By Ted Gournelos
A Decade of darkish Humor analyzes ways that renowned and visible tradition used humor-in numerous forms-to confront the assaults of September eleven, 2001 and, extra in particular, the aftermath. This interdisciplinary quantity brings jointly students from 4 international locations to debate the effect of humor and irony on either media discourse and tangible political truth. moreover, it demonstrates that laughter is concurrently an street wherein social concerns are deferred or obfuscated, a manner within which neoliberal or neoconservative rhetoric is challenged, and a way of forming replacement political ideologies.The volume's members disguise a large variety of media productions, together with information parodies (The day-by-day express with Jon Stewart, The Colbert document, The Onion), television roundtable exhibits (Politically fallacious with invoice Maher), comedian strips and cartoons (Aaron McGruder's The Boondocks, Jeff Danzinger's editorial cartoons), tv drama (Rescue Me), lively satire (South Park), photograph novels (Art Spiegelman's within the Shadow of No Towers), documentary (Fahrenheit 9/11), and different productions.Along with analyzing the rhetorical equipment and aesthetic ideas of those productions, the essays position each one in particular political and journalistic contexts, exhibiting how businesses, information shops, and political associations spoke back to-and occasionally co-opted-these kinds of humor.
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Additional resources for A Decade of Dark Humor: How Comedy, Irony, and Satire Shaped Post-9 11 America
Keaton cuts from the close-shot described above to a shot inside the remaining boxcar in the Union train. The spies are hurling debris onto the track between themselves and The Texas. From this shot Keaton cuts to a shot inside the cab of The Texas. A steam valve has burst, ﬁlling it with scalding steam. Johnnie covers his eyes. Meanwhile, Keaton cuts to an angle-shot outside. The boxcar, from the preceding gag, is still in front of The Texas. 25 41 singles out a piece of debris strewn on the track.
Work, it seems, is pictured, by Keaton, as having a crucial dimension of intelligence. Johnnie’s lack of success, in turn, illuminates what is lacking in his performance. That missing ingredient is the propensity to reevaluate the environment and to modify subsequent behavior in accordance with noticed changes in the situation. Intelligent work is contrary to Johnnie’s dimwitted efforts. Thus, in a negative way, Keaton, through Johnnie’s errors in carrying out physical tasks, explores the relation of intelligence to work.
Keaton then cuts to a shot of the retreating Southerners. Initially, it is a long-shot. Then, all of a sudden, the front of The Texas pulls into the foreground from screenleft. The Texas drives past the camera revealing that Johnnie is still chopping wood with his back to the battle. This is quite an ingenious shot, not only in terms of its use of foreground and background in order to set out the signiﬁcant facts of the situation but also because of the way Keaton channels the relevant facts to the audience sequentially – effectively adding detailed selectivity like editing to the realism of the single shot.