For all of its borrowings from silent film and Keystone Kops harum scarum, Allen's art is often very private and parochial, emerging paradoxically out of a clearly-defined cultural context. What Allen has done then is to blend the autobiographical elements that form so great a portion of his comedy with the more accessible allusions to mass culture, the result being an engaging amalgam of parody and confession, satire and sentiment, hostility and affection.
Consider Allen's use of his Jewish middle-class origins. In three of his films we hear voices of what obviously are a New York Jewish middle-aged couple nagging and whining about their son. (pp. 51-2)
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