{"title":"开门见山:图形特技喜剧和危机闹剧的出现","authors":"Moss","doi":"10.5325/STUDAMERHUMOR.7.1.0011","DOIUrl":null,"url":null,"abstract":"ABSTRACT:Slapstick is a mode of comedic performance whose definition has not changed much since the nineteenth century. Slaps, hits, kicks, punches, pratfalls, and other types of stage and screen violence appear to be violent and harmful. But these acts are eventually revealed and resolved to be simulative and harmless. The slapstick performer emerges, unscathed, as a required prerequisite for comedic catharsis to take place. However, the past three decades have seen a graphic, transgressive form of comedic violence emerge that challenges this understanding. Assaultive acts of self-harm performed by shock-comic performers such as Ralph \"Cap'n Video\" Zavadil, Tom Green, and Johnny Knoxville's Jackass crew deploy violence to transgress established screen boundaries and disrupt the norms of performance style. This subversive form of humor, which this article refers to as \"crisis slapstick,\" produces graphic violence as comedic shocks that break from traditional slapstick. Physical injuries, presented as comedic absurdity, critique rather than uphold the embedded presumptions of safe screen space and industrial professionalism established over decades of classic slapstick performance.","PeriodicalId":53944,"journal":{"name":"Studies in American Humor","volume":null,"pages":null},"PeriodicalIF":0.9000,"publicationDate":"2021-03-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"1","resultStr":"{\"title\":\"Cutting to the Punch: Graphic Stunt Comedy and the Emergence of Crisis Slapstick\",\"authors\":\"Moss\",\"doi\":\"10.5325/STUDAMERHUMOR.7.1.0011\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"ABSTRACT:Slapstick is a mode of comedic performance whose definition has not changed much since the nineteenth century. Slaps, hits, kicks, punches, pratfalls, and other types of stage and screen violence appear to be violent and harmful. But these acts are eventually revealed and resolved to be simulative and harmless. The slapstick performer emerges, unscathed, as a required prerequisite for comedic catharsis to take place. However, the past three decades have seen a graphic, transgressive form of comedic violence emerge that challenges this understanding. Assaultive acts of self-harm performed by shock-comic performers such as Ralph \\\"Cap'n Video\\\" Zavadil, Tom Green, and Johnny Knoxville's Jackass crew deploy violence to transgress established screen boundaries and disrupt the norms of performance style. This subversive form of humor, which this article refers to as \\\"crisis slapstick,\\\" produces graphic violence as comedic shocks that break from traditional slapstick. Physical injuries, presented as comedic absurdity, critique rather than uphold the embedded presumptions of safe screen space and industrial professionalism established over decades of classic slapstick performance.\",\"PeriodicalId\":53944,\"journal\":{\"name\":\"Studies in American Humor\",\"volume\":null,\"pages\":null},\"PeriodicalIF\":0.9000,\"publicationDate\":\"2021-03-25\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"1\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Studies in American Humor\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.5325/STUDAMERHUMOR.7.1.0011\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"0\",\"JCRName\":\"HUMANITIES, MULTIDISCIPLINARY\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Studies in American Humor","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.5325/STUDAMERHUMOR.7.1.0011","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"HUMANITIES, MULTIDISCIPLINARY","Score":null,"Total":0}
Cutting to the Punch: Graphic Stunt Comedy and the Emergence of Crisis Slapstick
ABSTRACT:Slapstick is a mode of comedic performance whose definition has not changed much since the nineteenth century. Slaps, hits, kicks, punches, pratfalls, and other types of stage and screen violence appear to be violent and harmful. But these acts are eventually revealed and resolved to be simulative and harmless. The slapstick performer emerges, unscathed, as a required prerequisite for comedic catharsis to take place. However, the past three decades have seen a graphic, transgressive form of comedic violence emerge that challenges this understanding. Assaultive acts of self-harm performed by shock-comic performers such as Ralph "Cap'n Video" Zavadil, Tom Green, and Johnny Knoxville's Jackass crew deploy violence to transgress established screen boundaries and disrupt the norms of performance style. This subversive form of humor, which this article refers to as "crisis slapstick," produces graphic violence as comedic shocks that break from traditional slapstick. Physical injuries, presented as comedic absurdity, critique rather than uphold the embedded presumptions of safe screen space and industrial professionalism established over decades of classic slapstick performance.
期刊介绍:
Welcome to the home of Studies in American Humor, the journal of the American Humor Studies Association. Founded by the American Humor Studies Association in 1974 and published continuously since 1982, StAH specializes in humanistic research on humor in America (loosely defined) because the universal human capacity for humor is always expressed within the specific contexts of time, place, and audience that research methods in the humanities strive to address. Such methods now extend well beyond the literary and film analyses that once formed the core of American humor scholarship to a wide range of critical, biographical, historical, theoretical, archival, ethnographic, and digital studies of humor in performance and public life as well as in print and other media. StAH’s expanded editorial board of specialists marks that growth. On behalf of the editorial board, I invite scholars across the humanities to submit their best work on topics in American humor and join us in advancing knowledge in the field.