Enfant Terrible!: Jerry Lewis in American FilmMurray Pomerance NYU Press, 2002 - 274 страници The one thing everybody knows about Jerry Lewis is that he is beloved by the French, those incomprehensible hedonistic strangers across the sea. The French understand him, while in the U.S. he is at best a riddle, not one of us. Lewis is someone we take profound pleasure in excluding, if not ridiculing. |
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Jerry Lewis in American Film Murray Pomerance. Onscreen he seems an animal out of its cage. Jerry Lewis (r.) with Dorothy Malone (l.) in Artists and Models (Frank Tashlin, Paramount, 1955). Frame enlargement. “What we really laughed at in ...
... seems intemperate and therefore asocial, even mortifying. He is strident, brash, dysfunctional, uncoordinated, immature, inarticulate, imposing, hyperactive (while at the same time, as Scott Bukatman has noted [1991], being paralyzed) ...
... seems an animal out of its cage—a monkey, some have said, and as he bombards Fred Clark and Janet Leigh with light bulbs from high up in a chandelier in Living It Up (1954), the epithet seems to fit. But Jerry is, to our great (and ...
... those performances, Jerry Lewis seems exceptionally prone to such (mis)reading. Yet we have no agency for experiencing Lewis offscreen except “Jerry,” another character. If one implication of this relentless mediation is that INTRODUCTION ...
... seem what they seem, and we need not pursue that “source.” If, too, Jerry were only “being himself” onscreen, only ... seems to merit their full engagement. To appreciate Lewis one must go back in time, bringing a certain curiosity and ...
Съдържание
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3 Jerry Lewis and Social Transformations | 107 |
4 JerryBuilt | 193 |
Works Cited | 256 |
Contributors | 265 |
Index | 269 |