Cabaret Love

Barker, Lillian

Published by Grosset & Dunlap, 1933
Used / Hardcover / Quantity Available: 0
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Spine torn, bottom spine worn, and slightly; 8vo; 278 pages Good faded. Pages yellowing, back board lightly creased. Bookseller Inventory #

Bibliographic Details

Title: Cabaret Love
Publisher: Grosset & Dunlap
Publication Date: 1933
Binding: Hardcover

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ISBN 13: 0018111245494
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Book Description Stanford University Press. Paperback. Book Condition: As New. Straight spine with no creases. Cover has no damage and pages show little wear. Bookseller Inventory # G0804738947I2N00

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Book Description Stanford University Press, 2001. Book Condition: Good. 1st Edition. Former Library book. Shows some signs of wear, and may have some markings on the inside. Bookseller Inventory # GRP2787673

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Gordon, Rae Beth
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Book Description Stanford University Press, 2017. Paperback. Book Condition: New. Never used! This item is printed on demand. Bookseller Inventory # 0804738947

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Book Description Columbia Pictures Publications, 1980. Paperback. Book Condition: Good. Very good except for an orange stain on cover. Bookseller Inventory # mon0000572972

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Book Description Stanford University Press. Paperback. Book Condition: New. 296 pages. Dimensions: 8.5in. x 6.0in. x 0.7in.Vividly bringing to light the tradition of physical comedy in the French cabaret, caf-concert, and early French film comedy, this book answers the perplexing question, Why do the French love Jerry Lewis The extraordinary emphasis on nervous pathology in the Parisian caf-concert, where the genres of the Epileptic Singer and the Idiot Comic took center stage, and where popular comic monologues and songs included Man with a Tic and Im Neurasthenic, points to a fascinating intersection between medicine and popular culture. The French tradition of comic performance style between 1870 and 1910 nearly exactly duplicates the movements, gestures, tics, grimaces, and speech anomalies found in nineteenth-century hysteria; the characteristics of hysteria became a new aesthetics. This item ships from multiple locations. Your book may arrive from Roseburg,OR, La Vergne,TN. Paperback. Bookseller Inventory # 9780804738941

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Published by Stanford University Press, United States (2002)
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Book Description Stanford University Press, United States, 2002. Paperback. Book Condition: New. Language: English . Brand New Book ***** Print on Demand *****.Vividly bringing to light the tradition of physical comedy in the French cabaret, cafe-concert, and early French film comedy, this book answers the perplexing question, Why do the French love Jerry Lewis? The extraordinary emphasis on nervous pathology in the Parisian cafe-concert, where the genres of the Epileptic Singer and the Idiot Comic took center stage, and where popular comic monologues and songs included Man with a Tic and I m Neurasthenic, points to a fascinating intersection between medicine and popular culture. The French tradition of comic performance style between 1870 and 1910 nearly exactly duplicates the movements, gestures, tics, grimaces, and speech anomalies found in nineteenth-century hysteria; the characteristics of hysteria became a new aesthetics. Early French film comedy carried on this tradition of frenetic gesture and gait, as most film performers came from these entertainments and from the circus. Even before Chaplin s films triumphed in France, film comics were instantly recognizable from their pathological gait, just as Jacques Tati would be a half-century later. Comedy, a genre that dominated French cinema until World War I, has often been linked to a mass public for film; the author elucidates this link by proposing a broadly generalized cultural-medical phenomenon as the explanation for the dominance of the comic genre. Comic performance style drew from a group of nervous disorders characterized by the psychological automatism emanating from the lower faculties : nervous reflex, motor impulses, sensation, and instinct. Building on her previous work on hysteria, the cabaret, and pathologies of movement in the films of Georges Melies, and drawing on over 400 French films made between 1896 and 1915, the author contributes to a new theory of spectatorship at work in the cabaret, in shows of magnetizers, and in early French film comedy. Jerry Lewis touches a nerve in French cultural memory because, more than any other film comic, he incarnates this tradition of performance style. Bookseller Inventory # APC9780804738941

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Rae Beth Gordon
Published by Stanford University Press, United States (2002)
ISBN 10: 0804738947 ISBN 13: 9780804738941
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Book Description Stanford University Press, United States, 2002. Paperback. Book Condition: New. Language: English . Brand New Book ***** Print on Demand *****. Vividly bringing to light the tradition of physical comedy in the French cabaret, cafe-concert, and early French film comedy, this book answers the perplexing question, Why do the French love Jerry Lewis? The extraordinary emphasis on nervous pathology in the Parisian cafe-concert, where the genres of the Epileptic Singer and the Idiot Comic took center stage, and where popular comic monologues and songs included Man with a Tic and I m Neurasthenic, points to a fascinating intersection between medicine and popular culture. The French tradition of comic performance style between 1870 and 1910 nearly exactly duplicates the movements, gestures, tics, grimaces, and speech anomalies found in nineteenth-century hysteria; the characteristics of hysteria became a new aesthetics. Early French film comedy carried on this tradition of frenetic gesture and gait, as most film performers came from these entertainments and from the circus. Even before Chaplin s films triumphed in France, film comics were instantly recognizable from their pathological gait, just as Jacques Tati would be a half-century later. Comedy, a genre that dominated French cinema until World War I, has often been linked to a mass public for film; the author elucidates this link by proposing a broadly generalized cultural-medical phenomenon as the explanation for the dominance of the comic genre. Comic performance style drew from a group of nervous disorders characterized by the psychological automatism emanating from the lower faculties : nervous reflex, motor impulses, sensation, and instinct. Building on her previous work on hysteria, the cabaret, and pathologies of movement in the films of Georges Melies, and drawing on over 400 French films made between 1896 and 1915, the author contributes to a new theory of spectatorship at work in the cabaret, in shows of magnetizers, and in early French film comedy. Jerry Lewis touches a nerve in French cultural memory because, more than any other film comic, he incarnates this tradition of performance style. Bookseller Inventory # APC9780804738941

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Rae Beth Gordon
Published by Stanford University Press (2002)
ISBN 10: 0804738947 ISBN 13: 9780804738941
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Book Description Stanford University Press, 2002. Book Condition: Good. A+ Customer service! Satisfaction Guaranteed! Book is in Used-Good condition. Pages and cover are clean and intact. Used items may not include supplementary materials such as CDs or access codes. May show signs of minor shelf wear and contain limited notes and highlighting. Bookseller Inventory # 0804738947-2-4

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Gordon, Rae Beth
Published by Stanford University Press
ISBN 10: 0804738947 ISBN 13: 9780804738941
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Book Description Stanford University Press. PAPERBACK. Book Condition: Good. 0804738947 Bumped and creased book with tears to the extremities, but not affecting the text block and a remainder mark to one edge - Good. Bookseller Inventory # Z0804738947Z3

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