Editing Satire (section)

===20th-century satire===
[[Karl Kraus (writer)|Karl Kraus]] is considered the first major European satirist since [[Jonathan Swift]].<ref name="Knight2004p254">Knight, Charles A. (2004) ''Literature of Satire'' [https://books.google.com/books?id=SOfVePSFctgC&pg=PA254 p.254]</ref> In 20th-century literature, satire was used by English authors such as [[Aldous Huxley]] (1930s) and [[George Orwell]] (1940s), which under the inspiration of [[Yevgeny Zamyatin|Zamyatin]]'s Russian 1921 novel ''[[We (novel)|We]]'', made serious and even frightening commentaries on the dangers of the sweeping social changes taking place throughout Europe. [[Anatoly Lunacharsky]] wrote 'Satire attains its greatest significance when a newly evolving class creates an ideology considerably more advanced than that of the ruling class, but has not yet developed to the point where it can conquer it. Herein lies its truly great ability to triumph, its scorn for its adversary and its hidden fear of it. Herein lies its venom, its amazing energy of hate, and quite frequently, its grief, like a black frame around glittering images. Herein lie its contradictions, and its power.'<ref>[[David King (graphic designer)|David King]] & Cathy Porter 'Blood & Laughter: Caricatures from the 1905 Revolution' Jonathan Cape 1983 p.31</ref> Many social critics of this same time in the United States, such as [[Dorothy Parker]] and [[H. L. Mencken]], used satire as their main weapon, and Mencken in particular is noted for having said that "one horse-laugh is worth ten thousand [[syllogism]]s" in the persuasion of the public to accept a criticism. Novelist [[Sinclair Lewis]] was known for his satirical stories such as ''[[Main Street (novel)|Main Street]]'' (1920), ''[[Babbitt (novel)|Babbitt]]'' (1922), ''[[Elmer Gantry]]'' (1927; dedicated by Lewis to H. L. Mencken), and ''[[It Can't Happen Here]]'' (1935), and his books often explored and satirized contemporary American values. The film ''[[The Great Dictator]]'' (1940) by [[Charlie Chaplin]] is itself a parody of [[Adolf Hitler]]; Chaplin later declared that he would have not made the film if he had known about the [[Nazi concentration camps|concentration camps]].<ref name="ChaplinLager">Chaplin (1964) ''My Autobiography'', p.392, quotation: {{blockquote|Had I known of the actual horrors of the German concentration camps, I could not have made ''The Great Dictator'', I could not have made fun of the homicidal insanity of the Nazis.}}</ref>

Modern [[Soviet Union|Soviet]] satire was very popular in the 1920s and 1930s. This form of satire is recognized by its level of sophistication and intelligence used, along with its own level of parody. Since there is no longer the need of survival or revolution to write about, modern Soviet satire focused on the quality of life.<ref>{{Cite journal|last1=Chapple|first1=Richard L.|last2=Henry|first2=Peter |date=1976|title=Modern Soviet Satire |journal=The Slavic and East European Journal|volume=20|issue=3 |page=318|doi=10.2307/306330|jstor=306330|issn=0037-6752}}</ref>

[[File:Dictator charlie6.jpg|thumb|Benzino Napaloni and Adenoid Hynkel in ''The Great Dictator'' (1940).]] 
In the United States 1950s, satire was introduced into American [[stand-up comedy]] most prominently by [[Lenny Bruce]] and [[Mort Sahl]].<ref name="Test1991p8"/> As they challenged the [[taboo]]s and [[conventional wisdom]] of the time, were ostracized by the mass media establishment as ''[[sick comedian]]s''. In the same period, [[Paul Krassner]]'s magazine ''[[The Realist]]'' began publication, to become immensely popular during the 1960s and early 1970s among people in the [[Counterculture of the 1960s|counterculture]]; it had articles and cartoons that were savage, biting satires of politicians such as [[Lyndon Johnson]] and [[Richard Nixon]], the [[Vietnam War]], the [[Cold War]] and the [[War on Drugs]]. This baton was also carried by the original [[National Lampoon (magazine)|National Lampoon]] magazine, edited by [[Doug Kenney]] and [[Henry Beard]] and featuring blistering satire written by [[Michael O'Donoghue]], [[P.J. O'Rourke]], and [[Tony Hendra]], among others.<ref>{{Cite news|last=Stein|first=Nathaniel|date=2013-07-01|title=Funny Pages: How the National Lampoon made American Humor|language=en|work=The Daily Beast|url=https://www.thedailybeast.com/articles/2013/07/01/funny-pages-how-the-national-lampoon-made-american-humor|access-date=2020-07-22}}</ref> Prominent satiric stand-up comedian [[George Carlin]] acknowledged the influence ''The Realist'' had in his 1970s conversion to a satiric comedian.<ref name="Sullivan2010p94">Sullivan, James (2010) ''Seven Dirty Words: The Life and Crimes of George Carlin'' [https://books.google.com/books?id=y3dzVQ5wX9UC&pg=PA94 p.94]</ref><ref>[[George Carlin]] (2002) ''{{usurped|1=[https://web.archive.org/web/20160304043456/http://paulkrassner.com/carlinintro.htm Introduction]}}'' to ''Murder At the Conspiracy Convention''</ref>

A more humorous brand of satire enjoyed a renaissance in the UK in the early 1960s with the [[satire boom]], led by comedians including [[Peter Cook]], [[Alan Bennett]], [[Jonathan Miller]], and [[Dudley Moore]], whose stage show ''[[Beyond the Fringe]]'' was a hit not only in Britain, but also in the United States. Other significant influences in 1960s British satire include [[David Frost]], [[Eleanor Bron]] and the [[television program]] ''[[That Was The Week That Was]]''.<ref>[https://www.theguardian.com/media/2010/jun/14/david-frost-satire-documentary "David Frost's Q&A on how to be a satirist"] {{Webarchive|url=https://web.archive.org/web/20170315134203/https://www.theguardian.com/media/2010/jun/14/david-frost-satire-documentary |date=March 15, 2017 }}. ''The Guardian'' (London). Retrieved February 2, 2015</ref>

[[Joseph Heller]]'s most famous work, ''[[Catch-22]]'' (1961), satirizes bureaucracy and the military, and is frequently cited as one of the greatest literary works of the twentieth century.<ref>{{cite news |url=http://news.bbc.co.uk/1/hi/uk/1868619.stm |title=What is Catch-22? And why does the book matter? |publisher= BBC | date=March 12, 2002}}</ref> Departing from traditional Hollywood [[farce]] and [[screwball comedy film|screwball]], director and comedian [[Jerry Lewis]] used satire in his self-directed films ''[[The Bellboy]]'' (1960), ''[[The Errand Boy]]'' (1961) and ''[[The Patsy (1964 film)|The Patsy]]'' (1964) to comment on celebrity and the star-making machinery of Hollywood.<ref>{{cite magazine|url= https://www.hollywoodreporter.com/news/critics-notebook-jerry-lewis-a-comic-genius-by-turns-sweet-bitter-1031194|first=Stephen|last=Dalton|title=Critics Notebook: Jerry Lewis a Comic Genius by Turns Sweet and Bitter|magazine=The Hollywood Reporter|date=August 21, 2017}}</ref> The film ''[[Dr. Strangelove]]'' (1964) starring [[Peter Sellers]] was a popular satire on the [[Cold War]]. Sellers and the British satire boom had a direct influence on the comedy troupe [[Monty Python]].<ref>[http://www.screenonline.org.uk/tv/id/1377417/index.html "The Roots of Monty Python"]. BFI Screenonline. Retrieved 26 November 2023</ref> ''[[Empire (magazine)|Empire]]'' magazine called ''[[Monty Python's Life of Brian]]'' (1979) "an unrivalled satire on religion".<ref>{{cite news |title=The 100 best British films |url=https://www.empireonline.com/movies/features/100britishfilms/ |access-date=26 September 2023|work=Empire}}</ref>

[[Nonoy Marcelo|Severino "Nonoy" Marcelo]]'s 1978 Philippine [[Adult animation|adult animated]] comedy film, ''[[Tadhana (film)|Tadhana]]'', presents a satirical, humorous and poignant view of the Philippines' history of [[Spanish Empire|Spanish colonization]].<ref name=":3">{{Cite web |title=Tadhana by Ferdinand E. Marcos |url=https://mb.com.ph/2022/07/29/tadhana-by-ferdinand-e-marcos |access-date=2024-11-17 |website=Manila Bulletin |date=July 29, 2022 |language=en}}</ref>