220
Views
0
CrossRef citations to date
0
Altmetric
Article

Waves of laughter: comic surfing on Bergson’s mechanical inelasticity

&

References

  • Adams, Jayde. 2020. In Wiegand, Chris ‘Corona cabaret: Facebook cabaret, gamer gags and a WhatsApp panel show’, The Guardian Newspaper, 9 April 2020. https://www.theguardian.com/stage/2020/apr/09/comedy-online-coronavirus-lockdown-facebook-whatsapp-iain-stirling-jayde-adams
  • Apollonio, Umbro ed. 1973. Futurist Manifestos. London: Thames and Hudson.
  • Arnold, Matthew. 1869, 1963. Culture and Anarchy. Cambridge: Cambridge University Press.
  • Bataille, Georges. 1988. Inner Experience, Trans. Leslie Anne Bolt. Albany: SUNY Press.
  • Bayley, Roger Child. 1906. “The Complete Photographer,” in Bottomore, Stephen, (1996) ‘Nine Days’ Wonder: Early Cinema and Its Sceptics.” In Cinema: The Beginnings and the Future, edited by Christopher Williams. London: University of Westminster Press.
  • Benjamin, Walter. 1982. “The Work of Art in the Age of Mechanical Reproduction.” In Modern Art and Modernism: A Critical Anthology, edited by Francis Frascina and Charles Harrison. London: Harper Row.
  • Bergson, Henri. 1907. “The Cinematographical Mechanism of Thought and the Mechanistic Illusion – A Glance at the History of Systems – Real Becoming and False Evolutionism.” Chapter IV of L’Évolutioncréatrice. https://brocku.ca/MeadProject/Bergson/Bergson_1911a/Bergson_1911_04.html
  • Bergson, Henri. 1900, 1924. La Rire: Essai Sur la Signification du Comique. Paris: Editions Alcan.
  • Bergson, Henri, 1900, 1911. Laughter: An Essay on the Meaning of the Comic, transl. Cloudesley Brereton and Fred Rothwell. London: Macmillan and co.
  • Bergson, Henri. 1900, 2010. Laughter: An Essay on the Meaning of the Comic. Memphis: General Books
  • Bergson, Henri. (undated) “Letter to Adams in Britannica.” https://www.britannica.com/biography/Henri-Bergson
  • Bergson, Henri. 1896. “Matière et mémoire: essai sur la relation du corps à l’esprit (Matter and Memory).” http://obvil.sorbonne-universite.site/corpus/critique/bergson_matiere/
  • Boccioni, Umberto. 1913. “The Plastic Foundations of Futurist Sculpture and Painting.” In Futurist Manifestos, edited by Umbro Apollonio, (1973). London: Thames and Hudson.
  • Bradby, David (ed.) 2006. Theatre of Movement and Gesture: Jacques le Coq. Oxon: Routledge.
  • Brownlow, Kevin. 1973. The Parade’s Gone by… London: Abacus.
  • Carrey, Jim. 2019. “Comedy Actors’ Roundtable.” Close Up with The Hollywood Reporter. https://www.youtube.com/watch?v=yz0bjLk9rUo
  • Causey, Matthew, Emma Meehan, and Neill O’Dwyer. 2015. The Performing Subject in the Space of Technology; through the Virtual, toward the Real. London: Palgrave Studies in Performance and Technology.
  • de Guevara, Victor Raminez Ladron. 2011. “Any Body? The Multiple Bodies of the Performer.” In Performance Perspectives: A Critical Introduction, edited by Jonathan Pitches and Sita Popat. London: Palgrave MacMillan.
  • Deleuze, Gilles, and Félix Guattari. 1980, 1987. A Thousand Plateaus: Capitalism and Schizophrenia. Transl. Brian Massumi. Minneapolis: University of Minnesota Press.
  • Dixon, Steve. 2011. “Theatre, Technology and Time.” In Performance Perspectives: A Critical Introduction, edited by Jonathan Pitches and Sita Popat. Basingstoke: Palgrave MacMillan.
  • Elam, Keir. 1994. The Semiotics of Theatre and Drama. London: Routledge.
  • Goldberg, RoseLee. 2001. Performance Art: From Futurism to the Present. London: Thames and Hudson.
  • Gorchakov, N. A. 1957. The Theater in Soviet Russia. New York: Columbia University Press.
  • Gregg, Melissa, and Gregory J. Seigworth. 2010. The Affect Theory Reader. Duke University Press.
  • Hartnoll, Phyllis. 1968. A Concise History of the Theatre. London: Thames and Hudson.
  • Hazlitt, William. 1885. “From “Lectures on the English Comic Writers,” London: George Bell.” In The Philosophy of Laughter and Humor, edited by John Morreall, 65–82. (1987). Albany, New York: State University of New York Press.
  • Hunningher, Joost. 1996. “Premiere on Regent Street’. Quotation from ‘the Cinematographe’ in Photography, Feb 27, 1896 p. 1143.” In Cinema: The Beginnings and the Future, edited by Christopher Williams. London: University of Westminster Press.
  • Kerr, Walter. 1980. The Silent Clowns. New York: Da Capo.
  • Kunzru, Hari. 2011. “Postmodernism: From the Cutting Edge to the Museum.” The Guardian Newspaper, 15 September 2011. https://www.theguardian.com/artanddesign/2011/sep/15/postmodernism-cutting-edge-to-museum
  • Langer, Suzanne. 1953. Feeling and Form: A Theory of Art Developed from 'Philosophy in a New Key. Routledge & Kegan Paul.
  • Lecoq, Jacques. (with Jean-Gabriel Carasso and Jean-Claude Lallias) 2002. The Moving Body: Teaching Creative Theatre. London: Methuen.
  • Lorre, Chuck. 2015. Vanity Card # 499. http://chucklorre.com/?q=499
  • Marinetti, F. T., Bruno Corra, Emilio Settimelli, Arnaldo Ginna, Giacomo Balla, and Remo Chiti. 1916. “The Futurist Cinema.” In Futurist Manifestos, edited by Umbro Apollonio, (1973). London: Thames and Hudson.
  • Mast, Gerald. 1973. The Comic Mind: Comedy and the Movies. Indianapolis: The Boobs- Merrill Co. Inc.
  • McCabe, Kate. 2018. “The University of Salford Sound of Laughter Project.” Comedy Studies 9 (2): 245–277.
  • McCormack, D. P. 2010. “Remotely Sensing Affective Afterlives: The Spectral Geographies of Material Remains.” Annals of the Association of American Geographers 100 (3): 640–654. doi:10.1080/00045601003795004.
  • McCormack, D. P. 2013. Refrains for Moving Bodies: Experience and Experiment in Affective Spaces. Durham, NC: Duke University Press.
  • McKernan, Luke. 1996. In Cinema: The Beginnings and the Future, edited by Christopher Williams. London: University of Westminster Press.
  • Mundy, John, and Glyn White. 2012. Laughing Matters: Understanding Film, Television and Radio Comedy. Manchester: Manchester University Press.
  • Pena, Gomez. 2011. Performance Perspectives: A Critical Introduction, edited by Jonathan Pitches and Sita Popat. London: Palgrave MacMillan.
  • Pitches, Jonathan, and Sita Popat. 2011. Performance Perspectives: A Critical Introduction. London: Palgrave MacMillan.
  • Provine, Robert R. 2000. Laughter: A Scientific Investigation. London: Faber and Faber.
  • Purdie, Susan. 1993. Comedy: The Mastery of Discourse. Herts: Harvester Wheatsheaf.
  • Romanska, Magda and Alan Ackerman (eds.) 2017. Reader in Comedy: An Anthology of Theory and Criticism. London: Bloomsbury.
  • Ruthrof, Horst. 1997. Semantics and the Body. Toronto: University of Toronto.
  • Spinoza, Baruch. 1677, 1996. Ethics, transl. Edwin M. Curley. London: Penguin Classics.
  • Stewart, Kathleen. 2011. “Atmospheric Attunements.” Environment and Planning D: Society and Space 29. doi:10.1068/d9109.
  • Stott, Andrew. 2005. Comedy. Abingdon, Oxon: Routledge.
  • Styan, J. L. 1981. Modern Drama in Theory and Practice: Realism and Naturalism. Cambridge: Cambridge University Press.
  • Taylor, John Russell. 1966. Anger and after: A Guide to the New British Drama. Harmondsworth, MX: Penguin.
  • Wilkie, Ian. 2016. “Through Wall’s Chink’: Or, Audience Interplay in Comic Acting.” In Acting Comedy, edited by Christopher Olsen, 5–24. Abingdon, Oxon: Routledge.
  • Wilkie, Ian. 2017. “Funny Walking: The Rise, Fall and Rise of the Anglo-American Comic Eccentric Dancer.” Comedy Studies 8 (2): 182–196. doi:10.1080/2040610X.2017.1343971.
  • Wilkie, Ian, Luke Harrison, Dualta Brennan, Hannah Briggs, and Lee Battle. 2018. “The University of Salford Sound of Laughter Project.” Comedy Studies 9 (2): 245–257. doi:10.1080/2040610X.2018.1494365.
  • Willett, Cynthia, and Julie Willett. 2014. “Going to Bed White and Waking up Arab: On Xenophobia, Affect Theories of Laughter, and the Social Contagion of the Comic Stage, Critical Philosophy of Race.” Special Issue: Xenophobia and Racism 2 (1): 84–105.
  • Williams, Christopher. (ed.) 1996. Cinema: The Beginnings and the Future. London: University of Westminster Press.
  • Wright, John. 2007. Why Is That so Funny? A Practical Exploration of Physical Comedy. New York: Limelight.
  • Wyatt, Jonathan. 2019. Therapy, Stand-Up, and the Gesture of Writing. New York: Routledge.

Reprints and Corporate Permissions

Please note: Selecting permissions does not provide access to the full text of the article, please see our help page How do I view content?

To request a reprint or corporate permissions for this article, please click on the relevant link below:

Academic Permissions

Please note: Selecting permissions does not provide access to the full text of the article, please see our help page How do I view content?

Obtain permissions instantly via Rightslink by clicking on the button below:

If you are unable to obtain permissions via Rightslink, please complete and submit this Permissions form. For more information, please visit our Permissions help page.