A film archetype as old as film itself, the man-child has been an enduring comedy subject. Classics as diverse as Hail the Conquering Hero (1944) and The Apartment (1960) have used the immature male to drive plots and press the importance of growing up. He was not born fully formed - it took the shifting social norms of many decades to mold the atrocious behavior of the puerile buffoon we know today. The man-child has come under scrutiny in recent years. Prominent writers, including David Denby and A.O. Scott, have criticized the modern comedian behaving in shamelessly childish ways. This book provides a comprehensive examination of the archetypal man-child, from Andre Deed, who debuted on screen in 1901, to Seth Rogen. The author discusses changing cultural attitudes about maturity, what it means to be an adult, what it means to be a child and how those things are becoming increasingly confused.

Classic comedy routines and individual gags have been around for literally hundreds of years; the best of these ribticklers making their merry way through theater, circus, film and television. The challenge to comedians has always been to adapt familiar material in a way that emphasizes their personal perspective, style and approach. The many routines and gags cited in this illustrated history are lovingly deconstructed to demonstrate the manner in which they have been modified to suit different eras and different performers. It is a testament to the indestructability of these tried and true laugh-provokers that, through all the remakes, revivals, recycles and revamps, they have managed to survive to the present day. As these timeless comedy gems are traced to their beginnings and followed through the years, readers are taken on a mirthful journey from Keystone to Zombieland.

Richard Pryor was the king of stand-up comedy in the 1970s. Hollywood studios were eager to transfer Pryor's dynamic humor and personality from the stand-up stage to the big screen. Executives placed the vast resources of their studios at Pryor's disposal and gave the comedian the authority to develop his own projects. But, as it turned out, Pryor's film acting inspired far less acclaim than his stand-up performances. The comedian's reputation came to be greatly diminished by misfires like The Toy and Superman III. How did this happen? The book is designed to examine this matter in a comprehensive film-by-film analysis. Each chapter surveys an individual film by presenting development history, production notes, plot summary and critical analysis.

At first glance, Lloyd Hamilton was simply a large, baby-faced comic who wore a checkered cap and walked like a duck. Beyond the surface, however, Hamilton had much more to offer than an iconic look and persona. In his performances, Hamilton demonstrated keen timing and an inventive mind, providing humor rich in both emotion and self-observation for a career that spanned over 20 years. But perhaps most importantly, Hamilton was greatly admired by his fellow comics as a true 'comedian's comedian' receiving overwhelming praise from no less than Charlie Chaplin, Buster Keaton, and other comic greats.This book explores Hamilton's life and work, beginning with his conservative middle-class childhood, which set him apart from most early slapstick comedy stars who came from theatrical backgrounds with broken or poor immigrant families. The story continues through the comic's early entry into show business as a theatre extra, his most memorable role as the stocky, crass half of silent comedy's 'Ham and Bud' duo, his first feature film ""The Darker Self"", and many other career benchmarks. The author also examines Hamilton's troublesome private life and his descent into alcoholism, evaluating how the decline of Hamilton's health and career led to his death at the age of 43. The book includes several exclusive photos from the Hamilton family, along with a comprehensive filmography including detailed plot descriptions, behind-the-scenes facts, and an in-depth analysis of Hamilton's critical lost feature film ""A Self-Made Failure"".

LIFE, LIBERTY. . . AND ALL THE REST presents a series of satirical episodes in which newcomers to America struggle to assimilate into the local culture. Adopting the way of life in their new country is especially difficult because the newcomers are robots. The story opens at a futuristic amusement park, where robotic clones of the U.S. Presidents room together in a glossy mock-up of the White House. The robot roomies are less interested in educating the public on the history of the presidency than they are in quarreling among themselves about old grudges. The exhibit, contrary to the expectations of visitors, has more in common with Real World than Westworld. The robots, their identities evolving and their ambitions growing, conspire to defect from the exhibit's controlled confines to explore diverse places across the United States. It is an adventurous and humorous struggle that emerges as the robots establish themselves in the flawed, troubled nation their venerable prototypes helped to create. Revealed during the course of the story are fascinating facts about the actual presidents - their quirks, their triumphs, their scandals, their loves. The book plumbs the depths of the presidents for comic possibilities and also seeks out their moral core. It is America, itself, that is ultimately examined through its most compelling leaders. The book is recommended to readers who enjoy offbeat, mixed-genre novels and should particularly appeal to fans of the satirical science fiction and fantasy stories of Terry Pratchett, Douglas Adams, John F. Moore, Jasper Fforde, Robert Asprin or Rudy Rucker.

For decades, hundreds of actors delivered a steady stream of pranks and pratfalls for the amusement of silent film fans. While film historians have focused their attention on the three biggest comedy stars (Charlie Chaplin, Buster Keaton and Harold Lloyd), numerous comedians of less renown have been unjustly forgotten. But, now, eighteen uniquely talented comedians overlooked for many years finally receive the recognition they deserve. Discussed at length are the methods and skills that made these performers stand out. This includes the subtle expressiveness of Lloyd Hamilton, the goofy acrobatics of Clyde Cook, the playful irreverence of Hank Mann, the wicked brazenness of Billie Ritchie, and the destructive buffoonery of Andre Deed. Eighteen Comedians of Silent Film is presented as both a loving tribute and a thoughtful analysis of a delightfully special group of artists.