Shocked But Connected: Notes on Laughter by Michael RoemerShocked But Connected: Notes on Laughter by Michael Roemer

Shocked But Connected: Notes on Laughter

byMichael Roemer

Hardcover | September 14, 2012

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Why do funny movies make us laugh? In this thoughtful essay, by turns stimulating and meditative, distinguished filmmaker and Yale professor Michael Roemer shares his musings on what causes us to chortle, snort, and guffaw when we watch antics onscreen or onstage. Roemer keeps us chuckling as he dissects punchy one-liners, Shakespearean plays, and everything in-between.  Incorporating theories from such great thinkers as Sigmund Freud, Charles Baudelaire, Henri-Louis Bergson, and Soren Kierkegaard with the work of classic comedians like Charlie Chaplin, Buster Keaton, and the Marx Brothers, Roemer examines the purpose of comedy in our lives and in society. Shocked But Connected provides a serious reflection on a lighthearted subject.
Michael Roemer is a distinguished filmmaker, writing and directing films such as Nothing But a Man; Pilgrim, Farewell; and the award-winning documentaries Dying and Cortile Cascino. From 1971 to the present, he has taught filmmaking and aesthetics at Yale University, where he is professor emeritus today.  
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Title:Shocked But Connected: Notes on LaughterFormat:HardcoverDimensions:288 pages, 9.34 × 6.19 × 1.05 inPublished:September 14, 2012Publisher:Rowman & Littlefield PublishersLanguage:English

The following ISBNs are associated with this title:

ISBN - 10:1442217561

ISBN - 13:9781442217560

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Table of Contents

PrefaceChapter 1: SurprisedChapter 2: FreudChapter 3: Different and ScaryChapter 4: DisconnectedChapter 5: Bergson and High ComedyChapter 6: Blind and Helpless but AliveChapter 7: ChildhoodChapter 8: Making It RealChapter 9: Annie HallChapter 10: Free but Connected

Editorial Reviews

Michael Roemer has written a wonderful book about laughter. Perceptive, deeply intelligent, and above all readable, Shocked But Connected performs the rare feat of defining the humor of comic genius without ever spoiling the joke. Roemer has an unerring touch with silent and sound films, with the written as with the spoken word. Keaton and Chaplin are here alongside Woody Allen and not far from Chesterton and Celine. The aphorisms and anecdotes with which the book is generously sown add up to an argument we can carry forward in our own minds. The prose has a sting and savor that is finely adapted to the subject.