This examination of dark comedies of the 1970s focuses on films which concealed black humor behind a misleading genre label. All That Jazz (1979) is a musical...about death--hardly Fred and Ginger territory. This masking goes beyond misnomer to a breaking of formula that director Robert Altman called "anti-genre." Altman's MASH (1970) ridiculed the military establishment in general--the Vietnam War in particular--under the guise of a standard military service comedy. The picaresque Western Little Big Man (1970) turned the bluecoats vs. Indians formula upside-down--the audience roots for the Indians instead of the cavalry. The book covers 12 essential films, including Harold and Maude (1971), Slaughterhouse-Five (1972), One Flew Over the Cuckoo's Nest (1975) and Being There (1979), with notes on A Clockwork Orange (1971). These films reveal a compounding complexity that reinforces the absurdity at the heart of dark comedy.

This groundbreaking film study begins with a survey of American print humorists from eras leading up to and overlapping the advent of film--including some who worked both on the page and on the screen, like Robert Benchley, Will Rogers, Groucho Marx and W. C. Fields. Six comic film genres are identified as outgrowths of a national tradition of Cracker Barrel philosophers, personality comedy, parody, screwball comedy, romantic comedy and dark comedy. Whether it is Mark Twain or a parody film involving Steve Martin, comedy is most often about blowing "raspberries" at the world, and a reminder you are not alone.

This work offers a critical examination of 130 commercially-released film comedies of the 1970s. It considers the socio-political circumstances of each year of the decade, then critiques each film released that year with a focus on its effect on the film industry and the art of big screen comedy, as well as the emergence of talents whose work influenced (or was influenced by) the zeitgeist of the decade. Covering popular titles like M*A*S*H, Blazing Saddles, American Graffiti, The Bad News Bears, Smokey and the Bandit and many more, it argues that the 1970s may rightly be considered the last golden age of film comedy.

From Charlie Chaplin's The Gold Rush to Quentin Tarantino's Pulp Fiction, Gehring presents a compelling theory of the black comedy film genre. Placing the movies he discusses in a historical and literary context, Gehring explores the genre's obession with death and the characters' failure to be shocked by it. Movies discussed include: Slaughterhouse Five, Catch-2, Clockwork Orange, Harold and Maude, Heathers, and Natural Born Killers.

A pioneering, dazzling satire about a biracial black girl from Philadelphia searching for her Jewish father in New York City Oreo is raised by her maternal grandparents in Philadelphia. Her black mother tours with a theatrical troupe, and her Jewish deadbeat dad disappeared when she was an infant, leaving behind a mysterious note that triggers her quest to find him. What ensues is a playful, modernized parody of the classical odyssey of Theseus with a feminist twist, immersed in seventies pop culture, and mixing standard English, black vernacular, and Yiddish with wisecracking aplomb. Oreo, our young hero, navigates the labyrinth of sound studios and brothels and subway tunnels in Manhattan, seeking to claim her birthright while unwittingly experiencing and triggering a mythic journey of self-discovery like no other.

"From renowned comedy journalist and historian Kliph Nesteroff comes the underappreciated story of Native Americans and comedy"--

Handbook of American Film Genres provides scholarly introductory overviews of various types of films, lists significant examples of each genre, and recommends sources to consult for additional information. Eighteen genres are covered divided into five different categories: action/adventure, comedy, the fantastic, songs and soaps, and nontraditional. Each category is then divided into more diverse sections such as comedy: screwball, parody, clown etc. ... Each chapter includes a historical/analytical overview, a bibliographic overview, and then concludes with a chronologically arranged, highly selective filmography, citing from 10 to 15 major examples of the genre with brief lists of credits. ... One of the strengths of this guide is its coverage of more genres than other standard studies. ... Handbook of American Film Genres covers foreign films as well, it makes a valuable contribution to film scholarship, and it will be a useful acquisition for libraries that support serious film study.