Because they rely heavily on physical comedy, many Hollywood slapstick films can be understood as comic meditations on the place and nature of the human body. Focusing on the works of Charlie Chaplin, Buster Keaton, Harold Lloyd, and Laurel and Hardy, among others, this book examines ways that the body represents or interacts with the mind, setting, voice and machines in slapstick films. Also covered are female performances in slapstick and brutality and suffering in the slapstick tradition.

A Dictionary of Film Studies covers all aspects of its discipline as it is currently taught at undergraduate level. Offering exhaustive and authoritative coverage, this A-Z is written by experts in the field, and covers terms, concepts, debates, and movements in film theory and criticism; national, international, and transnational cinemas; film history, movements, and genres; film industry organizations and practices; and key technical terms and concepts. Since its first publication in 2012, the dictionary has been updated to incorporate over 40 new entries, including computer games and film, disability, ecocinema, identity, portmanteau film, Practice as Research, and film in Vietnam. Moreover, numerous revisions have been made to existing entries to account for developments in the discipline, and changes to film institutions more generally. Indices of films and filmmakers mentioned in the text are included for easy access to relevant entries. The dictionary also has 13 feature articles on popular topics and terms, revised and informative bibliographies for most entries, and more than 100 web links to supplement the text.

Slapstick comedy has a long and lively history from Greek Theatre to the present day. This book explores the ways in which comic pain and comic violence are performed within slapstick to make the audience laugh. It draws examples from theatre, television and film on both sides of the Atlantic.

From Chaplin's tramp to the Bathing Beauties slapstick comedy supplied many of the most enduring icons of American cinema in the silent era. This collection of fourteen essays by film scholars challenges longstanding critical dogma and offers new conceptual frameworks for thinking about silent comedy's place in film history and American culture.

The Routledge Comedy Studies Reader is a selection of the most outstanding critical analysis featured in the journal Comedy Studies in the decade since its inception in 2010. The Reader illustrates the multiple perspectives that are available when analysing comedy. Wilkie’s selections present an array of critical approaches from interdisciplinary scholars, all of whom evaluate comedy from different angles and adopt a range of writing styles to explore the phenomenon. Divided into eight unique parts, the Reader offers both breadth and depth with its wide range of interdisciplinary articles and international perspectives. Of interest to students, scholars, and lovers of comedy alike, The Routledge Comedy Studies Reader offers a contemporary sample of general analyses of comedy as a mode, form, and genre.

Tapping into the emergence of scholarly comedy studies since the 2000s, this collection brings new perspectives to bear on the Dostoevskian light side. Funny Dostoevksy demonstrates how and why Dostoevsky is one of the most humorous 19th-century authors, even as he plumbs the depths of the human psyche and the darkest facets of European modernity. The authors go beyond the more traditional categories of humor, such as satire, parody, and the carnivalesque, to apply unique lenses to their readings of Dostoevsky. These include cinematic slapstick and the body in Crime and Punishment, the affective turn and hilarious (and deadly) impatience in Demons, and ontological jokes in Notes from Underground and The Idiot. The authors – (coincidentally?) all women, including some of the most established scholars in the field alongside up-and-comers – address gender and the marginalization of comedy, culminating in a chapter on Dostoevsky's "funny and furious" women, and explore the intersections of gender and humor in literary and culture studies. Funny Dostoevksy applies some of the latest findings on humor and laughter to his writing, while comparative chapters bring Dostoevsky's humor into conjunction with other popular works, such as Chaplin's Modern Times and Lin-Manuel Miranda's Hamilton. Written with a verve and wit that Dostoevsky would appreciate, this boldly original volume illuminates how humor and comedy in his works operate as vehicles of deconstruction, pleasure, play, and transcendence.

Widely recognized in his character of the Tramp, Charlie Chaplin transcended the role of actor to become screenwriter, director, composer, producer, and finally studio head. The subject of numerous biographical studies, Chaplin has been examined as both myth and man, but these treatments fail to adequately address the often-overlooked complexity of his filmmaking. Refocusing Chaplin: A Screen Icon through Critical Lenses features essays that examine the actor and director through various theoretical perspectives—including Marxism, feminism, gender studies, deconstruction, psychoanalytic criticism, new historicism, performance studies, and cultural criticism. Complementing this range of intellectual inquiry is the wide reach of films discussed, from The Circus (1928), The Gold Rush (1925), and City Lights (1931) to Modern Times (1936), The Great Dictator (1940), Monsieur Verdoux (1947), and Limelight (1952). Shorter films, such as “The Pawnshop” (1916), “The Rink” (1916), and “A Dog’s Life” (1918) are also examined. These essays analyze the tensions between the carefully constructed worlds of Chaplin’s films and their cultural contexts. The varied approaches and range of materials in this volume not only comprehensively assess the screen icon but also foster a conversation that exemplifies the best of intellectual exchange. Refocusing Chaplin provides a unique view into the work of one of cinema’s most important and influential artists.

Over the last two decades, fatness has become the focus of ubiquitous negative rhetoric, in the USA and beyond, presented under the cover of the medicalized ''war against the obesity epidemic''. In Fat on Film, Barbara Plotz provides a critical analysis of the cinematic representation of fatness during this timeframe, specifically in contemporary Hollywood cinema, with an emphasis on the intersection of gender, race and fatness. The analysis is based on around 50 films released since 2000 and includes examples such as Transformers (2007), Precious (2009), Kung Fu Panda (2008), Paul Blart (2009) and Pitch Perfect (2012).Plotz maps the common cinematic tropes of fatness and also shows how commonplace notions of fatness that are part of the current ''obesity epidemic'' discourse are reflected in these tropes. In this original study, Plotz brings critical attention to the politics of fat representation, a topic that has so far received little attention within film and cinema studies.

Becoming Carole Lombard: Stardom, Comedy and Legacy is a historical critique of the development and reception of Carole Lombard's stardom from the classical Hollywood period to present day. Based on original archival research, Olympia Kiriakou combines theoretically informed textual analyses of Lombard's performances and star image across different media (biographies, publicity materials, photography and film) with a critical engagement of the cultural, economic, social and industrial conditions that shaped her stardom. Sitting at the intersection of feminist film theory, star studies and comedy theory, this work presents Lombard as a case study to challenge the screwball canon and existent academic discourse about female physical comedy and the alleged “delicate” female body. In doing so, it formulates a new historical approach to understanding gender, femininity, and identity in Hollywood comedies of the 1930s. Moreover, this is the first research of its kind to offer a comprehensive understanding of Lombard's stardom beyond her associations with the screwball comedy genre.

Despite its unabated popularity with audiences, slapstick has received rather little scholarly attention, mostly by scholars concentrating on the US theater and cinema traditions. Nonetheless, as a form of physical humor slapstick has a long history across various areas of cultural production. This volume approaches slapstick both as a genre of situational physical comedy and as a mode of communicating an affective situation captured in various cultural products. Contributors to the volume examine cinematic, literary, dramatic, musical, and photographic texts and performances. From medieval chivalric romance and nineteenth-century theater to contemporary photography, the contributors study treatments of slapstick across media, periods and geographic locations. The aim of a study of such wide scope is to demonstrate how slapstick emerged from a variety of complex interactions among different traditions and by extension, to illustrate that slapstick can be highly productive for interdisciplinary research.