The Palgrave Handbook of Music in Comedy Cinema

<p>FRONT MATTER:</p><p><br></p><p>Table of Contents</p><p><br></p><p>List of Figures</p><p><br></p><p>List of Tables</p><p><br></p><p>K. J. Donnelly (University of Southampton, UK)</p><p>Foreword</p><p><br></p><p>Preface. About This Handbook: Rationale, Organisation, and Contents&nbsp;</p><p><br></p><p><br></p><p>MAIN BODY:</p><p><br></p><p>PART I: General Introductions</p><p><br></p><p>1. Emilio Audissino (Linnaeus University, Sweden)</p><p>From Dionysia to Hollywood: An Introduction to Comedy’s Long (and Bumpy) Road</p><p><br></p><p>2. Arthur Asa Berger (San Francisco State University, USA)</p><p>Humorous Techniques in Comedic Narratives</p><p><br></p>3. Emile Wennekes (Utrecht University, The Netherlands)<p></p><p>Scoring Laughs: A Meditation on Music and Mirth</p><p><br></p><p><br></p><p>PART II: THEORETICAL APPROACHES AND ANALYSIS OF DEVICES</p><p><br></p><p>4. Tom Schneller (Independent Scholar, USA)&nbsp;</p><p>Audiovisual Parallelism and Counterpoint as Strategies of Musical Humour</p><p><br></p><p>5. Miguel Mera (City University, London, UK)</p><p>The Audiovisual Architecture of Musical Pauses, Punchlines, and Jablines: Paddington’s Punctuation</p><p><br></p><p>6. Marcel Bouvrie (Utrecht University, The Netherlands)</p><p>The Self-Aware Soundtrack: Film Music as a Metaleptic Device in Comedy Film</p><p><br></p><p>7. Rebecca Fülöp (University of British Columbia, Canada)</p><p>‘She’s a babe… SCHWING!’: Feminine Spectacle and Parody in Comedy Film Scoring</p><p><br></p><p>8. Nick Braae (Waikato Institute of Technology, Hamilton, New Zealand)</p><p>Pop-Rock Authenticity, Intertextuality, and Humour in the Films of Adam McKay and Will Ferrell</p><p><br></p><p>9. Catherine Haworth (University of Huddersfield, UK)&nbsp;</p><p>‘The Man for His Time and Place.’ Identity, Musical Comedy, and the Compiled Soundtrack in The Big Lebowski</p><p><br></p><p>10. Paul Labelle (University of Bonn, Germany)</p><p>Mozart in the Kitchen. Musical Reference and the Crisis of Action in Last Action Hero </p><p><br></p><p>11. David Ireland (University of Leeds, UK)</p><p>‘The Music Shouldn’t Acknowledge Any of the Jokes.’ Audiovisual Incongruence and the Functions of Music in Contemporary Dark Comedy Films</p><p><br></p><p>12. Matt Lawson (Oxford Brookes University, UK)</p><p>Seriously Funny Music: The Use of Serious Music for Comedic Effect</p><p><br></p><p>13. Andrew Simmons (City University, London, UK)&nbsp;</p><p>DJ, Interrupted: Delivering Punchlines with a Record Scratch</p><p><br></p><p>14. James Wierzbicki (University of Sydney, Australia)</p><p>On Being ‘In the Know’: When Classical Music Gets Played for Laughs</p><p><br></p><p><br></p><p>PART III: MUSIC AND COMEDY WITHIN NATIONAL CINEMAS</p><p><br></p><p>15. Mervyn Cooke (University of Nottingham, UK)&nbsp;&nbsp;</p><p>Carry On Regardless: The Musical Humour of Eric Rogers</p><p><br></p><p>16. John O’Flynn (Dublin City University, Ireland)&nbsp;</p><p>Musical-Comedic Stereotypes and Cinema. A Case Study of Irish-themed Features, 1946-1952&nbsp;</p><br><p></p><p>17. Roberto Calabretto (University of Udine, Italy)&nbsp;</p><p>The Paladin of Italian Comedy. Totò and Music</p><p><br></p><p>18. Ingeborg Zechner (University of Graz, Austria)&nbsp;&nbsp;</p><p>Mocking Sound: Das Kabinett des Dr. Larifari (1930) as a Parody of Early German Sound Film</p><p><br></p>19. Chloé Huvet (École Normale Supérieure de Lyon, France) &nbsp;<p></p><p>Marie-Hélène Chevrier (University of Strasbourg, France)&nbsp;</p><p>‘Hubert, you are sooo… French!’: Musical Pastiche and Parody in Michel Hazanavicius’ Espionage Comedy Films OSS 117 (2006, 2009)</p><p><br></p><p>20. Laura Miranda (University of Oviedo, Spain)&nbsp;</p><p>From Imperio to Lola: Mapping Comedy in the Tradition of Spanish Folkloric Musicals (1930-1960)</p><p><br></p><p>21. Peter Kupfer (Southern Methodist University, Dallas, TX, USA)&nbsp;</p><p>We Can Sing and Laugh Like Children: Music as Comedy in the Film Musicals of Grigorij Aleksandrov and Isaak Dunaevskij</p><p><br></p><p>22. Ann-Kristin Wallengren (Lund University, Sweden)&nbsp;</p><p>Playing with Borders. Film Music and Social Criticism in Swedish Comedies by Hasse and Tage</p>23. Emile Wennekes (Utrecht University, The Netherlands)<p></p><p>Harassing Hogwash Scored with Happy Hardcore: The Ruthless Humour of the Dutch New Kids Films</p><p><br></p><p>24. Jingyi Zhang (Harvard University, USA)&nbsp;</p><p>On and Beyond Mickey-Mousing: Revisiting Yuan Muzhi’s Scenes of City Life (1935)</p><p><br></p><p>25. Emaeyak Peter Sylvanus (University of Nigeria, Nsukka, Nigeria)&nbsp;</p><p>Overview of Music in Nollywood Comedy Cinema</p><p><br></p><p>26. Gregory D. Booth (University of Auckland, New Zealand)&nbsp;</p><p>Comedy and Parody in the Songs of the Hindi Cinema&nbsp;</p><p><br></p><p>27. Alexander Binns (University of Hull, UK)&nbsp;</p><p>Parody, Commentary, Subversion: Music in Japanese Comedy Cinema</p><p><br></p><p>28. Nathan Platte (University of Iowa, USA)&nbsp;</p><p>Music for Tricksters and Music as Trickster in the Classical Hollywood Score</p><p><br></p><p><br></p><p>PART IV: COMPOSERS, STYLES, AND CORPUS STUDIES</p><p><br></p>29. Beth E. Levy (University of California, Davis, USA)&nbsp;&nbsp;<p></p><p>The Joke’s on You: Puns and Punchlines in the Music of the Marx Brothers</p><p><br></p><p>30. Jim Lochner (Independent Scholar, USA)&nbsp;&nbsp;</p><p>‘Valse Elegante’: The Comedic Film Music of Charlie Chaplin</p><p><br></p><p>31. Anna Stoll Knecht (Swiss National Science Foundation, Switzerland)&nbsp;</p><p>Jacques Tati and the Musical Construction of the Comedic</p><p><br></p><p>32. Paul Mazey (Independent Scholar, UK)&nbsp;</p><p>Music for Low Comedy and High Romance: Malcolm Arnold’s Score for Hobson’s Choice (David Lean, 1954)</p><p><br></p><p>33. Joakim Tillman (Stockholm University, Sweden)&nbsp;</p><p>The New King of Comedy: Theodore Shapiro and the New Millennial Comedy Score</p><p><br></p><p>34. Raymond Knapp (University of California, Los Angeles, USA)&nbsp;</p><p>‘Cut it Out, Cricket’: Affective Management through Diegetic Music and Song in Howard Hawks’s Comedies and Comic Dramas</p><p><br></p><p>35. Lindsay Carter (University of Bristol, UK)&nbsp;</p><p>Music, Satire, and Smutna Comedy in the Zbigniew Preisner-Krzysztof Kieślowski Collaborations</p><p>&nbsp;</p><p>36. Michael Baumgartner (Cleveland State University, USA)&nbsp;&nbsp;</p><p>Louis de Funès as Gendarme: Comic Incongruity and Self-Reflexive Music in the Golden Age of French Comedies (1964–80)</p><p><br></p><p>37. Ronald Sadoff (New York University, USA)&nbsp;</p><p>Songs and Scores in the Films of Mel Brooks: The Collaboration with John Morris</p><p><br></p><p>38. James Deaville (Carlton University, CA)</p><p>Taking Mancini’s Comedy Scores Seriously</p><p>39. Franco Sciannameo (Carnegie Mellon University, Pittsburgh, USA)&nbsp;</p><p>Ennio Morricone’s Music for La Cage aux folles (1978)</p><p><br></p><p>40. Emilio Audissino (Linnaeus University, Sweden) &nbsp;</p><p>Chloé Huvet (École Normale Supérieure de Lyon, France)&nbsp;</p><p>Irony, Comic, and Humour. The Comedic Sides of John Williams</p><p><br></p><p>41. Emile Wennekes (Utrecht University, The Netherlands)</p><p>Jocular Juxtapositions, Parody, and Ludicrous Lyrics. Music in Monty Python’s Comedy Films</p><p>42. Alexander Binns (University of Hull, UK)&nbsp;</p>Music and Comedy in the Films of Woody Allen<p></p><p><br></p><p><br></p><p><br></p><p>END MATTER:</p><p>Mark Slobin (Wesleyan University, USA)</p><p>Afterword</p><p><br></p><p>Index</p><div><br></div>