Taiwanese and South Korean film comedies of the 1960s and 70s were swarming with funny noises, from cymbal crashes to dog barks and glissandos of all timbres. Why all the ruckus? Was this simply a relic of the bygone era, an early sound film aesthetic arrived late in a developing nation? Examining the ways in which these sounds emanate from the bodies of comedians to make them larger, unrulier, or simply noisier than life, Shih ...