Overview
Comedy 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.
Full Product Details
Author: Mark Evans ,
Philip Hayward
Publisher: Equinox Publishing Ltd
Imprint: Equinox Publishing Ltd
Dimensions:
Width: 15.60cm
, Height: 1.80cm
, Length: 23.40cm
Weight: 0.648kg
ISBN: 9781845536749
ISBN 10: 1845536746
Pages: 268
Publication Date: 01 April 2015
Audience:
College/higher education
,
Postgraduate, Research & Scholarly
Format: Paperback
Publisher's Status: Active
Availability: Available To Order
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Reviews
Through analyses of franchises, films, and sequences, Sounding Funny successfully identifies numerous ways in which music and sound have been used to create on-screen humor across genres, cultures, and markets. [...]The value of this book lies in its breadth, and its authors' many observations and detailed studies provide fertile ground for future research into the connections between music, sound, and humor. --Jessica Getman, University of Michigan, NOTES, June 2018
Through analyses of franchises, films, and sequences, Sounding Funny successfully identifies numerous ways in which music and sound have been used to create on-screen humor across genres, cultures, and markets. Its coverage of these sonic moves is by nature diffuse, but the book nevertheless recognizes several primary methods for enhancing filmic comedy through sound, including playful incongruity, intertextual reference, and meaningful contrast between musical styles. The value of this book lies in its breadth, and its authors' many observations and detailed studies provide fertile ground for future research into the connections between music, sound, and humor. Notes
Author Information
Mark Evans is Head of the Department of Contemporary Music Studies at Macquarie University and is co-editor of Perfect Beat - The Pacific Journal of Research into Contemporary Music and Popular Culture. Philip Hayward has taught film and popular music studies in Australia and the United Kingdom and is Professor and Deputy Pro Vice Chancellor (Research) at Southern Cross University, Australia.
