<span>Whoever wrote "Make 'em laugh!" knew that it's easier said than done. But people love to laugh, and good comedy will always sell. With the help of this complete and entertaining guide, writers and would-be writers for film and television can look forward to writing comedy that goes far beyond
Laughing out loud: writing the comedy-centered screenplay
β Scribed by Andrew Horton
- Publisher
- University of California Press
- Year
- 2000
- Tongue
- English
- Leaves
- 230
- Category
- Library
No coin nor oath required. For personal study only.
β¦ Synopsis
Whoever wrote "Make 'em laugh!" knew that it's easier said than done. But people love to laugh, and good comedy will always sell. With the help of this complete and entertaining guide, writers and would-be writers for film and television can look forward to writing comedy that goes far beyond stereotypic jokes and characters. In Laughing Out Loud, award-winning screenwriter and author Andrew Horton blends history, theory, and analysis of comedy with invaluable advice.
Using examples from Chaplin to Seinfeld, Aristophanes to Woody Allen, Horton describes comedy as a perspective rather than merely as a genre and then goes on to identify the essential elements of comedy. His lively overview of comedy's history traces its two main branches--anarchistic comedy and romantic comedy--from ancient Greece through contemporary Hollywood, by way of commedia dell'arte, vaudeville, and silent movies. Television and international cinema are included in Horton's analysis, which leads into an up-close review of the comedy chemistry in a number of specific films and television shows.
The rest of the book is a practical guide to writing feature comedy and episodic TV comedy, complete with schedules and exercises designed to unblock any writer's comic potential. The appendices offer tips on networking, marketing, and even producing comedies, and are followed by a list of recommended comedies and a bibliography.
β¦ Table of Contents
Frontmatter
Acknowledgments (page xi)
Introduction (page 1)
PART I Comic Elements and Exercises
1 Elements of Comedy That Writers Should Know (page 19)
2 Exercises to Nurture the Comic Muse (page 29)
PART II A Writer's Overview of the Traditions and Genres of Comedy
3 From Stage and Page to Screen: Anarchistic and Romantic Comedy (page 43)
4 Physical Humor: From Commedia dell'Arte and Molière to Vaudeville and Silent Screen Comedy (page 58)
5 Sound Comedy: American Screwball Romantic Comedy, Then and Now (page 64)
6 Comedy and Television: Stand-up, Sitcom and Everything in Between (page 72)
7 Comedies from around the World (page 79)
8 Comedy and the Documentary Impulse (page 95)
PART III Close-ups on Comedies
9 Feature Film Comedies (page 103)
10 Television Comedy: Seinfeld and The Simpsons (page 121)
PART IV Writing Comedy
11 The Fifteen-Week Feature Comedy Screenplay (page 139)
12 The Seven-Week Half-Hour Television Comedy Pilot Script (page 168)
Beyond Happy Endings: Toward a Comic Conclusion (page 177)
Appendix 1 A Recommended Viewing List of American and Foreign Feature Comedies (page 179)
Appendix 2 Networking, Marketing and Making Your Own Comedy (page 192)
Appendix 3 Food, Recipes and Comic Screenwriting (page 201)
Bibliography (page 205)
Index (page 211)
π SIMILAR VOLUMES
Whoever wrote "Make 'em laugh!" knew that it's easier said than done. But people love to laugh, and good comedy will always sell. With the help of this complete and entertaining guide, writers and would-be writers for film and television can look forward to writing comedy that goes far beyond stereo
<p>Whoever wrote "Make 'em laugh!" knew that it's easier said than done. But people love to laugh, and good comedy will always sell. With the help of this complete and entertaining guide, writers and would-be writers for film and television can look forward to writing comedy that goes far beyond ste
<p>Whoever wrote "Make 'em laugh!" knew that it's easier said than done. But people love to laugh, and good comedy will always sell. With the help of this complete and entertaining guide, writers and would-be writers for film and television can look forward to writing comedy that goes far beyond ste