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Race and Representation in Comedy Race and Representation in Comedy By:  Patricia Holobow Ellen  Bayley Adam Herst Natalie Sie Ariel Lin
Two Truths and a Lie
The Museum ,[object Object],[object Object]
The Ambiguity of Irony ,[object Object],[object Object],[object Object]
The Ambiguity of Irony cont. ,[object Object],[object Object],[object Object]
Our Argument ,[object Object],[object Object]
Comedic Genres ,[object Object],[object Object],[object Object],[object Object]
Sketch Comedy ,[object Object]
Stand-Up Comedy ,[object Object]
Sitcoms ,[object Object]
The Onion Movie ,[object Object],[object Object],[object Object],[object Object]
Armed Gunman ,[object Object],[object Object]
Melissa Cherry ,[object Object],[object Object],[object Object]
Gay Cruise ,[object Object],[object Object],[object Object]
Satire ,[object Object],[object Object],[object Object]
Satire and Stereotypes ,[object Object],[object Object],[object Object],[object Object]
“ Arab is the New Nigger”: African American Comics Confront the Irony and Tragedy of September 11. ,[object Object],[object Object],[object Object],[object Object],[object Object]
Article cont. ,[object Object],[object Object],[object Object],[object Object]
Jacobs-Huey Conclusion ,[object Object],[object Object]
Criticism of Jacobs-Huey ,[object Object],[object Object]
Summary of Satirical Comedy ,[object Object],[object Object]
[object Object]
Stand-Up Comedy ,[object Object],[object Object],&
Stand-Up Comedy Questions ,[object Object],[object Object]
How does his portrayal of those groups socially construct and/or dispel conceptions of race, gender, class, sexuality, nationality, etc.?
How does the material and its delivery mesh with societal values (e.g., is it considered funny/serious, acceptable/unacceptable), and who gets to decide the threshold for those values?
If the audience responds positively (i.e., laughs) to humor based on race, gender, sexuality, etc., what does that mean about the jokes, the groups who are the butt of jokes, and the everyday societal situations (i.e., our cultural framework) that give power to the jokes?
When audience members laugh, but are not from members of the social group being roasted, at what point does this convey prejudice and discrimination?
Trailer Park Boys ,[object Object],[object Object],[object Object]
Discussion Comments and Questions ,[object Object],[object Object],[object Object]
Discussion cont. ,[object Object],[object Object],[object Object],[object Object],[object Object]
Last Thoughts on Trailer Park Boys ,[object Object]
Conclusion ,[object Object]
Additionally ,[object Object],[object Object]
Where Do We Go From Here? ,[object Object],[object Object]

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VPAB07 Race and Representation in Comedy

  • 1. Race and Representation in Comedy Race and Representation in Comedy By: Patricia Holobow Ellen Bayley Adam Herst Natalie Sie Ariel Lin
  • 3.
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  • 25. How does his portrayal of those groups socially construct and/or dispel conceptions of race, gender, class, sexuality, nationality, etc.?
  • 26. How does the material and its delivery mesh with societal values (e.g., is it considered funny/serious, acceptable/unacceptable), and who gets to decide the threshold for those values?
  • 27. If the audience responds positively (i.e., laughs) to humor based on race, gender, sexuality, etc., what does that mean about the jokes, the groups who are the butt of jokes, and the everyday societal situations (i.e., our cultural framework) that give power to the jokes?
  • 28. When audience members laugh, but are not from members of the social group being roasted, at what point does this convey prejudice and discrimination?
  • 29.
  • 30.
  • 31.
  • 32.
  • 33.
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  • 35.