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Dirk Eitzen

There is a striking divide, in the literature on comedy, between approaches that stress the social functions of humor, including social control and alleviation of social stresses, and approaches that focus on the psychological mechanisms of humor, including incongruity and arousal. These two kinds of approach have proven quite resistant to integration, because they are rooted in fundamentally different understandings of the pleasure of humor. Put simply, the pleasure of the put-down is hard to square with the pleasure of the pun. This article examines new scientific research on humor, including recent brain imaging studies, to see if there is any evidence for an empirical divide. The conclusion, in practical analytical terms, is that when, near the start of Shaun of the Dead (2004), Shaun fails to notice that he is surrounded by zombies, our perception of the inappropriateness of the character's actions and our perception of the playfulness of the depiction are both necessarily involved in our perception of the scene's funniness.

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Comics and Transnational Exchanges

Lawrence Grove, Anne Magnussen, and Ann Miller

other comics including Art Spiegelman's Maus (referenced obliquely by the cats that stalk through the narrative) and Horst Rosenthal's Mickey au camp de Gurs , and evocations of films by Roberto Benigni and Charlie Chaplin. The resolute non-realism of

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Brendan Rooney, Hanna Kubicka, Carl Plantinga, James Kendrick, and Johannes Riis

tension may be manifested in what he calls the “comic twinkle” and the “deliberate accident” (51–54). As an example of the latter, he demonstrates how, in The Circus (Charlie Chaplin, 1928), Charlie Chaplin’s flexible and imaginative execution make the

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Instrumentalising Media Memories

The Second World War According to Achtung Zelig! (2004)

Maaheen Ahmed

to the medium's popular, modern essence and, in particular, Spiegelman's Maus ; film, especially Charlie Chaplin's works, which tap into a network of media and cultural references related to the two aforementioned media memories. I will focus here

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Leyla Neyzi, Nida Alahmad, Nina Gren, Martha Lagace, Chelsey Ancliffe, and Susanne Bregnbæk

). While Jackson skillfully draws on his ethnographic work in Sierra Leone, Australia, and Europe, the impact of his everyday context of living in the United States under Trump, who on one occasion is ironically compared with Charlie Chaplin's The Great

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Education, Entertainment, and Indoctrination

Educational Film in Interwar China

Kaiyi Li

titled “Chinese Youth,” a second Eastman Kodak Company film, Teeth Protection , was shown. After the film, the two educators played a song encouraging frugality. The event concluded with the screening of two films by Charlie Chaplin. 51 The above

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Melenia Arouh

relevant to each case. Klevan, for instance, engages in aesthetic appreciation by observing the lighting, blocking, and overall synthesis in Citizen Kane (Orson Welles, 1941); explains constraint and inventiveness in The Gold Rush (Charlie Chaplin

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Michael K. Bess, David Lipset, Kudzai Matereke, Stève Bernardin, Katharine Bartsch, Harry Oosterhuis, Samuel Müller, Frank Schipper, Benjamin D’Harlingue, and Katherine Roeder

pliable and malleable as the world they inhabit. In his introduction to the book, cartoonist Chris Ware describes an array of possible dystopian influences that inform its outlook, from George Orwell and Aldous Huxley to Charlie Chaplin’s Modern Times

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When Jackie Coogan Had His Hair Cut

Masculinity, Maturity, and the Movies in the 1920s

Peter W. Lee

by tramping alongside Charlie Chaplin in The Kid (1921) , Coogan’s screen persona of a pitiful vagabond waif depended upon a projection of extreme youth to signify his vulnerable innocence in a cold, cruel, urbanized world. Five years later, at the