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Sublime Rupert and Beautiful Lenny: Aesthetics and Temporality in Scorsese's The King of Comedy and Fosse's Lenny

Sublime Rupert and Beautiful Lenny: Aesthetics and Temporality in Scorsese's The King of... Sublime Rupert and Beautiful Lenny: Aesthetics and Temporality in Scorsese's The King of Comedy and Fosse's Lenny Nikita Nankov The Comparatist, Volume 28, May 2004, pp. 77-95 (Article) Published by The University of North Carolina Press DOI: https://doi.org/10.1353/com.2004.0009 For additional information about this article https://muse.jhu.edu/article/414794/summary Access provided at 18 Feb 2020 10:57 GMT from JHU Libraries THE COMPARATIST SUBLIME RUPERT AND BEAUTIFUL LENNY: AESTHETICS AND TEMPORALITY IN SCORSESE'S THE KING OF COMEDYAND FOSSE'S LENNY Nikita Nankov Being announces itself in the imperative. [. . J But being is not meaning. (Jean-François Lyotard1) The development of the culture industry has led to the predominance of the effect, the obvious touch, and the technical detail over the work itself—which once expressed an idea, but was liquidated together with the idea. (Theodor Adorno and Max Horkheimer 9) At the beginning of The King of Comedy (1983), a film directed by Martin Scorsese, there is a key scene, which, however, seems so trivial that it hardly attracts attention: Jerry Langford (Jerry Lewis), a talk-show host, tries to get rid of Rupert Pupkin (Robert De Niro), a pushy, aspiring stand-up comic who wants to become a guest on Jerry's TV show. Let us give http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png The Comparatist University of North Carolina Press

Sublime Rupert and Beautiful Lenny: Aesthetics and Temporality in Scorsese's The King of Comedy and Fosse's Lenny

Nankov, Nikita.
The Comparatist , Volume 28 – Oct 3, 2012
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Publisher
University of North Carolina Press
Copyright
Copyright © Southern Comparative Literature Association.
ISSN
1559-0887

Abstract

Sublime Rupert and Beautiful Lenny: Aesthetics and Temporality in Scorsese's The King of Comedy and Fosse's Lenny Nikita Nankov The Comparatist, Volume 28, May 2004, pp. 77-95 (Article) Published by The University of North Carolina Press DOI: https://doi.org/10.1353/com.2004.0009 For additional information about this article https://muse.jhu.edu/article/414794/summary Access provided at 18 Feb 2020 10:57 GMT from JHU Libraries THE COMPARATIST SUBLIME RUPERT AND BEAUTIFUL LENNY: AESTHETICS AND TEMPORALITY IN SCORSESE'S THE KING OF COMEDYAND FOSSE'S LENNY Nikita Nankov Being announces itself in the imperative. [. . J But being is not meaning. (Jean-François Lyotard1) The development of the culture industry has led to the predominance of the effect, the obvious touch, and the technical detail over the work itself—which once expressed an idea, but was liquidated together with the idea. (Theodor Adorno and Max Horkheimer 9) At the beginning of The King of Comedy (1983), a film directed by Martin Scorsese, there is a key scene, which, however, seems so trivial that it hardly attracts attention: Jerry Langford (Jerry Lewis), a talk-show host, tries to get rid of Rupert Pupkin (Robert De Niro), a pushy, aspiring stand-up comic who wants to become a guest on Jerry's TV show. Let us give

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The Comparatist – University of North Carolina Press

Published: Oct 3, 2012

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