1930'ernes danske filmkomedie i et lyd-, medie- og genreperspektiv ...
1930'ernes danske filmkomedie i et lyd-, medie- og genreperspektiv ...
1930'ernes danske filmkomedie i et lyd-, medie- og genreperspektiv ...
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fokuserede arbejde med narration, identifikation <strong>og</strong> selvforglemmelse. Ikkeherm<strong>et</strong>iske<br />
genrer (non-herm<strong>et</strong>ic genres) som comedian comedy, musicals <strong>og</strong><br />
tegnefilm har mere åben narrativ struktur, som anerkender sin tilskuer <strong>og</strong> fremviser<br />
sin narration:<br />
a more open and expansive narrative structure which acknowledges the<br />
spectator, narrative exposition, by actors who ”step out” of character, a<br />
foregrounding of its marks of production, essential artificiality, and a<br />
deconstruction of its signifying practices. (Seidman 1981: 55)<br />
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Steve Seidman, som vi kommer tilbage til under ritualer, tages op af de såkaldte<br />
revisionister, der kritiserer hans b<strong>og</strong> for at være uhistorisk (Krutnik 2003: 10).<br />
Seidman bløder <strong>og</strong>så op i sin artikel fra 2003 ”Performance, Ennunciation and Selfrefence<br />
in Hollywood Comedian Comedy”. I praksis b<strong>et</strong>yder d<strong>et</strong>, at han arbejder mere<br />
med historisk specifikke forløbere <strong>og</strong> paralleller i folkeligt underholdningsteater frem<br />
for at se comedian comedy som en stabil <strong>og</strong> uforanderlig genre. Henry Jenkins er<br />
repræsentant for den nye skole af historierevisionister. I What made Pisstacio nuts?<br />
behandler han d<strong>et</strong>, han kalder anarkistiske ko<strong>medie</strong>r (anarchistic co<strong>medie</strong>s) i<br />
Hollywood efter overgangen til <strong>lyd</strong>filmen. Han formulerer forhold<strong>et</strong> mellem revyæst<strong>et</strong>ik<br />
(vaudeville aesth<strong>et</strong>ic) <strong>og</strong> den klassiske film som to modsatr<strong>et</strong>tede principper.<br />
Mød<strong>et</strong> mellem dem skaber film, der er karakteriser<strong>et</strong> af<br />
comp<strong>et</strong>ing if not directly contradictory aesth<strong>et</strong>ic impulses, one that assert[s]<br />
the centrality of narrative only to puncture that narrative with a series of selfcontained<br />
performance sequences that are often far more memorable than any<br />
story the film might tell, one that rupture[s] character consistency to allow for<br />
a constant display of performer virtuosity. (Krutnik, red. 2003: 99)<br />
D<strong>et</strong> er meg<strong>et</strong> tydeligt, at Jenkins går <strong>et</strong> skridt videre end at registrere en samkørsel af<br />
narrationen <strong>og</strong> gagens uforenelige principper. Der ligger en klar positiv vurdering af<br />
vaudevilleæst<strong>et</strong>ikken (far more memorable, performer virtuosity) over for <strong>et</strong> kedeligt<br />
narrativ. Jenkins nomenklatur peger ligeledes på en påskønnelse af d<strong>et</strong> performative.<br />
Ko<strong>medie</strong>ns ideol<strong>og</strong>iske potentiale bliver ikke sjældent fremstill<strong>et</strong> som potentielt<br />
omvæltende af dem, der ser gagen som antit<strong>et</strong>isk til Hollywood-narration. Crafton<br />
formulerer d<strong>et</strong> således: ”the frequent intrusion of spectacle produce a kind of narrative<br />
lurching that often makes the plots of slapstick co<strong>medie</strong>s distinctively incoherent (and<br />
delightfully so)” (Crafton 1995: 108).<br />
En række forfattere tolker de performative elementer som integrerbare i narrativ<strong>et</strong>.<br />
Tom Gunning taler i en diskussion med Crafton om 1920’ernes slapstickko<strong>medie</strong> for<br />
<strong>et</strong> nuancer<strong>et</strong> tvesyn (double view) på gagene. Han argumenterer, at der ikke er tale<br />
om, at gagen opløses i narrationen eller omvendt, men at der i mød<strong>et</strong> mellem dem<br />
sker en omkørsel af narrativ<strong>et</strong>.<br />
In their contact with narrative, gags do not simply lose their independence, but<br />
precisely subvert the narrative itself. This is not done through their<br />
nonnnarrative exess, their d<strong>et</strong>ouring of narrative concerns into pure attraction,<br />
but precisely through their integration with narrative, their adoption of<br />
narrative’s form of l<strong>og</strong>ic anticipation, and then their subversion of it. (Gunning<br />
1995b: 120)<br />
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