What made pistachio nuts? : early sound comedy and the vaudeville aesthetic /
What Made Pistachio Nuts? examines what Henry Jenkins calls anarchistic comedy, a body of comedian-centered films produced in the early 1930s, the first years of the sound era. Bringing a fresh perspective to long-forgotten films by W.C. Fields, Wheeler and Woolsey, Eddie Cantor, and George Burns an...
| Main Authors: | , |
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| Format: | Book |
| Language: | English |
| Published: |
New York :
Columbia University Press,
1992
New York : c1992 New York : ©1992 New York : [1992] |
| Series: | Film and culture
Film and culture |
| Subjects: |
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| 100 | 1 | |a Jenkins, Henry |1 http://viaf.org/viaf/85480718 | |
| 100 | 1 | |a Jenkins, Henry | |
| 100 | 1 | |a Jenkins, Henry, |d 1958- |0 http://viaf.org/viaf/85480718 | |
| 100 | 1 | |a Jenkins, Henry, |d 1958- | |
| 245 | 1 | 0 | |a What made pistachio nuts? : |b early sound comedy and the vaudeville aesthetic / |c Henry Jenkins |
| 260 | |a New York : |b Columbia University Press, |c 1992 | ||
| 260 | |a New York : |b Columbia University Press, |c c1992 | ||
| 260 | |a New York : |b Columbia University Press, |c ©1992 | ||
| 263 | |a 9210 | ||
| 264 | 1 | |a New York : |b Columbia University Press, |c [1992] | |
| 264 | 4 | |c ©1992 | |
| 300 | |a 336 p | ||
| 300 | |a ix, 336 p. : |b ill. ; |c 24 cm | ||
| 300 | |a ix, 336 p., [32] p. of plates : |b ill. ; |c 24 cm | ||
| 300 | |a ix, 336 pages : |b illustrations ; |c 24 cm | ||
| 300 | |a ix, 336 pages, 32 unnumbered pages of plates : |b illustrations ; |c 24 cm | ||
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| 440 | 0 | |a Film and culture | |
| 490 | 1 | |a Film and culture | |
| 500 | |a This WorldCat-derived record is shareable under Open Data Commons ODC-BY, with attribution to OCLC |5 CTY | ||
| 504 | |a Includes bibliograhical references (p. 285-324) and index | ||
| 504 | |a Includes bibliograhical references (p.285-324) and index | ||
| 504 | |a Includes bibliograhical references (pages 285-324) and index | ||
| 504 | |a Includes bibliograhical references and index | ||
| 504 | |a Includes bibliographical references (p. 285-324) and index | ||
| 504 | |a Includes bibliographical references (pages 285-324) and index | ||
| 505 | 0 | 0 | |g 1 |t The Strange Case of the Backflipping Senators -- |g 2. |t "How Is It Possible for a Civilized Man to Live Among People Who Are Always Joking?" Class, Comedy, and Cultural Change in Turn-of-the-Century America -- |g 3. |t "A Regular Mine, a Reservoir, a Proving Ground": Reconstructing the Vaudeville Aesthetic -- |g 4. |t "Assorted Lunacy ... with No Beginning and No End": Gag, Performance, and Narrative in Early Sound Comedy -- |g 5. |t "A High-Class Job of Carpentry": Toward a Typography of Early Sound Comedy -- |g 6. |t "Shall We Make It for New York or for Distribution?" Eddie Cantor, Whoopee, and Regional Resistance to the Talkies -- |g 7. |t "Fifi Was My Mother's Name!" Anarchistic Comedy, the Vaudeville Aesthetic, and Diplomaniacs -- |g 8. |t "If the Whole World Were Created for Our Pleasure": Order and Disorder in Anarchistic Comedy -- |g 9. |t "Don't Become Too Intimate with That Terrible Woman!" Unruly Wives, Female Performance, and Gendered Laughter in Early Sound Comedy -- |t Conclusion: The Return of the Backflipping Senators. |
| 505 | 0 | 0 | |g 1 |t The Strange Case of the Backflipping Senators -- |g 2. |t "How Is It Possible for a Civilized Man to Live Among People Who Are Always Joking?" Class, Comedy, and Cultural Change in Turn-of-the-Century America -- |g 3. |t "A Regular Mine, a Reservoir, a Proving Ground": Reconstructing the Vaudeville Aesthetic -- |g 4. |t "Assorted Lunacy ... with No Beginning and No End": Gag, Performance, and Narrative in Early Sound Comedy -- |g 5. |t "A High-Class Job of Carpentry": Toward a Typography of Early Sound Comedy -- |g 6. |t "Shall We Make It for New York or for Distribution?" Eddie Cantor, Whoopee, and Regional Resistance to the Talkies -- |g 7. |t "Fifi Was My Mother's Name!" Anarchistic Comedy, the Vaudeville Aesthetic, and Diplomaniacs -- |g 8. |t "If the Whole World Were Created for Our Pleasure": Order and Disorder in Anarchistic Comedy -- |g 9. |t "Don't Become Too Intimate with That Terrible Woman!" Unruly Wives, Female Performance, and Gendered Laughter in Early Sound Comedy -- |t Conclusion: The Return of the Backflipping Senators. |
| 505 | 0 | 0 | |g 1 |t The Strange Case of the Backflipping Senators -- |g 2. |t "How Is It Possible for a Civilized Man to Live Among People Who Are Always Joking?" Class, Comedy, and Cultural Change in Turn-of-the-Century America -- |g 3. |t "A Regular Mine, a Reservoir, a Proving Ground": Reconstructing the Vaudeville Aesthetic -- |g 4. |t "Assorted Lunacy ... with No Beginning and No End": Gag, Performance, and Narrative in Early Sound Comedy -- |g 5. |t "A High-Class Job of Carpentry": Toward a Typography of Early Sound Comedy -- |g 6. |t "Shall We Make It for New York or for Distribution?" Eddie Cantor, Whoopee, and Regional Resistance to the Talkies -- |g 7. |t "Fifi Was My Mother's Name!" Anarchistic Comedy, the Vaudeville Aesthetic, and Diplomaniacs. |
| 520 | |a What Made Pistachio Nuts? examines what Henry Jenkins calls anarchistic comedy, a body of comedian-centered films produced in the early 1930s, the first years of the sound era. Bringing a fresh perspective to long-forgotten films by W.C. Fields, Wheeler and Woolsey, Eddie Cantor, and George Burns and Gracie Allen, among others, Jenkins shows how they represented the intersection between the vaudeville aesthetic and classical Hollywood norms, exemplifying the complex interplay between performance spectacle and narrative causality. Unjustly dismissed by critics, exuberant and often zany works such as Diplomaniacs, Duck Soup, and Hollywood Party rejoiced in the collapse of the social order and the freeing of the creativity and impulsiveness of their protagonists | ||
| 520 | 1 | |a "What Made Pistachio Nuts? examines what Henry Jenkins calls anarchistic comedy, a body of comedian-centered films produced in the early 1930s, the first years of the sound era." "Bringing a fresh perspective to long-forgotten films by W. C. Fields, Wheeler and Woolsey, Eddie Cantor, and George Burns and Gracie Allen, among others, Jenkins shows how they represented the intersection between the vaudeville aesthetic and classical Hollywood norms, exemplifying the complex interplay between performance spectacle and narrative causality." "Unjustly dismissed by critics, exuberant and often zany works such as Diplomaniacs, Duck Soup, and Hollywood Party rejoiced in the collapse of the social order and the freeing of the creativity and impulsiveness of their protagonists." "Each chapter of this lively and eclectic study breaks new ground. Included is a reconsideration of the role of female comic performers; an in-depth profile of Eddie Cantor's precarious career; a case study of the scripting of a single film, Hollywood Party; and a discussion of the American popular press's treatment of laughter, which serves to illuminate many of the class-based issues regarding the form and style of popular comedy." "What Made Pistachio Nuts? maintains that these comedies reflect Hollywood attempt to assimilate aspects of vaudeville practice into the formal and thematic conventions of the classical film narrative. The resulting work sheds light not only on the development of screen comedy but on the role of genre within the studio-era Hollywood film. In so doing Jenkins recounts the process by which anarchistic comedy was abandoned in favor of more ideologically and formally conservative comic texts." "Vivid and highly original, What Made Pistachio Nuts? will delight both specialists and those who look with nostalgia and fondness upon comic film stars and the legacy of vaudeville."--BOOK JACKET | |
| 520 | 8 | |a Each chapter of this lively and eclectic study breaks new ground. Included is a reconsideration of the role of female comic performers; an in-depth profile of Eddie Cantor's precarious career; a case study of the scripting of a single film, Hollywood Party; and a discussion of the American popular press's treatment of laughter, which serves to illuminate many of the class-based issues regarding the form and style of popular comedy | |
| 520 | 8 | |a What Made Pistachio Nuts? maintains that these comedies reflect Hollywood attempt to assimilate aspects of vaudeville practice into the formal and thematic conventions of the classical film narrative. The resulting work sheds light not only on the development of screen comedy but on the role of genre within the studio-era Hollywood film. In so doing Jenkins recounts the process by which anarchistic comedy was abandoned in favor of more ideologically and formally conservative comic texts. Vivid and highly original, What Made Pistachio Nuts? will delight both specialists and those who look with nostalgia and fondness upon comic film stars and the legacy of vaudeville | |
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