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REFERENCES
Brown, G. Movie Time: A Chronology of Hollywod. New York: McMillan, 1995.
Byrge, D. The Screwball Comedy Films. New York: McFarland, 1991.
"Censored Films and Television." January 2000. University of Virginia. September 2010 .
Dale, A. Comedy is a Man in Trouble. Minneapolis: University of Minnesota Press, 2001.
Ebert, R. "Some Like It Hot." 9 January 2000. Roger Ebert.com. 12 September 2010 .
Engleking, A. "A Barbed But Generous Comedy of Manners." 17 June 2010. Memphis Flyer. 12 September 2010 .
Greig, J. The Psychology of Laughter and Comedy. Charleston, SC: Nabu Press, 2010.
Henderson, J. "Comic Hero vs. Political Elite." al, Sommerstein et. Tragedy, Comedy and the Polis. Bari, Italy: Levanti Editori, 1993. 307-19.
King, G. Film Comedy. London: Wallflower Press,...
The Comic Mind: Comedy and the Movies. Chicago: University of Chicago Press, 1979.
Metz, W. Engaging Film Criticism: Film History and Contemporary American Cinema. Peter Lang: Peter Lang, 2004.
Russo, V. The Celluloid Closet. New York: Harper and Row, 1987.
Schatz, T. Holywood Genres: Formulas, Filmaking, and the Studio System. New York: McGraw Hill, 1981.
While the term may have been used in slang that Grant and Hepburn were familiar with, it was ad-lib, not in the script. The scene in question has Grant's character wearing a woman's negligee, and when asked about it, replies, "Because I just went gay all of a sudden," the double entendre meaning "happy" or referencing homosexuality. The general public did not really become familiar with the term until the 1960ss, but no one in the film ever confirmed the reference (Russo 47).
REFERENCES
Brown, G. Movie Time: A Chronology of Hollywod. New York: McMillan, 1995.
Byrge, D. The Screwball Comedy Films. New York: McFarland, 1991.
"Censored Films and Television." January 2000. University of Virginia. September 2010 <http://www2.lib.virginia.edu/exhibits/censored/film.html>.
Dale, A. Comedy is a Man in Trouble. Minneapolis: University of Minnesota Press, 2001.
Ebert, R. "Some Like It Hot." 9 January 2000. Roger Ebert.com. 12 September 2010 <http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=%2F20000109%2FREVIEWS08%2F1090301%2F1023>.
Engleking, A. "A Barbed But Generous Comedy of Manners." 17 June 2010. Memphis Flyer. 12 September 2010 <http://www.memphisflyer.com/memphis/a-barbed-but-generous-comedy-of-manners/Content?oid=2138301>.
Audiences can ponder the issue of fate when presented with Oedipus, afterlife when thinking of Antigone, and motherhood and marriage when confronted with Medea. Further, modern plays often offer this type of ending as well. For instance, Tennessee Williams' The Glass Menagerie allows audience members to consider the theme of love and romance, superimposed with family. At the end of the story, audience members must contemplate whether Tom should
This echoes life. To others we present as a simple person, perhaps even shallow and one-dimensional. Yet inside we are a mass of interminable twists and turns of plots and subplots. The story must reflect positive morality or, as Aristotle warned, when storytelling goes bad, the result is decadence. As stories become more extravagant and violent, and all the areas of storytelling - acting, stage settings or environments, music,
comedy films "His Girl Friday," directed by Howard Hawks, and "Bedazzled," directed by Harold Ramis. Specifically, it will discuss these two comedies made at least 45 years apart, and comment on their similarities, their differences, and the societal changes that make films obsolete, or keep them classic. COMEDIES IN TIME Comedies are some of the most popular film genres of all times. They entertain, they make the audience laugh, and they
On the contrary, "You Have Got Mail" is a new style of comedy movie that involves romance in a much open manner that it could not attract all age groups. Key Features of New Comedy Few traits of new comedy are as follows: It revolves more around a boy and a girl and their love story It involves a lot of physical relationship between male and female ( Richmond ) Related with love, desire
Socrates Both comedy and tragedy are "related to emotional needs and religious longings that became crystallized and structured in ritualistic celebrations and festivals," (34). Both can be framed as "catalysts" that force "some sort of conversion" in the individual (34). Moreover, both comedy and tragedy reflect the "eternal spectacle of human nature and its weaknesses," (35). Both art forms use imitation or mimicry of a political figure or idea. However, there are
Divine Comedy vs. The Odyssey Both Dante's epic poem The Divine Comedy and Homer's The Odyssey begin in media res, or in the middle of the protagonists' respective stories. Dante, the narrator, has reached middle age and is confronted with the specter of Virgil, his favorite pagan poet. Virgil leads Dante on a journey through hell, purgatory, and ultimately heaven. Virgil instructs the living, Italian Renaissance poet in the ways