Henri Bergson famously said in his 1900 essay on Laughter that the “mechanical inelasticity” of the living is the source of the comic. Taking this claim as the point of departure for our inquiry, this course looks into the ways “machine” informs our understanding of comedy in the age of technological modernity, which is significantly mediated by the cinematic apparatus. What were the new forms of comedy emerged in the twentieth century? How did filmmakers update the timeless art of comedy in the machine-age? We will review both established and recent theorizations of film comedy as we sample representative works from international cinema, including early trick films, animation, slapstick, inter-war avant-garde cinema, as well as masterpieces by the great comic minds from Charlie Chaplin and Buster Keaton to Yasujiro Ozu, Yuan Muzhi, and Jacques Tati.