Humour and Irony in Dutch Post-War Fiction Film by Peter Verstraten PDF

By Peter Verstraten

ISBN-10: 9089649433

ISBN-13: 9789089649430

Dutch cinema is usually taken care of basically by way of prewar movies or documentaries, leaving postwar fictional movie mostly understudied. even as, a Hollandse university, first named within the Nineteen Eighties, has built via deadpan, ironic motion pictures like these of director and actor Alex van Warmerdam. utilizing seminal theories on humor and comedy, this booklet explores a couple of Dutch movies utilizing the suggestion of different types, corresponding to low-class comedies, neurotic romances, planned camp, and ugly satire. With its unique technique, this examine makes remarkable connections among Dutch motion pictures from a variety of decades.

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Extra info for Humour and Irony in Dutch Post-War Fiction Film

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They are frankly happy to eat sauerkraut with smoked sausage, better than any other meal, and they also appreciate the cosiness of a H U M O U R A N D I R O N Y I N D U T C H P O S T- W A R F I C T I O N F I L M campfire. ’ In this film, this latter saying, which is often said to characterize a Dutch mentality, works to distinguish the Flodders from the Americans. The Flodders may look outrageous and uncivilized, but do not let that fool you, they are content with the simple things in life. Americans, by contrast, are hospitable and civilized in manners, but do not let that fool you, their attitude is a cover-up for their self-absorption, for they like to show off everything as big and beautiful.

The doctor glances downward, and then we see in close-up the title of the book: What Girls Need to Know. Because of the embarrassing pose of the naked doctor, the content of the book is reduced to sexual knowledge, as if girls only need to know about (male) genitals. 3 In Ik ben Joep Meloen, a nurse has to take the temperature of the protagonist, and while he opens his mouth, she asks him to turn over. He does so reluctantly, and then asks him to help her find the right spot for the thermometer.

Thus, she has reason to think of herself as different from the three suspects who have typical feminine occupations (housewife, secretary) or who, like An, has been divorced from a domineering husband (‘so glad the bloke has gone’). In the dream, however, which has no synchronized speech and has many interposed shots of the women of less than one second, Janine becomes aware of her close bond with the three female suspects. She herself has been ‘co-opted as a surrogate man’ (Udris, 164), intent on producing ‘wonderful phrases’ about the mental state of mind of the women for the benefit of male authorities.

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Humour and Irony in Dutch Post-War Fiction Film by Peter Verstraten


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