Humour and Irony in Dutch Post-war Fiction Film /
I tiakina i:
| Kaituhi matua: | |
|---|---|
| Hōputu: | Tāhiko īPukapuka |
| Reo: | Ingarihi |
| I whakaputaina: |
Amsterdam :
Amsterdam University Press,
2016.
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| Rangatū: | Book collections on Project MUSE.
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| Ngā marau: | |
| Urunga tuihono: | Full text available: |
| Ngā Tūtohu: |
Kāore He Tūtohu, Me noho koe te mea tuatahi ki te tūtohu i tēnei pūkete!
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| Whakarāpopotonga: | If Dutch cinema is examined in academic studies, the focus is usually on pre-war films or on documentaries, but the post-war fiction film has been sporadically addressed. Many popular box-office successes have been steeped in jokes on parochial conflicts, vulgar behavior and/or on sexual display, towards which Dutch people have often felt ambivalent. At the same time, something like a 'Hollandse school', a term first coined in the 1980s, has manifested itself more firmly, with the work of Alex van Warmerdam, pervaded in deadpan irony as its biggest eye-catcher. Using seminal theories of humor and irony as an angle, this study scrutinizes a great number of Dutch films on the basis of categories such as low-class comedies; neurotic romances; deliberate camp; cosmic irony, or grotesque satire. Hence, Humour and Irony in Dutch Post-war Fiction Film makes surprising connections between films from various decades: Flodder and New Kids Turbo; Spetters and Simon; Rent a Friend and Ober; De verloedering van de Swieps and Borgman; Black Out and Plan C. |
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| Whakaahuatanga ōkiko: | 1 online resource (480 pages): illustrations |
| ISBN: | 9789048528370 |
| Urunga: | Open Access |