Funny Pictures: animation and comedy in studio-era Hollywood edited by Daniel Goldmark and Charlie Keil.
Purchased this book in summer 2012. Read the first third of it sometime and wrote the following notes. I'm back dating this to 2013 although I don't recall when I read this portion of the book. I'm resuming reading in March 2015.
I got this book from Amazon with no cover art or dust jacket. Later I noticed cover art and think it might have had a jacket I didn't get.
The Chaplin Effect by Paul Wells
Page 17, "a high degree of planning is required to achieve spontaneity".
Page 18-19, "abstraction in the American context took the form of "the gag". The primary combination of motion and meaning, comic event and concept, content and continuity. Animation as a form enabled the greatest possible development and expression of "the gag" as the new art of the impossible."
Page 23 Chaplin envies the cartoon's perfect timing.
Page 27, quoting Stark Young: "I wonder if art is like the return of a soul to its old life, of a ghost to its memory".
Polyphony and Heterogeneity in Early Fleischer Films by Mark Langer
Page 32, Koko the Convict (1926) suggests homosexuality.
Page 37, Comic strips, "E.K.Splosher the camera fiend". Charles Schultz "Foxy Grandpa".
Page 40, the "two act" (2 character comedy)
Page 44, "while individual comic strips, like individual vaudeville numbers, might exhibit narrative coherence, their brevity and random arrangement on the funny pages were a departure from the more continuous experience of reading a book or viewing a 'well made' play".
The Heir Apparent by J.B.Kaufman
Page 52, [Disney cartoons] "moved not towards realism but towards a more convincing form of fantasy".
Page 63, suggests Disney follows great film comedy and Warner Brothers follows radio comedy.
Infectious Laughter by Donald Crafton
Page 70-71, "Many people object when writers ... 'read too much' into films"
Page 82, "When my Ship Comes In uses the Swiftian technique of hyperbole by taking elements of the NRA and exaggerating them to ridiculous".
Page 84, "Farce produces an easy but pointless laugh, whereas satire has an ideological effect".
Page 85-86, Krakaur vs Adorno on humour - cathartic and revolutionary or not?
We're Happy When We're Sad by Richard Neupert
Page 94, the term "attraction" is often applied to any cinematic moment thought to call attention to texual processes, thereby derailing a naive narrativity.
Are comics in newspapers also "attractions".
Purchased this book in summer 2012. Read the first third of it sometime and wrote the following notes. I'm back dating this to 2013 although I don't recall when I read this portion of the book. I'm resuming reading in March 2015.
I got this book from Amazon with no cover art or dust jacket. Later I noticed cover art and think it might have had a jacket I didn't get.
The Chaplin Effect by Paul Wells
Page 17, "a high degree of planning is required to achieve spontaneity".
Page 18-19, "abstraction in the American context took the form of "the gag". The primary combination of motion and meaning, comic event and concept, content and continuity. Animation as a form enabled the greatest possible development and expression of "the gag" as the new art of the impossible."
Page 23 Chaplin envies the cartoon's perfect timing.
Page 27, quoting Stark Young: "I wonder if art is like the return of a soul to its old life, of a ghost to its memory".
Polyphony and Heterogeneity in Early Fleischer Films by Mark Langer
Page 32, Koko the Convict (1926) suggests homosexuality.
Page 37, Comic strips, "E.K.Splosher the camera fiend". Charles Schultz "Foxy Grandpa".
Page 40, the "two act" (2 character comedy)
Page 44, "while individual comic strips, like individual vaudeville numbers, might exhibit narrative coherence, their brevity and random arrangement on the funny pages were a departure from the more continuous experience of reading a book or viewing a 'well made' play".
The Heir Apparent by J.B.Kaufman
Page 52, [Disney cartoons] "moved not towards realism but towards a more convincing form of fantasy".
Page 63, suggests Disney follows great film comedy and Warner Brothers follows radio comedy.
Infectious Laughter by Donald Crafton
Page 70-71, "Many people object when writers ... 'read too much' into films"
Page 82, "When my Ship Comes In uses the Swiftian technique of hyperbole by taking elements of the NRA and exaggerating them to ridiculous".
Page 84, "Farce produces an easy but pointless laugh, whereas satire has an ideological effect".
Page 85-86, Krakaur vs Adorno on humour - cathartic and revolutionary or not?
We're Happy When We're Sad by Richard Neupert
Page 94, the term "attraction" is often applied to any cinematic moment thought to call attention to texual processes, thereby derailing a naive narrativity.
Are comics in newspapers also "attractions".
