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I det här arbetet studeras Charlie Chaplins berättartekniker, både sagoberättande, visuellt och audiellt i ett försök att komma fram till huruvida de berättartekniker som Chaplin använde sig av fortfarande kan fungera i komiska produktioner idag. Vi kommer i texten titta närmare på hur han använde kameran både när han filmade och klippte, hur han strukturerade upp sina ljudkompositioner, hur han använde kontraster, hur han skrev sina berättelser för att antalet skämt skulle bli just rätt, samt hur han förde sig både framför och bakom kameran för att sedan applicera detta på en kortfilm i vårt skapande. / In this essay we will be looking into the teqniques which Charlie Chaplin used to tell his stories, both when it comes to plot, visual and auditory storytelling, in an attempt to find out if these techniques still would work in a comic film production today. We will take a closer look at how he used the camera while filming and cutting, how he structured his stories to allow for the optimal amount of slapstick gags, how he would make use of different contrasts, how he structured his sound compositions and finally how he would act both in front and behind the camera so we then can apply this on a short film of our making.

This dissertation is a study of ordinary North Korean people who have persevered in the face of tremendous social, political, and economic trials throughout their country's modern history and a tribute to their unflagging ingenuity and good humor that allowed them to hold onto their humanity. Focusing on the question of agency within the realm of everyday living, my inquiry examines the emergence of a laughing subject during the post-Korean War period and the state's efforts to discipline him through cinema in the succeeding decade. A product of the new Soviet-sponsored cultural policy of the 1950s that promoted social and political satire across the socialist world, the jester became an identity tactically adopted by various individuals, which was responsible for the proliferation of nonconformist practices in North Korea. Using Michel de Certeau's concept of the everyday as a sphere of creative inventiveness, this work describes and analyzes the small acts of "comic disobedience" by means of which the ordinary person has been able to outmaneuver the existing order and create a thriving underground culture of antidiscipline. Spanning a variety of media from print cartoons to live-action cinema to animation, the official response to the jester's challenge, on one hand, sought to create identifiable comic characters and, on the other, effectively demarcate between humor and satire with a view of turning a jarring cacophony of laughing voices into a harmonious chorus of collective mirth serving the state's needs. Based on Bakhtin's notion of heteroglossia, my method of analysis suggests that, despite the government's attempts to eliminate any ambiguity from newly constructed ideological texts, the ordinary individual always finds myriad ways to exercise autonomy through his unending playful subversion of official discourse. By tracing the evolution of this dynamic in the North Korean streets, movie theaters, and film studios over the course of nearly two decades, I argue that the production of formal film comedy was inextricably bound up with the state's desire to interpellate a politically loyal and socially conformist subject and should be seen as part of the larger everyday aesthetic of living that took root within the socialist world. / East Asian Languages and Civilizations

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The subject of this thesis is a genre analysis of Soviet film comedies of the late 60s and the 70s that is based on the reception and production history data. The aim of this research is to grasp this type of comedy as a specific political and socially-cultural phenomenon of the Eastern bloc and its relation to Soviet popular culture. A methodology of the genre analysis will derive from Rick Altman's semantic-syntactic approach, which will allow us to describe the chosen genre group as a complex genre trend set in the unique social, cultural, economic and in this particular case also ideological context, to follow the development and fluidity of the genre trend, as well as to find and to compare mutual attributes of the chosen films. The analysis will not be based solely on the group of the most watched films, but also on the production data focusing mostly on the films' budget, as well as dramaturgic supervision and censorship. Another part of the diploma thesis will be based on the gathered reception data such as contemporary media response and viewer ratings, focusing on the important role that Soviet film comedies played in the period and partially continue to play in the present-day Russian popular culture. Fusion of all analytic parts shall bring us to the basic definition of the Soviet film...

This thesis targets the British sound film especially comedies from 1930{\crq}s till mid 1970{\crq}s because after this period there is greater TV production which took over feature film production. There is described the production of the main studios such as Gainsborough Pictures and Gaumont-British, Ealing Studios and Rank Organisation. I aim then to classify some film styles such as farce, slapstick, burlesque, screwball and romantic comedy, satire and parody. The last target is to find some famous Czech film makers or actors, who worked or are still involed within the British film production. There are name such as Herbert Lom and Anny Ondráková.