final electronic copy of this thesis for form and content and recommend that it be accepted in partial fulfillment of the equirr ements for the degree of Master of Science, with a major in Communication and Information. Barbara Kaye, Major Professor We have read this thesis and recommend its acceptance: Mark Harmon, Amber Roessner Accepted for the Council: Dixie L. Thompson Vice Provost and Dean of the Graduate School (Original signatures are on file with official studentecor r ds.) On with the Motley: Television Satire and Discursive Integration in the Post-Stewart/Colbert Era A Thesis Presented for the Master of Science Degree The University of Tennessee, Knoxville Amanda Kay Martin May 2017 Copyright © 2017 by Amanda Kay Martin All rights reserved. -
Discourse Types in Stand-Up Comedy Performances: an Example of Nigerian Stand-Up Comedy
http://dx.doi.org/10.7592/EJHR2015.3.1.filani European Journal of Humour Research 3 (1) 41–60 www.europeanjournalofhumour.org Discourse types in stand-up comedy performances: an example of Nigerian stand-up comedy Ibukun Filani PhD student, Department of English, University of Ibadan [email protected] Abstract The primary focus of this paper is to apply Discourse Type theory to stand-up comedy. To achieve this, the study postulates two contexts in stand-up joking stories: context of the joke and context in the joke. The context of the joke, which is inflexible, embodies the collective beliefs of stand-up comedians and their audience, while the context in the joke, which is dynamic, is manifested by joking stories and it is made up of the joke utterance, participants in the joke and activity/situation in the joke. In any routine, the context of the joke interacts with the context in the joke and vice versa. For analytical purpose, the study derives data from the routines of male and female Nigerian stand-up comedians. The analysis reveals that stand-up comedians perform discourse types, which are specific communicative acts in the context of the joke, such as greeting/salutation, reporting and informing, which bifurcates into self- praising and self denigrating. Keywords: discourse types; stand-up comedy; contexts; jokes. 1. Introduction Humour and laughter have been described as cultural universal (Oring 2003). According to Schwarz (2010), humour represents a central aspect of everyday conversations and all humans participate in humorous speech and behaviour. This is why humour, together with its attendant effect- laughter, has been investigated in the field of linguistics and other disciplines such as philosophy, psychology, sociology and anthropology. -
'Slivers' Oakley 1871-1916 the Premier Clown of His Day, Frank
1 Frank 'Slivers' Oakley 1871-1916 The premier clown of his day, Frank 'Slivers' Oakley starred as a clown in the Barnum and Bailey circus and a star in vaudeville with his routine, 'The Baseball Game.' Born in Sweden his family moved to the U.S. When he was 14 he ran away from home and joined the circus. Noted as the most famous clown in the world he had an influence on Charlie Chaplin, Buster Keaton and many others. He is said to be the first to wear the 'big' clown shoes. With the popularity of baseball he performed an act that was about baseball that was extremely popular with the vaudeville audiences. What a night of entertainment when 'Slivers,' Joe Tinker and Jimmy Callahan appeared in the same bill. We find a number of descriptions of 'Slivers' in his baseball act. On the web site 'Our Game' we find a description of his act: 'Slivers, after setting up a diamond in the center ring of the big ten,' emerged as a catcher, with his 'bird cage' mask and heavily padded mitt. He popped his fist in the glove a few times and set up crouching behind the plate. He feigned receiving a pitch, and then n the midst of the motion of tossing the horsehide back to his battery- mate he suddenly wheeled to argue the call with the imaginary ump. throwing off the mask, gesticulating wildly and jawing with his 2 adversary. Later he took a turn at bat, and, after working the count full, 'it' one in the gap, but was thrown out trying to stretch three- bagger into a home run.' Another rhubarb with the umpire ensued. -
Stand-Up Comedy in Theory, Or, Abjection in America John Limon 6030 Limon / STAND up COMEDY / Sheet 1 of 160
Stand-up Comedy in Theory, or, Abjection in America John Limon Tseng 2000.4.3 18:27 6030 Limon / STAND UP COMEDY / sheet 1 of 160 Stand-up Comedy in Theory, or, Abjection in America 6030 Limon / STAND UP COMEDY / sheet 2 of 160 New Americanists A series edited by Donald E. Pease Tseng 2000.4.3 18:27 Tseng 2000.4.3 18:27 6030 Limon / STAND UP COMEDY / sheet 3 of 160 John Limon Duke University Press Stand-up Comedy in Theory, or, Abjection in America Durham and London 2000 6030 Limon / STAND UP COMEDY / sheet 4 of 160 The chapter ‘‘Analytic of the Ridiculous’’ is based on an essay that first appeared in Raritan: A Quarterly Review 14, no. 3 (winter 1997). The chapter ‘‘Journey to the End of the Night’’ is based on an essay that first appeared in Jx: A Journal in Culture and Criticism 1, no. 1 (autumn 1996). The chapter ‘‘Nectarines’’ is based on an essay that first appeared in the Yale Journal of Criticism 10, no. 1 (spring 1997). © 2000 Duke University Press All rights reserved Printed in the United States of America on acid-free paper ! Typeset in Melior by Tseng Information Systems, Inc. Library of Congress Cataloging-in-Publication Data appear on the last printed page of this book. Tseng 2000.4.3 18:27 6030 Limon / STAND UP COMEDY / sheet 5 of 160 Contents Introduction. Approximations, Apologies, Acknowledgments 1 1. Inrage: A Lenny Bruce Joke and the Topography of Stand-Up 11 2. Nectarines: Carl Reiner and Mel Brooks 28 3. -
CONSERVATIVE COMEDIAN MICHAEL LOFTUS Michael Loftus
CONSERVATIVE COMEDIAN MICHAEL LOFTUS Michael Loftus is a writer, commentator, and standup comedian, and regular guest on Fox News. He has been a headlining talent nationwide for more than twenty years, has written for The George Lopez Show and Charlie Sheen’s Anger Management, and is currently a supervising producer on Kevin Can Wait, now entering its third season. With a voice that steers center right in the political spectrum, Loftus captures in candor and humor the views of those “fly over” states. His podcast, The Loftus Party, dissects the worlds of politics, social media and pop culture, and showcases his rare ability to take complex issues, distill them into simple discussion points, and bring genuine wit and style to the proceedings. In addition to his immense writing talents, his charm and affability on stage have placed him in the upper thresholds of live performers, and he continues to be an audience favorite everywhere he goes. MAGA COUNTRY COMEDY TOUR Everyone likes to say there are no funny conservatives - as if conservatives are incapable of humor. MAGA Country Comedy, presented by The Loftus Party, is here to change all that – once and for all. With a cast of incredibly talented performers who bring years of experience to the stage – this show is undeniably funny. Chad Prather has been described as “the modern-day Will Rogers”. He is a comedian, armchair philosopher, musician, and observational humorist. His social media viral videos are measured in the hundreds of millions. He has made numerous appearances on Fox News, CNN, A&E, and The Blaze. -
Eddie Murphy in the Cut: Race, Class, Culture, and 1980S Film Comedy
Georgia State University ScholarWorks @ Georgia State University African-American Studies Theses Department of African-American Studies 5-10-2019 Eddie Murphy In The Cut: Race, Class, Culture, And 1980s Film Comedy Gail A. McFarland Georgia State University Follow this and additional works at: https://scholarworks.gsu.edu/aas_theses Recommended Citation McFarland, Gail A., "Eddie Murphy In The Cut: Race, Class, Culture, And 1980s Film Comedy." Thesis, Georgia State University, 2019. https://scholarworks.gsu.edu/aas_theses/59 This Thesis is brought to you for free and open access by the Department of African-American Studies at ScholarWorks @ Georgia State University. It has been accepted for inclusion in African-American Studies Theses by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. EDDIE MURPHY IN THE CUT: RACE, CLASS, CULTURE, AND 1980S FILM COMEDY by GAIL A. MCFARLAND Under the Direction of Lia T. Bascomb, PhD ABSTRACT Race, class, and politics in film comedy have been debated in the field of African American culture and aesthetics, with scholars and filmmakers arguing the merits of narrative space without adequately addressing the issue of subversive agency of aesthetic expression by black film comedians. With special attention to the 1980-1989 work of comedian Eddie Murphy, this study will look at the film and television work found in this moment as an incisive cut in traditional Hollywood industry and narrative practices in order to show black comedic agency through aesthetic and cinematic narrative subversion. Through close examination of the film, Beverly Hills Cop (Brest, 1984), this project works to shed new light on the cinematic and standup trickster influences of comedy, and the little recognized existence of the 1980s as a decade that defines a base period for chronicling and inspecting the black aesthetic narrative subversion of American film comedy. -
FLM201 Film Genre: Understanding Types of Film (Study Guide)
Course Development Team Head of Programme : Khoo Sim Eng Course Developer(s) : Khoo Sim Eng Technical Writer : Maybel Heng, ETP © 2021 Singapore University of Social Sciences. All rights reserved. No part of this material may be reproduced in any form or by any means without permission in writing from the Educational Technology & Production, Singapore University of Social Sciences. ISBN 978-981-47-6093-5 Educational Technology & Production Singapore University of Social Sciences 463 Clementi Road Singapore 599494 How to cite this Study Guide (MLA): Khoo, Sim Eng. FLM201 Film Genre: Understanding Types of Film (Study Guide). Singapore University of Social Sciences, 2021. Release V1.8 Build S1.0.5, T1.5.21 Table of Contents Table of Contents Course Guide 1. Welcome.................................................................................................................. CG-2 2. Course Description and Aims............................................................................ CG-3 3. Learning Outcomes.............................................................................................. CG-6 4. Learning Material................................................................................................. CG-7 5. Assessment Overview.......................................................................................... CG-8 6. Course Schedule.................................................................................................. CG-10 7. Learning Mode................................................................................................... -
Intertextuality and Understanding Dave Chappelle's Comedy
Intertextuality and Understanding Dave Chappelle’s Comedy DAVID GALVEZ Produced in Dan Martin’s Fall 10 ENC1101 In an American culture where individual achievements and a maverick approach are praised, people tend to forget that “nothing is new under the sun” and that their ideas and thought processes are molded by their everyday experiences in their particular environment. The reality (and beauty) of authorship is that, in the words of James Porter, “the creative mind is the creative borrower” (110). Intertextuality, however, becomes controversial when it comes to defining sole authorship. Any text can be praised as creative (assuming it hasn’t been copied from any source word for word), but not because it’s something never before seen. Rather, sole authorship is the innovative arrangement of pre-existing ideas recognized by an audience who understands and interprets the work of the author as “original,” based on their own representations. In other words, it’s up to the individual to determine whether the text is original or plagiarized. If it looks like a duck and sounds like a duck, it isn’t necessarily a duck. Since each individual interprets a text differently from everyone else, there can really be no universally accepted way of differentiating sole authorship from plagiarism. In this paper I’ll discuss how an author uses “creativity through borrowing” through a sketch comedy clip from Chappelle’s Show and how an audience uses intertextuality to get something out of the text. In doing this, I’ll explain why every work, unless blatantly copied word for word, has a sole author. -
History of Vaudeville in America…
GLOBAL ARTS: Performances For Schools Presents Tomáš Kubínek Friday, February 13, 2009 Concert Hall at 10:00 am Study Guides for Teachers are also available on our website at www.fineartscenter.com - select For School Audiences under Education, then select Resource Room. Please fill out our online surveys at http://www.umass.edu/fac/centerwide/school/index.html for the Registration Process and each Event. Thank you Biography….. Who is Tomas Kubinek? Tomáš Kubínekʹs internationally acclaimed solo performances play to packed theaters around the world. After a sold‐out run on Broadway, The New York Times lauded his work as ʺAbsolutely expert!ʺ ʺHilarious and enormously talented!ʺ trumpeted Englandʹs Time Out, after appearances at Londonʹs Royal Festival Hall. A collision of theatre and music‐hall, his exuberant one‐man show is equal parts comic brilliance, virtuosic vaudeville and irresistible charm. ʺPhysical Poet and Verbal Acrobat! Needless Risk‐Taker...Professor of Fantastically Useless Inventions...Arduous Advocate of The Commonplace Miracle. Certified Lunatic and Master of the Impossible...ʺ The Early Years Tomás Kubínek ‐ (toh‐mawsh koo‐bee‐neck), was born in Prague and at the age of three was smuggled out of the country by his parents to escape the 1968 Soviet invasion of Czechoslovakia. After two months in a refugee camp in Austria, the Kubínek family was granted asylum in Canada and it was there, in St. Catharines, Ontario, that Tomas, age 5, witnessed his first circus. He became passionately interested in clowns, circus, theater and magic and his perplexed yet well‐adjusted parents took him to see every show that passed through town. -
That's All Folks! Teacher Resource Pack Primary
That’s All Folks! Teacher Resource Pack Primary INTRODUCTION Audiences have been delighted and entertained by circus and vaudeville acts for generations. The combination of short performances, showcasing music, dance, comedy and magic, was hugely successful among the working classes during the 19th century, alongside burlesque and minstrel shows, up until the 1930s. That’s’ All Folks blends the ideas from vaudeville, or short and entertaining acts, with the skills of modern circus and slapstick clowning to create an energetic show featuring separate yet interlinked routines that explore different characters and situations throughout the history of the theatre. The actors use a range of circus and clowning skills including juggling, acrobalance, bell routines, slapstick, comical routines, musical chairs, improvisation and audience participation to create an entertaining performance reminiscent of the variety shows of yesteryear. These notes are designed to give you a concise resource to use with your class and to support their experience of seeing That’s All Folks! CLASSROOM CONTENT AND CURRICULUM LINKS Essential Learnings: The Arts (Drama), SOSE (History, Culture), English Style/Form: Vaudeville, Commedia dell’Arte, Mask, Traditional and Contemporary Clowning, Melodrama, Visual Theatre, Physical Theatre, Physical Comedy, Circus, non-verbal communication and Mime, Improvisation and Slapstick. Themes and Contexts: Creativity and imagination, awareness, relationships. © 2016 Deirdre Marshall for Homunculus Theatre Co. 1 HISTORICAL CONTEXT Vaudeville Vaudeville was a uniquely American phenomenon and was the most popular form of American entertainment for around fifty years, from its rise in the 1880s, until the 1930s. It played much the same a role in people's lives that radio and later television would for later generations. -
Theater Playbills and Programs Collection, 1875-1972
Guide to the Brooklyn Theater Playbills and Programs Collection, 1875-1972 Brooklyn Public Library Grand Army Plaza Brooklyn, NY 11238 Contact: Brooklyn Collection Phone: 718.230.2762 Fax: 718.857.2245 Email: [email protected] www.brooklynpubliclibrary.org Processed by Lisa DeBoer, Lisa Castrogiovanni and Lisa Studier. Finding aid created in 2006. Revised and expanded in 2008. Copyright © 2006-2008 Brooklyn Public Library. All rights reserved. Descriptive Summary Creator: Various Title: Brooklyn Theater Playbills and Programs Collection Date Span: 1875-1972 Abstract: The Brooklyn Theater Playbills and Programs Collection consists of 800 playbills and programs for motion pictures, musical concerts, high school commencement exercises, lectures, photoplays, vaudeville, and burlesque, as well as the more traditional offerings such as plays and operas, all from Brooklyn theaters. Quantity: 2.25 linear feet Location: Brooklyn Collection Map Room, cabinet 11 Repository: Brooklyn Public Library – Brooklyn Collection Reference Code: BC0071 Scope and Content Note The 800 items in the Brooklyn Theater Playbills and Programs Collection, which occupies 2.25 cubic feet, easily refute the stereotypes of Brooklyn as provincial and insular. From the late 1880s until the 1940s, the period covered by the bulk of these materials, the performing arts thrived in Brooklyn and were available to residents right at their doorsteps. At one point, there were over 200 theaters in Brooklyn. Frequented by the rich, the middle class and the working poor, they enjoyed mass popularity. With materials from 115 different theaters, the collection spans almost a century, from 1875 to 1972. The highest concentration is in the years 1890 to 1909, with approximately 450 items. -
From Pleasure to Menace: Noel Coward, Harold Pinter, and Critical Narratives
Fall 2009 41 From Pleasure to Menace: Noel Coward, Harold Pinter, and Critical Narratives Jackson F. Ayres For many, if not most, scholars of twentieth century British drama, the playwrights Noel Coward and Harold Pinter belong in entirely separate categories: Coward, a traditional, “drawing room dramatist,” and Pinter, an angry revolutionary redefining British theatre. In short, Coward is often used to describe what Pinter is not. Yet, this strict differentiation is curious when one considers how the two playwrights viewed each other’s work. Coward frequently praised Pinter, going so far as to christen him as his successor in the use of language on the British stage. Likewise, Pinter has publicly stated his admiration of Coward, even directing a 1976 production of Coward’s Blithe Spirit (1941). Still, regardless of their mutual respect, the placement of Coward and Pinter within a shared theatrical lineage is, at the very least, uncommon in the current critical status quo. Resistance may reside in their lack of overt similarities, but likely also in the seemingly impenetrable dividing line created by the premiere of John Osborne’s Look Back in Anger on May 8, 1956. In his book, 1956 and All That (1999), Dan Rebellato convincingly argues that Osborne’s play created such a critical sensation that eventually “1956 becomes year zero, and time seems to flow both forward and backward from it,” giving the impression that “modern British theatre divides into two eras.”1 Coward contributed to this partially generational divide by frequently railing against so-called New Movement authors, particularly Samuel Beckett and Eugene Ionesco, for being self-important and tedious.