The History and Psychology of Clowns Being Scary | Arts & Culture | Smithsonian
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Children are 'scared of hospital clowns' - Telegraph
A study by the University of Sheffield concluded "that clowns are universally disliked by children. Some found them quite frightening and unknowable.
Researcher Ben Radfordwho published Bad Clowns  in and is regarded as an expert on the phenomenon,  writes that looking throughout history clowns are seen as trickers, fools, and more; however, they always are in control, speak their minds, and can get away with doing so.
When writing the book Bad Clowns, Radford found that professional clowns are not generally fond of the bad-clown or evil-clown persona.
They see them as "the rotten apple in the barrel, whose ugly sight and smell casts suspicion on the rest of them," and do not wish to encourage or propagate coulrophobia. Yet, as Radford discovered, bad clowns have existed throughout history: Harlequinthe King's fool, and Mr.
- The History and Psychology of Clowns Being Scary
- Archive | anti-clown media references
- Children are 'scared of hospital clowns'
Radford argues that bad clowns have the "ability to change with the times" and that modern bad clowns have evolved into Internet trolls. They may not wear clown costume but, nevertheless, engage with people for their own amusement, abuse, tease and speak what they think of as the "truth" much like the court jester and "dip clowns" do using "human foibles" against their victims. Radford states that, although bad clowns permeate the media in movies, TV, music, comics, and more, the "good clowns" outnumber the bad ones.
Research shows that most people do not fear clowns but actually love them and that bad clowns are "the exception, not the rule.
Are You Brave Enough To Attend A Clown Only Screening Of IT?
American Culture on the Brink. Using Mikhail Bakhtin 's theory of the carnivalesque, Jungian and historical writings on the images of the fool in myth and history, and ruminations on the mingling of ecstasy and dread in the Information AgeDery asserts the evil clown is an icon of our times.
Clowns are often depicted as murderous psychopaths at many American haunted houses. Zucker points out the similarities between a clown's appearance and the cultural depictions of demons and other infernal creatures, noting "[the clown's] chalk-white face in which the eyes almost disappear, while the mouth is enlarged to a ghoulish bigness looks like the mask of death". When writing the book Bad Clowns, Radford found that professional clowns are not generally fond of the bad-clown persona.
Harlequin, the King's fool, and Mr. The clown shot her in the face, drove off in a white Chrysler LeBaron and was never seen again; Warren died two days later. They don't look funny, they just look odd.
So the question is, when did the clown, supposedly a jolly figure of innocuous, kid-friendly entertainment, become so weighed down by fear and sadness?
When did clowns become so dark? Maybe they always have been. Clowns, as pranksters, jesters, jokers, harlequins, and mythologized tricksters have been around for ages.
But clowns have always had a dark side, says David Kiser, director of talent for Ringling Bros. After all, these were characters who reflected a funhouse mirror back on society; academics note that their comedy was often derived from their voracious appetites for food, sex, and drink, and their manic behavior.
Stott is the author of several articles on scary clowns and comedy, as well as The Pantomime Life of Joseph Grimaldi, a much-lauded biography of the famous comic pantomime player on the Regency London stage.
Evil clown - Wikipedia
Grimaldi was the first recognizable ancestor of the modern clown, sort of the Homo erectus of clown evolution. In his day, he was hugely visible: Grimaldi made the clown the leading character of the pantomime, changing the way he looked and acted.
Before him, a clown may have worn make-up, but it was usually just a bit of rouge on the cheeks to heighten the sense of them being florid, funny drunks or rustic yokels. Grimaldi, however, suited up in bizarre, colorful costumes, stark white face paint punctuated by spots of bright red on his cheeks and topped with a blue mohawk.
He was a master of physical comedy—he leapt in the air, stood on his head, fought himself in hilarious fisticuffs that had audiences rolling in the aisles—as well as of satire lampooning the absurd fashions of the day, comic impressions, and ribald songs. Enter the young Charles Dickens.
Dickens had already hit upon the dissipated, drunken clown theme in his The Pickwick Papers. For every laugh he wrought from his audiences, Grimaldi suffered commensurate pain. What Dickens did was to make it difficult to look at a clown without wondering what was going on underneath the make-up: Deburau was as well known on the streets of Paris as Grimaldi was in London, recognized even without his make-up.
But where Grimaldi was tragic, Deburau was sinister: InDeburau killed a boy with a blow from his walking stick after the youth shouted insults at him on the street he was ultimately acquitted of the murder. So the two biggest clowns of the early modern clowning era were troubled men underneath that face-paint.
These trick riding shows soon began attracting other performers; along with the jugglers, trapeze artists, and acrobats, came clowns. A terrifying clown walks in a Halloween parade in New York City. Courtesy of Wikipedia Emmett Kelly as "Weary Willy," the most famous example of the hobo-clown persona.
Courtesy of Wikipedia A predecessor of the modern clown, the medieval court jester exemplified the delicate blend of funny and horrifying.
Courtesy of Wikipedia Clarabell the Clown, a staple of the Howdy Doody TV show harboring potentially terrifying thoughts behind his painted visage.