"We're both short Jews. That's where it ends": the problematics of comparing Mel Brooks and Woody Allen / Beth E. Bonnstetter. The popular (and political) Mel Brooks: a selective review of scholarship and criticism / Samuel Boerboom and Melissa Bohem -- "Where the white women at?": demolishing the myth of the West / Richard Loosbrock -- "A torch to light the way": the visual rhetoric of Blazing Saddles / Leanne Stuart Pupchek -- The very rotten 1970s: Mel Brooks's satire of politics in the age of Ford / Lisa Ellert, Micayla Lander, and James McCauley -- Not just a dresser: to be or not to be and the case of Sasha Kinski / Samuel Boerboom -- Spaceballs as Mel Brook's parodic prophecy of franchise fascism / Garret l. Castleberry and William McMurry -- The framing of poverty in Mel Brooks's Life Stinks: a content and textual analysis / Melissa Boehm -- What a meshugenner! Mel Brooks's politics of Jewish humor / Matt Meier -- "When you got it, flaunt it": white masculinity and sexuality in The Producers -- Kimberley Hannah-Prater -- "We're both short Jews. That's where it ends": the problematics of comparing Mel Brooks and Woody Allen / Beth E. Bonnstetter.
Summary:
The Political Mel Brooks analyzes both Mel Brooks's more popular and lesser-known works to explore how his use of parody and satire, his keen sense of the history of Jewish comedic conventions, and his deep awareness of social issues encompass a political project that, while often implicit, nonetheless speaks to the enduring political and social impact of his films. Brooks's work often employs a nuanced political style that acts as a social commentary against those in power and in favor of oppressed and misunderstood persons--back cover.
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