Copeland starts off by saying that when filmmakers grew up as film-watchers they don’t create films about the “real world,” but a world “mediated” through other films.  He claims that George Lucas’s Star Wars “makes so many references to earlier films and styles that it could just as easily – and perhaps more accurately – been called ‘Genre Wars.’”  Many young directors from this era (the mid-seventies) such as Lucas and Scorsese create films out of nostalgia for Hollywood’s past.   He says that the first filmmakers to make films that dealt with reality as much as they did with old films were French new wave filmmakers such as Truffaut and Godard.  He says it is no mistake that these great filmmakers were well versed in the history of cinema and spent their early careers as film critics.  Copeland calls the films by Scorsese and Lucas the “Americanizing of the New Wave sensibility.”
    Allen according to Copeland is “not as cinematically knowledgeable” as his counterparts from the era.  However, he discusses all of the points from Allen’s films in which he references other great films of the past.  He discusses the references to Bergman, Eisenstein and Bogart in his various films from the seventies.  The references in films to other films trickle down into our daily lives, which creates a world where not all of our actions are necessarily original.  In some ways, many of us emulate our favorite characters in films; it’s not just great directors copying other directors, but people copying their favorite characters.  Past artwork has become the foundation for which new artists can build. These ideas being recycled through film and our daily lives creates a new mythology.
    Woody Allen draws from the ideas of past works to mold them into his films.  Love and Death is no exception.  It builds upon ideas of past filmmakers and intertwines them into parody.  Even though many of the ideas and scenes in the film seem ridiculous, it takes an intelligent viewer to read beyond the laughs and into the past artists that shaped them.

    Schein wants to make sure that the reader understands that his article is not speaking of “the humor typified by physiological reflexes such as smiling or the gleam in the eye.  This article deals only with the kind of humor that releases laughter.”(24)  The film humor genre may have begun with the Lumiere Brothers film about the gardener.  It has evolved away from its sadistic beginnings, but much of the humor that is still present involves maliciousness.  Schein claims that humor depends on the audaciousness of the humorist and how much a person can identify with the victim.  “Humor’s first rule is that the humorist may lose neither his tempo nor his temper.”(27)  One area of humor in film that Schein discusses is the parody.  He says that “to parody a film in a film presents enormous possibilities.”(31)  In contrast, he says that to parody a novel in a film is very difficult and can leave the viewer in “a blind alley.”(31)  
    Schein analyzes the qualities of humor and tactics used by such film humorists as Tati, Chaplin and the Marx brothers.  Of all of their styles he seems to enjoy Tati’s the most.  Schein comments that the film’s humor works with predominantly visual material that seems to be purely intellectual at the same time.  Every sequence in the movies also contains many formal associations.  Tati combines these factors with “a casual nonchalance that is master proof of a humorist.”(32)
    Harry Schein would have liked the humor in Love and Death for a variety of reasons.  The film does not simply make the viewer smile to himself, but it contains many moments of hilarity that force the viewer into convulsions of laughter.  Allen’s film never loses its tempo and provides many situations in which the viewer is able to relate to Boris as a victim.  Tati’s style of comedy is emulated by Love and Death.  The film at its base contains the visuals of Tolstoy’s Russia and uses this as a springboard for intellectual conversation and humor.  These factors combined with the references and associations that Allen makes to many other works yield what would be “master proof” to Schein that the film is a great work of humor.

    According to Kiremidjian a parody must have three basic characteristics of structure and behavior.  First, a parody must originate from the original in its form and content and focus on the duality between the two.  Second, it must raise the question as to how the original relates with the parody.  The viewer must be forced to think about how the aesthetics of one relate to the other and whether or not the viewer receives something from the new version.  The third point is that in the Aristotelian sense parody is not really art.  (It imitates another work, not real life.)  This is problematic for the author, who arrives at the idea that parody imitates art, which in turn reveals something about the original piece.  He exclaims that parody does indeed become an art form in its ability to examine the original piece and exploits it for the purpose of self-exploration and curiosity.
    Once Kiremidjian establishes that parody is indeed an art form that can be benefited from he examines what makes for a good parody.  He states that an artist “must grasp the essentials of the style of a given author or a school of authors, and then proceed to concoct an outlandish episode which is expressed in that style.”(235)  Parody must then act as a critique of some sort of the original work.  This can only be done effectively, if the artist has a strong grasp of the original work(s) and has a purpose for creating the parody.  
    Following the philosophical logic of Kiremidjian, Allen’s Love and Death indeed qualifies as art and as a parody.  The film manages to provide the viewer with the impression that Allen has a strong grasp for every facet of the works he is parodying.  The references to a multitude of works are clear.  His critique of these works emanate a sense of purpose with humor that is clearly outlandish in its content.

    This book attempts to chronicle film comedy from the silent era all the way through the end of the 1970s(when the book was published.)  The work covers the first crude attempts at humor by Edison and Lumiere through Allen’s Annie Hall.  Mast analyzes the different structures, techniques and values that have transformed cinematic comedy over time.  He discusses the evolution of these techniques and how they appear and reappear in various pieces throughout silent and more modern film.
    Mast claims that while some film comics like Mel Brooks simply move from one parody to the next, Allen has transformed his comedic style from the purely parodic to a more personal, psychological and emotional film style.  Allen’s films are more “French than American” in that they are “very conscious of themselves as conceptions for the film medium.”(313)  According to Mast, Allen’s films are a mix between the “anarchic clown tradition” of the American style and the “ironic tradition”(313) of the French.  Allen balances the line between “intellectual awareness, psychological astuteness” and the bizarre gag and parody.  Mast argues that each of the main characters in Allen’s films, are essentially all the same because they display those same features no matter what situation they are thrown into.  
    Recurring themes in Allen’s films include, neuroticism, sexual desire and self-discovery.  Each of these themes get examined from a serious tone, but in films such as Love and Death, these serious ideas become the butt of many jokes.  Mast continues to say that these topics continually develop in Allen’s later films as the director continues to explore himself.  The psychoanalysis that Allen undertakes and his new understanding of himself provides for more humorous and profound ideas in his later films.

    The main work that Allen seizes his material from is Tolstoy’s War and Peace.  The title alone, Love and Death, is a clear parody of this work, but the inspiration dives much deeper.  Tolstoy’s novel examines the actual role of leaders in large events such as war and how much impact they could possibly have on specific occurrences.  The role of speeches and words is touched upon by Tolstoy as well.  Tolstoy’s novel focuses on ideas regarding free will and for what reasons men would go to fight a war behind a leader such as Napoleon.    Bencivenga also examines the use of Aristotelian syllogistic logic in the novel.  He claims that “Tolstoy rejects the practical syllogism as an explanation of individual or collective action.”(6)  
    Allen’s Love and Death intelligently uses many of the ideas from Tolstoy’s novel.  The film is a clever parody that is able to incorporate obvious ideas such as the title and war with Napoleon.  It explores further though to include Napoleon’s role in the war and the decisions at hand for the general.  There is a scene at the beginning of the film in which Allen parodies the lack of free will Boris has in his decision to go to war along with the exhilaration of his brothers at the prospect of fighting.  
    At many points in the film, Boris uses syllogisms to examine and parody life’s supposed truths.  For example, “A. Socrates is a man. B. All men are mortal. C. All men are Socrates.  That means all men are homosexuals.”  This ridiculous logic mocking syllogisms comes right after a much more coherent moral predicament in which Boris weighs the idea of murder on his conscience.  Allen manages to mock and satire different aspects of the writings of Tolstoy, even to the point of slapstick humor, but he combines the intelligence with comedy.

    As Ivan Ilych (the title character of Tolstoy’s The Death of Ivan Ilych) nears the end of his own life he wonders, “What is the right thing?”  After a life full of experience he realizes that he has not come close to understanding the meaning of life.  Before Ivan neared his untimely death, he lived an ordinary life that “flowed pleasantly.”  He never dealt with adversity and simply followed the path that was set out for him by his parents and society.  “Tolstoy shows that Ivan’s life, though simple and ordinary, was truly terrible because he had no sense of the tragic dimension of life.”(8)  The reader comes to understand that failure and inexplicable suffering happen whether a person has behaved rightly or not.  As Ivan lies in bed slowly dying of his illness he has two visitors.  His servant comes to visit him and teaches the reader that a common peasant is able to help Ivan even more than any doctor.  His son also comes to visit him and portrays how no one should have to suffer such a painful, unwarranted death.  This moment raises great questions about God’s will, destiny and justice.      

    As should be expected with a parody of Russian literature, Love and Death examines and satirizes many of these ideas.  Many scenes in the film analyze theories on death and dying, but after the death of Boris the viewer gains a glimpse into what life and death have taught the hero.  In The Death of Ivan Ilych the main character comes to the realization that he has learned nothing about morals or the true meaning of life.  In contrast, the parody these ideas show a character, Boris, with seeming omniscience flaunts such tidbits of knowledge like, “there are worse things in life than death…I mean if you’ve ever spent an evening with an insurance salesman, you know exactly what I mean.”  This film also provides a satire on the bedside drama that takes place in Tolstoy’s novels.  As opposed to meaningful events taking place that enlighten the hero to life’s truths; Boris encounters ridiculous people from his past.  One such person is Boris’s father who produces a package size parcel of land with a monopoly sized house on it and exclaims that he has finally built.

Love and Death is a 1975 film written and directed by Woody Allen. The film is a satirical take on Russian epic novels. It takes place in Russia during the Napoleonic wars. Boris played by Allen himself, is a coward and pacifist scholar who is forced to enlist in the Russian army. The film chronicles Boriss ridiculous experiences in the army, his marriage to his childhood love, Sonja (Diane Keaton), his attempted assassination of Napoleon and his eventual execution. The film is mainly a parody of Russian epic novels by Tolstoy and Dostoevsky, but it captures ideas and references to philosophy and film. The films humor is straightforward at times, but at others it relies on the viewer's knowledge of the original works being parodied. Allen's film attempts to derive the meaning of life (and death) through a combination of references to literature, film, philosophy and Allen's own quirky personality. This unique synthesis of ideas creates a hilarious film that relies heavily on parody. The film's outlandish ideology can be summed up by the following interaction between Boris and Sonja: "But judgment of any system or a priori relation of phenomena exists in any rational or metaphysical or at least epistemological contradiction to an abstract and empirical concept, such as being, or to be, or to occur in the thing itself or of the thing itself." - Sonja "Yes, I've said that many times." - Boris

Chapter 6: Love and Death (1975)

    This work analyzes the various themes that seem to be emulated in many of Woody Allen’s films.  Love and Death is an interesting film for this analysis because of how obviously he meant to parody Tolstoy’s War and Peace.  This theme gets fleshed out immediately in the title and Allen expounds on this idea amongst many others as the film progresses.  Lee points out that while the film is comedic at its core, (even slapstick at some points) it tackles many deep philosophical questions.  Allen clearly understands the philosophical contributions of many philosophers such as Hegel, Kant, Nietzsche and Kierkegaard.  In spite of this, Allen uses complex jargon to essentially say nothing.  The conversations are reminiscent of the great thinkers, but on their own the conversations boil down to “clever gibberish.”(31)  
    Lee claims that Allen is trying to illustrate in Love and Death and many of his other films that it is impossible to resolve the fundamental questions of human existence through abstract argument and theorizing.  These questions that Lee is referring to are common themes in Allen films including, the existence of God, death, ethics and relationships.  In this film Allen addresses each of these issues, but he never truly gives a coherent opinion on any one of them.  The only point at which Allen makes a moral decision is when he decides to not kill Napoleon – which would trigger the end of many wars and countless deaths.  The viewer never learns the reasoning behind his change of heart, but he is sentenced to death for his singular moral stand of the movie.
    After being put to death Boris offers a final monologue about what he has learned through the whole dying experience.  The viewer soon learns, that Boris has no more compelling insight into life or death than he did while he was alive.  He leaves the viewer dancing away with Death himself.

This book analyzes Woody Allen as a philosopher and tries to discern his overall message.  This particular chapter analyzes the influence of the great Swedish filmmaker, Ingmar Bergman, on Allen.  The author begins by questioning what the lively, joyful comedies of Allen have in common with the dark, moralistic films of his Swedish counterpart.  The films of Bergman tend to be extremely serious and deal with death and misery, yet Allen cites him as one of his biggest influences.  
    The author begins by exclaiming that they are both filmmakers, as opposed to directors who control all aspects of the film.  Their films largely focus on dialogue, many times infused with philosophical ideas that can unravel the source of a main characters current situation.  The films of both artists focus largely on women and family interactions.  At many points in each of their films, large family meals and gatherings are portrayed that at many times contain a grand showing of family members singing, dancing or playing music.  The films tend to take place in the everyday lives of the characters.  The “normal” days of these characters get caught up in the happenings of mass culture where the main character gets thrown into situations that look more like fantasies as opposed to realistic depictions of the events.
    Love and Death is a film that clearly derives inspiration from Bergman films including The Seventh Seal and Persona.  Boris has an early encounter with Death as an actual character early on in the film as a boy and at the end of the film we see Boris again dancing with Death; both of these are clear references to The Seventh Seal.  Allen also uses many other aspects of Bergman films mentioned above.  There is a large family meal, with eating, singing and dancing.  Boris then finds himself caught in many realistic events (fighting in the war) with fantastic outcomes (being the most inept, cowardly soldier, yet being the only survivor.)

    The book Woody Allen on Woody Allen chronicles the life and filmmaking career of the filmmaker.  He discusses aspects of his life ranging from his childhood, to his anxieties, but he most notably discusses his films and his inspirations.  In the seventh chapter of this book he discusses his film Love and Death with author Stig Bjorkman.  This chapter begins by examining the process for producing the film.  Woody discusses the reasons for shooting the film in various European settings.  He exclaims that the film obviously had to be shot in Europe due to the nature of the script and that many scenes were shot in Hungary because it was much cheaper than being on location in France.  Allen goes on to describe his surprisingly democratic cast selection process.  He claims that he had no preconceived people in mind for any role and that he worked on a veto system with his casting director.
    Allen continues to discuss the more intellectual aspects of the film including composer selection, his various inspirations and his general attitudes on country life versus urban life.  Stravinsky was Allen’s first choice for the film’s score, but he found the music to be too “heavy” which made the film “seem unfunny.”  They decided to switch to Prokofiev which “lightened the whole mood, it was brilliant and gay.”(71)  In regards to his humor style, Allen wants his characters to always be speaking in jokes like Groucho Marx and Bob Hope.  There are purposeful parodies to major films by Bergman and Eisenstein along with a general plot that he claims takes place in the world of Russian literature.  A parody in Allen’s mind, is a work “done out of affection”(72) for an artist.
    This chapter on Love and Death helps the viewer enter the mind of the director.  It enables them to understand the basic processes of producing a film along with the numerous and purposeful places in which Woody Allen finds his inspiration.

Yacowar, Maurice. “Annie Hall.” Loser Take All: The Comic Art of Woody Allen. New York: Continuum Publishing Company, 1991. 171-186.

    In Yacowar’s chapter, similar topics are addressed concerning the functions and success of Annie Hall: Alvy’s inability to enjoy life to the fullest, the contrast between Alvy and Annie’s upbringings and identities, and Woody Allen’s use of narrative and humor. The start of the chapter involves a summary of the film, with mention of some of the key elements which make it such a success. The piece is essentially a description of the main themes of the film, most significantly that of the relationship between art and reality. Yacowar first addresses the reoccurring idea of Alvy’s “sifting the pieces” of his relationship with Annie, which results in the blossoming of Annie and the continued confusion of Alvy. He then suggests that Alvy’s “sifting the pieces” is displayed through freely associated memories and ideas that Allen constructs through his use of narrative. It is argued that the narrative employed is what best expresses Alvy’s inability to balance his desire to confront and avoid troubling memories or issues from throughout life. Thus, this chapter, like other chapters and articles, investigates Alvy’s own investigation of his personality and its problems. Alvy cannot handle Annie’s outgrowing of him because he fell in love with his own creation and then lost it, similar to the Pygmalion myth. The chapter then transitions into a more in-depth exploration of the points of climax in Annie Hall and how they differ according to the two main characters’ experiences and personalities. This description further displays how the two characters, regardless of being in a romantic relationship, are individuals interested in their own personal ambitions and issues, first and foremost. Further dramatizing their differences, Yacowar makes use of the dinner table example, where a split screen shows the differences in each family’s habits at dinnertime, to show how the situation is simply “like oil and water.” Yacowar notes that in order to place more emphasis on contrast, Allen places contrast scenes in parallel spots in the plot. By doing this, Allen suggests Alvy’s narrow interests and his eventual alienation by Annie as a result of their differences, as well as the idea that Alvy can never survive any romantic relationship due to his handling of his personality. Yacowar concludes by delving into the topic of art versus life, transitioning by saying that the parallels of Annie Hall point to the fact that art and life are continuous forces. To him, the primary theme of Annie Hall is that art has the power to compensate for the limitations of life. As this is the primary theme, Alvy Singer employs the art of comedy to make up for the immediate and deeper issues complicating his life, such as his obvious differences from Annie.

    Yacowar correctly pinpoints Alvy’s artistic use of comedy to substitute for solutions to the issues in his life. Similar to Alvy, many people use a particular talent or habit to avoid handling larger issues in life, and thus audience members could relate to Alvy’s habit when the film premiered. Alvy’s use of comedy is so continuous and so unique that it pushed the film to succeed on many levels.

            In Loser Take All: The Comic Art of Woody Allen, Maurice Yacowar traces Woody Allen’s transformation from a “cult favorite into America’s foremost humorist” (1).  The turning point of this transformation is generally attributed to the success of Annie Hall.  Not only did Annie Hall do phenomenally well at the box office, but it was also nominated for five Oscars and won four, including Best Picture, Best Screenplay, and Best Director, all which could be directly attributed to Woody Allen.  Yacowar asserts that just because comedy is lighthearted in nature, there is an underlying seriousness and significance inherent in humor, especially in the case of Woody Allen, which makes it essential to critically study his films.  While humor can initially seem dismissible due to its comedic and blithe nature, Woody Allen instills such meaning and honesty in his humor that it often holds more meaning than dramatic counterparts.  This humor is apparent in every single one of Allen’s films, although some to a greater degree than others.  Allen is able to consistently convey meaning about serious topics such as loneliness, anxiety, love, and existentialism through his humor.  Allen also explores the relationship between life and art through this humor, and it is through such humor that the viewer is able to define the meaning and implications his work.  Yacowar specifically addresses each of Allen’s individual films and demonstrates how they uniquely use humor to create and communicate deeper meaning.  Due to the chronological structure of the book, Yacowar shows how each film influences and leads to the next film in Woody Allen’s repertoire.  One major issue in Annie Hall is the blurring of reality and fantasy.  Allen makes it difficult to discern to what degree the film is autobiographical and therefore a realistic portrayal of his life and thoughts.  This ambiguity is further compounded by his direct addresses to the audience.  This blurring of the line between reality and fantasy manifests itself multiple times throughout the film, thereby repeatedly challenging the viewer.