...Lisa Swanstrom © 2010 by Duke University Press 2010 Machine-Age Comedy . By Michael North. New York: Oxford Univ. Press. 2009. viii, 222 pp. Paper, $27.95. Ex-foliations: Reading Machines and the Upgrade Path . By Terry Harpold. Minneapolis: Univ. of Minnesota Press. 2009...

..., $25.95. Class, Language, and American Film Comedy. By Christopher Beach. New York: Cambridge Univ. Press. 2002. viii, 241 pp. Cloth, $55.00; paper, $19.00. These two studies take essentially literary...

... in and out of disciplinary boundaries and questions about the legacies of critical theory, comedy, sound, sexuality, independent filmmaking, and new media aesthetics. © 2013 by Duke University Press 2013 References Adorno Theodor W. 1990 . “ Punctuation Marks .” Translated by Nicholsen...

...- ing emphasis on finessing white-collar status anxiety, each stage tending to make characters’ relationships to the means of production less explicitly the point of film comedy. But these gestures at a context external to the genre...

... in the Art of Nathanael West .” Studies in American Humor 2 , no. 1 : 46 – 60 . Martin Jay . 1976 . “ Nathanael West’s Burlesque Comedy .” Studies in American Jewish Literature (1975–1979) 2 , no. 1 : 6 – 14 . Massumi Brian . 2002 . Parables for the Virtual: Movement, Affect...

... and as a technology for the representation of racial difference. Questions related to animation and the politics of racial represen- tation recently converged in debates surrounding Fox Television’s di- Race, Affect, and the Animated Subject 579 mensional animation comedy series...

.... Although Twain was unquestionably a major practitioner of coon comedy at the mo- ment of its greatest popularity, he remained tight-lipped about the graphic discourse of his period, preferring to associate his own...

... of Royall Tyler’s The Contrast (1787) that reveals the imprint of the agonistic audience on the repertoire of the period, shedding new light on nineteenth-century genealogies of performance. Copyright © 2020 by Duke University Press 2020 theater audiences comedy democratic politics publics early...

... resistance from Nat Turner’s Rebellion in 1831—the same year a revised edi- tion of Frankenstein, the first credited to Mary Shelley, was published in Brit- ain—through early film adaptations to the stand-up comedy of Dick Gregory and beyond. Although concerned primarily with U.S. literature and culture...

... resistance from Nat Turner’s Rebellion in 1831—the same year a revised edi- tion of Frankenstein, the first credited to Mary Shelley, was published in Brit- ain—through early film adaptations to the stand-up comedy of Dick Gregory and beyond. Although concerned primarily with U.S. literature and culture...

... resistance from Nat Turner’s Rebellion in 1831—the same year a revised edi- tion of Frankenstein, the first credited to Mary Shelley, was published in Brit- ain—through early film adaptations to the stand-up comedy of Dick Gregory and beyond. Although concerned primarily with U.S. literature and culture...

..., was published in Brit- ain—through early film adaptations to the stand-up comedy of Dick Gregory and beyond. Although concerned primarily with U.S. literature and culture, the centrality of Shelley’s original work marks Black Frankenstein as a dis- tinctly transatlantic study; Young intriguingly finds...

..., was published in Brit- ain—through early film adaptations to the stand-up comedy of Dick Gregory and beyond. Although concerned primarily with U.S. literature and culture, the centrality of Shelley’s original work marks Black Frankenstein as a dis- tinctly transatlantic study; Young intriguingly finds...

... to the stand-up comedy of Dick Gregory and beyond. Although concerned primarily with U.S. literature and culture, the centrality of Shelley’s original work marks Black Frankenstein as a dis- tinctly transatlantic study; Young intriguingly finds an echo of the “Africanist presence” of Toni Morrison’s...

... resistance from Nat Turner’s Rebellion in 1831—the same year a revised edi- tion of Frankenstein, the first credited to Mary Shelley, was published in Brit- ain—through early film adaptations to the stand-up comedy of Dick Gregory and beyond. Although concerned primarily with U.S. literature and culture...

... resistance from Nat Turner’s Rebellion in 1831—the same year a revised edi- tion of Frankenstein, the first credited to Mary Shelley, was published in Brit- ain—through early film adaptations to the stand-up comedy of Dick Gregory and beyond. Although concerned primarily with U.S. literature and culture...

... resistance from Nat Turner’s Rebellion in 1831—the same year a revised edi- tion of Frankenstein, the first credited to Mary Shelley, was published in Brit- ain—through early film adaptations to the stand-up comedy of Dick Gregory and beyond. Although concerned primarily with U.S. literature and culture...

... resistance from Nat Turner’s Rebellion in 1831—the same year a revised edi- tion of Frankenstein, the first credited to Mary Shelley, was published in Brit- ain—through early film adaptations to the stand-up comedy of Dick Gregory and beyond. Although concerned primarily with U.S. literature and culture...

..., was published in Brit- ain—through early film adaptations to the stand-up comedy of Dick Gregory and beyond. Although concerned primarily with U.S. literature and culture, the centrality of Shelley’s original work marks Black Frankenstein as a dis- tinctly transatlantic study; Young intriguingly finds...

... eventually moved to New York, won a Guggenheim to France, and by the end of his life, had written some thirty plays and scripts for fourteen films, all produced between 1930 and 1955. Is He Dead? A Comedy in Three Acts. By Mark Twain. Ed. Shelley Fisher Fishkin. Berkeley and Los Angeles: Univ...