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Homo Ludens as a Comic Character in Selected American Films (Hardcover, 1st ed. 2017)
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Homo Ludens as a Comic Character in Selected American Films (Hardcover, 1st ed. 2017)
Series: Issues in Literature and Culture
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This book reveals the hitherto critically disregarded ludic
elements in popular American comedy films, building on and
expanding the theories developed by Johan Huizinga in his classic
study Homo Ludens (1938) and Roger Caillois in Les jeux et les
hommes (1958). To address the lack of attention paid to the play
principle in film comedy studies, this book focuses exclusively on
the elements typical of play that can be found in movies. It
introduces two new categories describing play: oneiros and pragma,
which allow analysis of how play in comedies is influenced by the
relations between the player and non-players. The text is
supplemented by the use of the author's drawings, which, because of
their analytical and selective nature, are used as a tool for
visual study. The play principle has a long tradition in American
humor and the films examined here were chosen for their popularity
and wide appeal, often acting as vehicles for Hollywood stars (e.g.
Chevy Chase, Dan Aykroyd, Bill Murray, Steve Martin, Eddie Murphy,
Goldie Hawn, Mike Myers, Jackie Chan or Chris Tucker). The actors'
status allowed the filmmakers to construct situations in which the
protagonists distanced themselves from the fictional situation. It
is argued that the playful detachment from reality, typifying many
of the fictional characters portrayed by actors with star status,
is characteristic of the play principle in film. Another major
consideration is the hotly debated notion of the accomplishment of
goals in playful activities, and the book strongly supports the
position that in narratives, play can (but does not have to) yield
important results. The introduction of the categories of oneiros
and pragma in play serves to highlight the complex relation between
playfulness and practicality in the films discussed. Building on a
comprehensive analysis of the ludic elements in selected popular
American comedies, the book makes an important contribution to film
studies, providing a unique perspective through its focus on the
concept of homo ludens as a comic hero.
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