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| | Trahair on King/Comedy |
 | | He questions, for example, whether comedy subverts narrative, diminishes the impact of horror, deactivates the political, and so forth, when he makes it very clear at the outset that he doesn't think it is possible to account for comedy in terms of universals. |
 | | An examination of the films in question, he argues, quoting Seidman, reveals that it simply isn't the case that: 'The comic figure 'must be made to conform to cultural values by divesting himself of his creativity, or else face rejection'' (87). |
 | | A film can be a parody of an individual film, a genre of films, the techniques or constraints of the medium, 'non-film specific items' like pop-stars, or even a number of different films, techniques, genres, and conventions at the same time, as is the case in the relatively recent scattershot mode of comedy (108). |
| www.film-philosophy.com /vol8-2004/n15trahair (5217 words) |
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