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МИНИСТЕРСТВО НАУКИ И ВЫСШЕГО ОБРАЗОВАНИЯ РОССИЙСКОЙ ФЕДЕРАЦИИ
Федеральное государственное автономное образовательное учреждение высшего образования
«ТЮМЕНСКИЙ ГОСУДАРСТВЕННЫЙ УНИВЕРСИТЕТ» ШКОЛА ПЕРСПЕКТИВНЫХ ИССЛЕДОВАНИЙ (SAS)

ВЫПУСКНАЯ КВАЛИФИКАЦИОННАЯ РАБОТА
бакалаврская работа
WAR AND НUMOR: ТНЕ CARNIV AL OF CONТEМPORARY WORLD WAR II COМEDIES / АНАЛИЗ СОЧЕТАНИЯ ЮМОРА И ВОЙНЫ: КАРНАВАЛ СОВРЕМЕННЫХ КОМЕДИЙ ПРО ВТОРУЮ МИРОВУЮ ВОЙНУ

42.03.05 Медиакоммуникации Профиль «Кино и медиа»

Тюмень 2023
MINISTRY OF SCIENCE AND HIGHER EDUCATION OF RUSSIAN FEDERATION
Federal Autonomous Educational Institution of Higher Professional Education
«UNIVERSITY OF TYUМEN»

SCHOOL OF ADVANCED STUDIES
RECOMМENDED FOR А DEFENSE IN SEC


UNDERGRADUATE THESIS
WAR AND НUМОR: ТНЕ CARNIVAL OF CONTEMPORARY WORLD WAR II COМEDIES / АНАЛИЗ СОЧЕТАНИЯ ЮМОРА И ВОЙНЫ: КАРНАВАЛ СОВРЕМЕННЫХ КОМЕДИЙ ПРО ВТОРУЮ МИРОВУЮ ВОЙНУ

42.03.05 Mediacoшшunication Маjог «Film and Media Studies»

Tyumen 2023

TABLE OF CONTENTS ABSTRACT 4
INTRODUCTION 5
CHAPTER 2. ANTI-NAZI COMEDIES AND PROPAGANDA FILMS 16
CHAPTER 3. INGLOURIOUS BASTERDS OR GLORIOUS HEROES? 21
CHAPTER 4. THE GROTESQUE PLAYFIGHTS IN JOJO RABBIT 27
CONCLUSION 32
FILMOGRAPHY 33
BIBLIOGRAPHY 34

ABSTRACT
Is it acceptable to laugh at the deadliest catastrophe in human history? This study explores the political rhetoric of the good–evil dichotomy in imagery and representations of war. Two modern comedies, Inglourious Basterds (2009) and Jojo Rabbit (2019), both set in World War 2, raise questions about contemporary American politics. Despite the prejudice about superficiality, escapism or Theodor Adorno’s “jovial denial” of the comedy genre, these films critique the “evil” discourse in nationalistic rhetoric in America that has been commonplace during the War on Terror. While these films use transgressive imagery and representations of ethnic oppression that demonize the “absolute evil” and reflect the violent persecution Jews in Jojo Rabbit or inversely, Nazis in Inglourious Basterds, these films confront ethical concerns about the normalizing potential of humor. The paper applies the Bakhtinian concept of the carnival and notions of socio-critical forms of humor as ambiguous irony and double-voiced parody. In so doing, it analyses both of these political satires and their a) critical, b) politically subversive or c) relief potential. However, the critical and ambiguous character of ironic, political messages and the “half-play” character of these temporary and modern embodiments of carnival neutralize their risky and politically subversive premises but their execution is critically progressive and society saving.

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