Tournes, André: Le sens vécu du non-sens filmé
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(français)
Jeune Cinéma, No. 12
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Broun, Heywood: It Seems to Me (column)
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New York Telegraph, 1928
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(N.N.): Europa Has a Rough Trip
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New York Times, 15 Feb 1931
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Moffitt, John C.: Censorship for Interviews Hollywood's Wild Idea
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Cinema Digest, 09 Jan 1933
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Dali, Salvador: Surrealism in Hollywood
(Translation by George Davis)
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Harper's Bazaar, Jun 1937
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Berman, Sam: Caricature of The Marx Brothers
Large format news type magazine, only published for 2 years. Strong anti-facist, anti-communist leanings. Contains period photography, articles, political illustrations etc. Caricatures of Clark Gable and Carole Lombard
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Ken magazine, Vol. 2, No. 7, Oct 1938
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Jedla: "I shot a bear [sic] in my pajamas..."
Cartoon of Groucho
(N.N.): Movie Lines
(N.N.): Art in Hollywood
Article about art collections of Hollywood stars. Has two photos of Harpo.
(N.N.): The Personal Pitch
(N.N.): (Cover with 11 all-time great comedians among them Groucho)
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Look Magazine, 10 Apr 1951
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Coursodon, J.-P.: La tradition de l'absurde
This article about the absurd cinema in general has one chapter comparing Lewis Carroll and Groucho
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(français)
Cinéma 60, No. 49, 1960-Aug/Sep
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Silver, Charles: Leo McCarey: From Marx To McCarthy
Ace, Goodman: Age
"Top of My Head"-column
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Saturday Review, 02 Nov 1974
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Hainey, Donald: Boris Vian, the Marx Brothers, and Jean-Sol Partre
Keywords: French literature; 1900-1999; Vian, Boris
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Books-Abroad, 49, 66-69, 1975
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Ward. J.A.: The Hollywood Metaphor: The Marx Brothers, S.J. Perelman, and Nathanael West
Keywords: American literature; 1900-1999; West, Nathanael; American literature; 1900-1999; Perelman, S. J.
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The Southern Review, 12, 659-72, Baton Rouge, LA, 1976, Summer, ISSN: 0038-4534
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Gale-Steven-H. (ed.): "S. J. Perelman: Critical Essays", Garland, Hamden, CT, 1992
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Chase, Chevy: Chevy Chase: I'm Not Mr. Cruel
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New York Times, 02 Oct 1977
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Whelan, Richard: Cruelty vs. Compassion Among the Comics
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New York Times, 02 Oct 1977
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Ace, Goodman: Personal
"Top of My Head"-column
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Saturday Review, 18 Feb 1978
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Warhol, Andy: Ten portraits of Jews of the 20th century: The Marx Brothers (1980)
(art reproduction)
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Art in America, Vol. 68, May 1980, ISSN: 0004-3214
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Wickbom, K.: Paragons Among Motion-Picture Farceurs
Keywords: Dickson, Keaton, Fields, Laurel and Hardy, Chaplin, Langdon, The Marx Brothers, Lewis, Brooks
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(svenska)
Filmrutan, Vol. 26, Is. 3, Sundsvall, Sweden, 1983, ISSN: 0015-1661
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Drawson, Blair: Going Hollywood with the Marx Brothers
(art reproduction)
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Graphis, v. 39, 1983-Jan/Feb, ISSN: 0017-3452
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Fulton, Robert C., III.: Love's Labour's Lost and the Marx Brothers
Keywords: English literature; 1500-1599; Shakespeare, William; Love's Labour's Lost; comedy; humor; language; compared to Marx Brothers
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The Upstart Crow, 5, 125-134, Springfield, MO, 1984, Fall, ISSN: 0886-2168
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McConnell, Robert: A Theory of Comedy: Comparisons between British and American Comedy in the Broadcast Media
Abstract: "A theory explaining the essential nature of comedy is explored in this paper. [First part of the paper] Examples illustrating each of these elements - selected from familiar comedic areas such as silent film comedy, the Marx Brothers, and "Roadrunner" cartoons - are included. [Second part of the paper] Examples taken from two radio programs that were popular in Britain during the 1950s and 1960s, [..] "Saturday Night Live" and "The Tonight Show" television programs."
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Paper presented at the Annual Meeting of the Western Speech Communication Association, Fresno, CA, 1985-Feb-16-19
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Gussow, Mel: Guarding Her Father's Legacy With a Smile
about George S. Kaufman's daughter Anne Kaufman Schneider and her role in the 1996 production of "Cocoanuts". Arthur Marx answered to this article with a letter on Sep 6, 1996
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New York Times, 03 Sep 1996
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(N.N.): (Article on a new exibition at The Smithonian)
Among the 240 is excerpts from a Groucho appearance on the 'Tonight' show with Johnny Carson in 1965. The subject is Groucho's delight in receiving a letter from The Library of Congress asking for the donation of his papers.
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New York Times, sec. 'News of the Week in Review', p7, 04 May 1997
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Magny, Joël: Un cinéaste doit-il ãetre honnête?
Abstract: "The writer discusses the honesty of various filmmakers whose works are being shown on French television in summer 1997. The filmmakers discussed are Richard Brooks, Otto Preminger, the Marx Brothers, and Krzysztof Kieslowski."
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(français)
Cahiers du Cinéma, No. 514, Jun 1997, ISSN: 0008-011X
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Cohen, Ted: High and low art, and high and low audiences
Abstract: "Part of a special issue on aesthetics and popular culture. The writer begins with the assumption that we can, at least crudely, distinguish "high" from "low" art and "high" from "low" audiences. [..] He also asks what it can mean that some artworks, such as the Marx Brothers' A Night at the Opera, appeal to both highly sophisticated and relatively unsophisticated audiences. [..]"
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The Journal of Aesthetics and Art Criticism, Vol. 57 No. 2, 1999-Spring, ISSN: 0021-8529
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Hui, Isaac : The comedy of the "para-site": Duck Soup, Volpone, and Hamlet
Abstract
[The] article argues that the comedy of Mosca the parasite in Volpone is related to his role as a parasite. ... [At] the same time, he becomes who he claims he is not. To quote another famous line from the Marx Brothers: "He may look like an idiot, and talk like an idiot, but don't let that fool you. He really is an idiot." While the set-up of this joke makes us believe that there is a difference between "he" and the "idiot," the punch line says that there is none.
In order to justify this theory, this article rereads Mosca's scene in great detail with the theory of Lacan. Through the discussion, this paper argues that the parasite’s speech is full of internal inconsistencies and contradictions. Even though the parasite claims that he is different from Volpone's three "bastards" (Nano the dwarf, Androgyne the hermaphrodite, and Castrone the eunuch), his speech suggests that he is no different from the trio. He believes in his own words and their power because he is situated in his "para-site." In the final two parts of this article, the discussion will refer back to the mirror scene in Duck Soup, exemplifying the logic of comedy through the mechanism of the "para-site." Moreover, this paper addresses the different functioning of the "mirror stage" in comedy and tragedy through comparing Duck Soup, Volpone, and Hamlet...
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in "The Comparatist", Vol. 40, University of North Carolina Press, Oct 2016
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