Sarah is magic: The (post-gendered?) comedy of Sarah Silverman

Shouse, Eric; Oppliger, Patrice A.

doi:10.1386/cost.3.2.201_1

Cited by 10 publications

(10 citation statements)

References 6 publications

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“…The Comedy Central era of televised roasts has changed the nature of roasts and audience expectations for them. As Eric Shouse and Patrice Oppliger (2012, 208) describe them, Comedy Central Roasts are “bawdy tributes that demand a comic be comfortable mocking the looks and character of the guest of honour.” Late-night television segments like “Celebrities Read Mean Tweets” resemble historic televised roasts with their emphasis on humor and affection, whereas the Comedy Central Roasts more closely resemble social media bullying with its impersonal, vitriolic qualities. The Friars Club jokes were salacious but always affectionate.…”

Section: Mean Tweets and The Celebrity Roastmentioning

confidence: 99%

Remediating the Celebrity Roast: The Place of Mean Tweets on Late-Night Television

Kies

2019

Television & New Media

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This article uses the “Celebrities Read Mean Tweets” segment on late-night talk show Jimmy Kimmel Live! as a case study in how television can remediate social media to maintain its dominant position in entertainment. The incorporation of tweets into television appears to demonstrate the power social media has over broadcast media, but a careful study reveals that television and film celebrities use television appearances to denounce “mean tweets” as an example of frenzied and cacophonous social media. Drawing on the history of the televised celebrity roast, I argue that contemporary roasts resemble Internet trolling while segments like “Celebrities Read Mean Tweets” embody the spirit of historical roasts by granting celebrities the opportunity to laugh at jokes about themselves. Thus, the segment reiterates the hierarchical position of “old media”: television as a source of comfort and clarity, and the Hollywood celebrity as the epicenter of culture.

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Section: Mean Tweets and The Celebrity Roastmentioning

confidence: 99%

Remediating the Celebrity Roast: The Place of Mean Tweets on Late-Night Television

Kies

2019

Television & New Media

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“…Her YouTube audience's comments included "bitch", "dumb", and "idiot", which, apart from hostility and resentment, revealed sexist attitudes by degrading Wong as a "bitch". This difference in YouTube reactions to Ali Wong's stand-up comedy performances potentially reflects a known double standard between the evaluation of female and male stand-up comedy performances (Shouse & Oppliger, 2012). Some YouTube users even commented on Wong's pregnancy, making her stand-up comedy's content a criterion for her parenting skills (see comment 17 and 18 in Appendix C).…”

Section: The Influence Of Political Correctness On Stand-up Comedy 49mentioning

confidence: 99%

The Influence Of Political Correctness On Stand Up Comedy

Buehler¹

2021

Preprint

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Over the past 20 years, stand-up comedy has been part of the public debate within a prevailing ideology of non-discrimination and inclusiveness – most notably in relation to political correctness. In this context, a trend seems to be emerging, in which a person’s taste in humour is defined by their political identity (Healy, 2016). In other words, a joke is not funny unless it meets a person’s taste conventions prescribed by a political paradigm (Healy, 2016). While the current humour and comedy research aided the analysis of this paper, they present dichotomous views that either allow or disallow joking about certain topics. This dichotomy suggests that the current humour and comedy research does not do justice to the complexity of the topic and that there is a need for further research. This major research paper examined stand-up comedy in an age of political correctness and argued that an ideology of political correctness, non-discrimination and inclusiveness influences the content of stand-up comedy performances and the audience’s responses to them. I analyzed YouTube videos containing race-based and rape jokes as well as jokes about gender stereotypes. Moreover, I examined YouTube users’ comments to the three different joke-tokens. Examining both the jokes and YouTube users’ comments gave me insight into how these joketokens are understood and perceived by YouTube users. None of the jokes can be considered politically correct. This implies that these jokes can ignite political debates, which was observable in YouTube comments about feminism, liberals, gender stereotypes, sexism, misogyny, racism, East Asian culture, rape myths and misandry. The YouTube commenters’ perception seems to be that political correctness has been attempting to influence the stand-up comedy environment with the aim to dictate the content of stand-up comedy performances. However, the YouTube users see political correctness as a “killer” of stand-up comedy and as a negative concept mainly promoted by liberals, the leftist society and feminists. The most dominant theme across all YouTube comments seemed to be the aversion to feminism. Regardless of the joke, feminism was the concept that commenters blamed for the existence of political correctness, the censorship of stand-up comedy performances, for a joke’s lack of funniness, and for the lack of awareness and importance of male rape in research and society. In stand-up comedy, it is an art and talent to convey the literal meaning of a joke so that the subtext is clearly derivable – and even then, the audience’s interpretation depends on experiences, emotions, values, beliefs and political ideologies.

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“…Komediatutkimus nykyään vastustaakin jakoa miesten ja naisten komediamuotoihin. Tutkijat ovat nähneet tärkeämpänä tutkia eri koomikoiden välisiä eroja ja samankaltaisuuksia kuin pyrkiä selittämään niitä yksinkertaistavasti ja yleistävästi sukupuolella (Gilbert, 2004;Shouse & Oppliger, 2012). Kehitys on johtanut sukupuolenjälkeisyyden pohtimiseen.…”

Section: Standup Ja Poliittisen Komedian Sukupuolittuneisuusunclassified

“…Politiikka ja poliittinen komedia on molemmat nähty miehisenä tilana niiden aggressiivisen ja valta-asetelmiin perustuvan luonteen takia. Komediatutkijoiden mukaan riehakkuus tai voimakas kielenkäyttö onkin saatettu tulkita miehiseksi etuoikeudeksi ja naisten on odotettu välttävän riidanhaluista tai liian suorasukaista tyyliä komediassaan (Graban, 2014;Mizejewski, 2014;Shouse & Oppliger, 2012). Heitä on syytetty epänaisellisuudesta, maskuliinisuudesta, ei-hauskuudesta tai epäsopivuudesta käyttäessään aggressiivista tyyliä ja nämä syytökset toistuivat myös Wolfin kohdalla.…”

Section: Kuka Saa Olla Aggressiivinen?unclassified

Poliittisen standup-komedian sukupuolittuneisuus Valkoisen talon kirjeenvaihtajien illallisilla

Hakola

2019

prlg

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Sarah is magic: The (post-gendered?) comedy of Sarah Silverman

Cited by 10 publications

References 6 publications

Remediating the Celebrity Roast: The Place of Mean Tweets on Late-Night Television

Remediating the Celebrity Roast: The Place of Mean Tweets on Late-Night Television

The Influence Of Political Correctness On Stand Up Comedy

Poliittisen standup-komedian sukupuolittuneisuus Valkoisen talon kirjeenvaihtajien illallisilla

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