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Beyond a Cutout World: Ethnic Humor and Discursive Integration in South Park

Beyond a Cutout World: Ethnic Humor and Discursive Integration in South Park Beyond a Cutout World: Ethnic Humor and Discursive Integration in South Park matt sienkiewicz and nick marx a quick surve y of recent popul ar Ameri- Although this understanding may suffice for can film and television comedy reveals a trend the purposes of popular criticism, it neglects in the portrayal of racists, racism, and the sorts the question of how media texts are ultimately of stereotypes historically associated with con- able to create messages that, while offensive servative, Eurocentric worldviews. Comedians on one level, can be deemed socially accept- such as Sarah Silverman, films such as Borat: able when considered in a larger context. It Cultural Learnings of America for Make Benefit also fails to consider whether this trend makes Glorious Nation of Kazakhstan, and television a positive, progressive contribution to discus- shows such as FOX’s Family Guy all casually sions of prejudice in America or works to anni- reproduce the external markings of racist hilate the distinctions that make such debates beliefs in the service of comedy with what is possible. In this essay, we look to the show that presumably an ironic tone. As New York Times perhaps best represents this phenomenon, critic A. O. Scott notes http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Journal of Film and Video University of Illinois Press

Beyond a Cutout World: Ethnic Humor and Discursive Integration in South Park

Sienkiewicz, Matt.; Marx, Nick.
Journal of Film and Video , Volume 61 (2) – May 16, 2009
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Publisher
University of Illinois Press
Copyright
Copyright © 2008 The Board of Trustees of the University of Illinois.
ISSN
1934-6018

Abstract

Beyond a Cutout World: Ethnic Humor and Discursive Integration in South Park matt sienkiewicz and nick marx a quick surve y of recent popul ar Ameri- Although this understanding may suffice for can film and television comedy reveals a trend the purposes of popular criticism, it neglects in the portrayal of racists, racism, and the sorts the question of how media texts are ultimately of stereotypes historically associated with con- able to create messages that, while offensive servative, Eurocentric worldviews. Comedians on one level, can be deemed socially accept- such as Sarah Silverman, films such as Borat: able when considered in a larger context. It Cultural Learnings of America for Make Benefit also fails to consider whether this trend makes Glorious Nation of Kazakhstan, and television a positive, progressive contribution to discus- shows such as FOX’s Family Guy all casually sions of prejudice in America or works to anni- reproduce the external markings of racist hilate the distinctions that make such debates beliefs in the service of comedy with what is possible. In this essay, we look to the show that presumably an ironic tone. As New York Times perhaps best represents this phenomenon, critic A. O. Scott notes

Journal

Journal of Film and Video – University of Illinois Press

Published: May 16, 2009

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