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Lädt ... Revel with a Cause: Liberal Satire in Postwar Americavon Stephen E. Kercher
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Revel With a Cause chronicles the ebbs and flows of liberal satire, beginning with the constrictions and repressions of the late 1940s and early 1950s due to McCarthyism. The trajectory of this historical survey moves through the "satiric boom" (194) of the early 1960s in conjunction with the Kennedy Administration, and ends with the obscenity trial of Lenny Bruce. For anyone interested in satire and the comic arts, cultural history, and the United States during the 1950s, Revel With a Cause is an excellent survey, a book that will prove to be a rich source of thought-provoking detail. Kercher offers a compelling picture of a time when the funny man ruled, although he fails to explain just what made the funny man funny, what made the audience laugh. Partly this has to do with the nature of jokes, which, even more quickly than the comics who crafted them, fall into haggard ruins. Partly it's the fault of Kercher, who simply does not have an ear for comedy. He is like a scholar who can explain what the invention of dessert meant in a sociological sense, but cannot tell you what the pudding tasted like, or why people keep ordering profiteroles. It reminds me of T.S. Eliot, that great lover of Borscht Belt comedy, who said: "We had the experience but missed the meaning."
We live in a time much like the postwar era. A time of arch political conservatism and vast social conformity. A time in which our nation's leaders question and challenge the patriotism of those who oppose their policies. But before there was Jon Stewart, Al Franken, or Bill Maher, there were Mort Sahl, Stan Freberg, and Lenny Bruce-liberal satirists who, through their wry and scabrous comedic routines, waged war against the political ironies, contradictions, and hypocrisies of their times. Revel with a Cause is their story. Stephen Kercher here provides the first comprehensive look at the satiric humor that flourished in the United States during the 1950's and early 1960's. Focusing on an impressive range of comedy-not just standup comedians of the day but also satirical publications like MAD magazine, improvisational theater groups such as Second City, the motion picture Dr. Strangelove, and TV shows like That Was the Week That Was-Kercher reminds us that the postwar era saw varieties of comic expression that were more challenging and nonconformist than we commonly remember. His history of these comedic luminaries shows that for a sizeable audience of educated, middle-class Americans who shared such liberal views, the period's satire was a crucial mode of cultural dissent. For such individuals, satire was a vehicle through which concerns over the suppression of civil liberties, Cold War foreign policies, blind social conformity, and our heated racial crisis could be productively addressed. A vibrant and probing look at some of the most influential comedy of mid-twentieth-century America, Revel with a Cause belongs on the short list of essential books for anyone interested in the relationship between American politics and popular culture. Keine Bibliotheksbeschreibungen gefunden. |
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Google Books — Lädt ... GenresMelvil Decimal System (DDC)817.5409358Literature English (North America) American wit and humor 20th Century 1945-1999Klassifikation der Library of Congress [LCC] (USA)BewertungDurchschnitt:
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Besides considering a whole range of cultural projects that are often not well-remembered, Kercher is at his most interesting when examining the failures of liberal satire. Essentially being a product for young men by young men, it sometimes undercut itself with unexamined misogyny. Dismissive of suburban consumer culture, there was some failure to appreciate that for most people this beat the hell out of the alternatives. Also, when looking at the rise and fall of the show "This is the Week that Was," there is the matter that whatever the problems of speaking truth to power and making a living at it, these problems are magnified when trying to do so as a party loyalist; as Mort Sahl learned (for example) when he crossed the Kennedy Administration and found himself to suddenly be commercial poison.
Finally there is the small matter that, at best, satire is a palliative for social problems, and that if hard-hitting social critique via comedy seemed to fade as the Sixties rolled on, it was because what could be done with satire had been done, and that the way forward was through political action, with all its risks and sacrifices; see the careers of Lenny Bruce and Dick Gregory. ( )