Isbn: 9780804738941 - why the french love jerry lewis: from cabaret to early cinema (24 risultati)

Paperback. Condizione: Very Good. Connecting readers with great books since 1972! Used books may not include companion materials, and may have some shelf wear or limited writing. We ship orders daily and Customer Service is our top priority.

Soft cover. Condizione: Near Fine. Softcover 2002 edition. Text and covers in near fine condition. Binding firm. Page unmarked and clean. (274 pages) Size: 8vo - over 7¾" - 9¾" tall. Book.

Paperback. Condizione: Very Good. This book is in very good condition; no remainder marks. It does have some cover shelfwear. Inside pages are clean. ; 8.50 X 6 X 0.70 inches; 296 pages.

Condizione: Very Good. Former library copy. Pages intact with possible writing/highlighting. Binding strong with minor wear. Dust jackets/supplements may not be included. Includes library markings. Stock photo provided. Product includes identifying sticker. Better World Books: Buy Books. Do Good.

Paperback. Presentation copy: "and to a very good friend who passes through and whose passages are always so much a pleasure - with a great deal of affection, and respect for your work - Rae Beth Gordon 7 June 2002" Very minor bumped corner & slight stain on fore-edge of text, else very good, clean and sound condition with bright cover.…

Softcover, 274 pages; as new condition; clean and crisp; no internal marks.

Condizione: New.

Paperback. Condizione: Good. 2025 junefiled in biossmall crease on cover.

Paperback. Condizione: New. Vividly bringing to light the tradition of physical comedy in the French cabaret, café-concert, and early French film comedy, this book answers the perplexing question, "Why do the French love Jerry Lewis?" The extraordinary emphasis on nervous pathology in the Parisian café-concert, where the genres of the Epileptic Singer and the Idiot Comic took center stage, and where popular comic monologues and songs included "Man with a Tic" and "I'm Neurasthenic," points to a fascinating intersection between medicine and popular culture. The French tradition of comic performance style between 1870 and 1910 nearly exactly duplicates the movements, gestures, tics, grimaces, and speech anomalies found in nineteenth-century hysteria; the characteristics of hysteria became a new aesthetics. Early French film comedy carried on this tradition of frenetic gesture and gait, as most film performers came from these entertainments and from the circus. Even before Chaplin's films triumphed in France, film comics were instantly recognizable from their pathological gait, just as Jacques Tati would be a half-century later. Comedy, a genre that dominated French cinema until World War I, has often been linked to a mass public for film; the author elucidates this link by proposing a broadly generalized cultural-medical phenomenon as the explanation for the dominance of the comic genre. Comic performance style drew from a group of nervous disorders characterized by the psychological automatism emanating from the "lower faculties": nervous reflex, motor impulses, sensation, and instinct. Building on her previous work on hysteria, the cabaret, and pathologies of movement in the films of Georges Méliès, and drawing on over 400 French films made between 1896 and 1915, the author contributes to a new theory of spectatorship at work in the cabaret, in shows of magnetizers, and in early French film comedy. Jerry Lewis touches a nerve in French cultural memory because, more than any other film comic, he incarnates this tradition of performance style.…

Condizione: good. Befriedigend/Good: Durchschnittlich erhaltenes Buch bzw. Schutzumschlag mit Gebrauchsspuren, aber vollständigen Seiten. / Describes the average WORN book or dust jacket that has all the pages present.

PAP. Condizione: New. New Book. Shipped from UK. Established seller since 2000.

Condizione: new.

Condizione: New. pp. 296.

Condizione: New. Bringing to light the tradition of physical comedy in the French cabaret, cafe-concert, and early French film comedy, this book answers the perplexing question, Why do the French love Jerry Lewis? Num Pages: 296 pages, Illustrations. BIC Classification: APB; APF. Category: (P) Professional & Vocational; (UP) Postgraduate, Research & Scholarly; (UU) Undergraduate. Dimension: 5817 x 3887 x 17. Weight in Grams: 404. . 2001. Paperback. . . . . …

Condizione: New. In English.

Paperback. Condizione: Brand New. 1st edition. 274 pages. 9.75x6.25x0.75 inches. In Stock.

Condizione: New. pp. 296.

Condizione: New. Bringing to light the tradition of physical comedy in the French cabaret, cafe-concert, and early French film comedy, this book answers the perplexing question, Why do the French love Jerry Lewis? Num Pages: 296 pages, Illustrations. BIC Classification: APB; APF. Category: (P) Professional & Vocational; (UP) Postgraduate, Research & Scholarly; (UU) Undergraduate. Dimension: 5817 x 3887 x 17. Weight in Grams: 404. . 2001. Paperback. . . . . Books ship from the US and Ireland. …

Paperback. Condizione: New. Vividly bringing to light the tradition of physical comedy in the French cabaret, café-concert, and early French film comedy, this book answers the perplexing question, "Why do the French love Jerry Lewis?" The extraordinary emphasis on nervous pathology in the Parisian café-concert, where the genres of the Epileptic Singer and the Idiot Comic took center stage, and where popular comic monologues and songs included "Man with a Tic" and "I'm Neurasthenic," points to a fascinating intersection between medicine and popular culture. The French tradition of comic performance style between 1870 and 1910 nearly exactly duplicates the movements, gestures, tics, grimaces, and speech anomalies found in nineteenth-century hysteria; the characteristics of hysteria became a new aesthetics. Early French film comedy carried on this tradition of frenetic gesture and gait, as most film performers came from these entertainments and from the circus. Even before Chaplin's films triumphed in France, film comics were instantly recognizable from their pathological gait, just as Jacques Tati would be a half-century later. Comedy, a genre that dominated French cinema until World War I, has often been linked to a mass public for film; the author elucidates this link by proposing a broadly generalized cultural-medical phenomenon as the explanation for the dominance of the comic genre. Comic performance style drew from a group of nervous disorders characterized by the psychological automatism emanating from the "lower faculties": nervous reflex, motor impulses, sensation, and instinct. Building on her previous work on hysteria, the cabaret, and pathologies of movement in the films of Georges Méliès, and drawing on over 400 French films made between 1896 and 1915, the author contributes to a new theory of spectatorship at work in the cabaret, in shows of magnetizers, and in early French film comedy. Jerry Lewis touches a nerve in French cultural memory because, more than any other film comic, he incarnates this tradition of performance style.…

Condizione: New. Vividly bringing to light the tradition of physical comedy in the French cabaret, cafe-concert, and early French film comedy, this book answers the perplexing question, Why do the French love Jerry Lewis? It shows how Lewis touches a nerve in the French .

Taschenbuch. Condizione: Neu. Why the French Love Jerry Lewis | From Cabaret to Early Cinema | Rae Beth Gordon | Taschenbuch | Einband - flex.(Paperback) | Englisch | 2002 | Stanford University Press | EAN 9780804738941 | Verantwortliche Person für die EU: Mare Nostrum Group B.V., Doelen 72, 4831 GR BREDA, NIEDERLANDE, gpsr[at]mare-nostrum[dot]co[dot]uk | Anbieter: preigu.…

Paperback. Condizione: Brand New. 1st edition. 274 pages. 9.75x6.25x0.75 inches. In Stock. This item is printed on demand.

Taschenbuch. Condizione: Neu. This item is printed on demand - it takes 3-4 days longer - Neuware -Vividly bringing to light the tradition of physical comedy in the French cabaret, café-concert, and early French film comedy, this book answers the perplexing question, 'Why do the French love Jerry Lewis ' The extraordinary emphasis on nervous pathology in the Parisian café-concert, where the genres of the Epileptic Singer and the Idiot Comic took center stage, and where popular comic monologues and songs included 'Man with a Tic' and 'I'm Neurasthenic,' points to a fascinating intersection between medicine and popular culture. The French tradition of comic performance style between 1870 and 1910 nearly exactly duplicates the movements, gestures, tics, grimaces, and speech anomalies found in nineteenth-century hysteria; the characteristics of hysteria became a new aesthetics. Early French film comedy carried on this tradition of frenetic gesture and gait, as most film performers came from these entertainments and from the circus. Even before Chaplin's films triumphed in France, film comics were instantly recognizable from their pathological gait, just as Jacques Tati would be a half-century later. Comedy, a genre that dominated French cinema until World War I, has often been linked to a mass public for film; the author elucidates this link by proposing a broadly generalized cultural-medical phenomenon as the explanation for the dominance of the comic genre. Comic performance style drew from a group of nervous disorders characterized by the psychological automatism emanating from the 'lower faculties': nervous reflex, motor impulses, sensation, and instinct. Building on her previous work on hysteria, the cabaret, and pathologies of movement in the films of Georges Méliès, and drawing on over 400 French films made between 1896 and 1915, the author contributes to a new theory of spectatorship at work in the cabaret, in shows of magnetizers, and in early French film comedy. Jerry Lewis touches a nerve in French cultural memory because, more than any other film comic, he incarnates this tradition of performance style. 296 pp. Englisch.…

Taschenbuch. Condizione: Neu. nach der Bestellung gedruckt Neuware - Printed after ordering - Vividly bringing to light the tradition of physical comedy in the French cabaret, café-concert, and early French film comedy, this book answers the perplexing question, 'Why do the French love Jerry Lewis ' The extraordinary emphasis on nervous pathology in the Parisian café-concert, where the genres of the Epileptic Singer and the Idiot Comic took center stage, and where popular comic monologues and songs included 'Man with a Tic' and 'I'm Neurasthenic,' points to a fascinating intersection between medicine and popular culture. The French tradition of comic performance style between 1870 and 1910 nearly exactly duplicates the movements, gestures, tics, grimaces, and speech anomalies found in nineteenth-century hysteria; the characteristics of hysteria became a new aesthetics. Early French film comedy carried on this tradition of frenetic gesture and gait, as most film performers came from these entertainments and from the circus. Even before Chaplin's films triumphed in France, film comics were instantly recognizable from their pathological gait, just as Jacques Tati would be a half-century later. Comedy, a genre that dominated French cinema until World War I, has often been linked to a mass public for film; the author elucidates this link by proposing a broadly generalized cultural-medical phenomenon as the explanation for the dominance of the comic genre. Comic performance style drew from a group of nervous disorders characterized by the psychological automatism emanating from the 'lower faculties': nervous reflex, motor impulses, sensation, and instinct. Building on her previous work on hysteria, the cabaret, and pathologies of movement in the films of Georges Méliès, and drawing on over 400 French films made between 1896 and 1915, the author contributes to a new theory of spectatorship at work in the cabaret, in shows of magnetizers, and in early French film comedy. Jerry Lewis touches a nerve in French cultural memory because, more than any other film comic, he incarnates this tradition of performance style. …