One of my primary reasons for designing my course “Comedy and the Moving Image” for the School of the Art Institute of Chicago’s first-year seminar sequence was to give myself an opportunity to expand my knowledge base on comedy beyond the research I had done for my article on comedic videogames. The class gave me an opportunity to teach a whole bunch of readings, films, video art pieces, and television episodes I had never taught before. By the twelfth week, though, the time had come to turn back to my particular hobbyhorse.
In the lead-up to this class, I had screened a few stunts from the Jackass franchise. This included “Paper Cuts” from Jackass: The Movie (Jeff Tremaine, 2002) and “Tee Ball” from Jackass 3D (Jeff Tremaine, 2010). The first half of class was organized around discussions of violence and sadism in physical humor, propped up not only by Jackass but also by Muriel Andrin’s chapter “Back to the ‘Slap’: Slapstick’s Hyberbolic Gesture and the Rhetoric of Violence” and Scott Richmond’s article “‘Dude, That’s Just Wrong‘: Mimesis, Identification, Jackass.” In the second half of the course, things segued into small group work as students played and discussed a group of comedic videogames.