This book traces the shifting politics of race in contemporary Britain through analysis of screen comedy that has worked to parrot, cloak or confront racist discourse. Moving from 1950s minstrelsy through to contemporary streaming-era content, Ilott demonstrates how race is made and unmade through screen comedy’s engagements with the tacit (and often racist) premises of British multicultural discourse. Chapters on the romcom, sitcom and police comedy read selected films and TV shows as counter-narratives on British multiculturalism, intervening in popular discourse that constructs interracial romance as spelling hope for the future, the Black neighbour as inherently threatening, or racially minoritised communities as disproportionately criminal. Drawing on decolonial, critical race and cultural studies perspectives, the study reimagines humour theory as a vehicle for interpreting the affective, political and epistemological significance of comedy to shape processes of racialisation and national identity construction.
