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“JACKASS 3D,” which arrives in theaters on Friday, marks the improbable 10th anniversary of the MTV phenomenon, part fraternity hazing ritual and part extreme sports stunt. Those who loathe “Jackass” — which brought the world beer enemas and urine snow cones and thrust its merry band of dolts into reptile lairs and shark-infested waters — have called it disgusting and irresponsible: an incitement to copycat idiocy, if not a sign of the end of Western civilization. Fans of the franchise, which began as a television series (from 2000 to 2002) and spawned two earlier features (“Jackass the Movie” in 2002 and “Jackass Number Two” in 2006), counter that it is comic anarchy at its freest, as cathartically funny as it is monumentally stupid.

But is it art?

Johnny Knoxville, the ringleader of “Jackass” and one of its three creators (along with and Jeff Tremaine), has a categorical answer. “Art is the farthest thing from my mind when I’m writing” the skits, Mr. Knoxville said in a recent phone interview. “I really don’t intellectualize it.”

It’s understandable that Mr. Knoxville — who in the first episode of “Jackass” sat in a feces-filled portable toilet that was flipped upside down — would want to avoid the taint of respectability. The antics of “Jackass” may or may not be art, but they stand at the confluence of some significant social phenomena and artistic traditions. Emerging from the slacker-daredevil ethos of skate culture, it updated the ambush comedy of “Candid Camera” and the reality slapstick of “America’s Funniest Home Videos” for the age of YouTube exhibitionism. There are also older, more reputable antecedents: silent-era comedy; Dadaism and the Theater of Cruelty; performance art and body art.

As a matter of fact “Jackass 3D” is being shown at a members’ event this week at the Museum of Modern Art. “We love to laugh at the misfortune of others,” said Josh Siegel, the MoMA curator who organized the screening (and also included “Jackass the Movie” in the museum’s tribute to Mr. Jonze last year). He added that the new film is “merely the climax — or the lowest depths, if you prefer — of a tradition that dates back to 1895, when the Lumière brothers drenched a poor sap with a garden hose and filmed it.”

As much documentary as comedy, “Jackass” thrives on the prospect and infliction of real pain. “It’s unprecedented slapstick in the sense that all the violence is real,” said Mr. Tremaine, the director of the series and the movies. Mr. Knoxville has been known to get ideas from the cartoon violence of Looney Tunes (like the Wile E. Coyote-style attempt to blast himself across a lake on a big red rocket). “I think sometimes Knoxville gets confused that life isn’t a cartoon,” Mr. Jonze said.

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The artistic key to “Jackass,” if there is one, can be found in Mr. Jonze’s work. He began his career making skateboarding videos that paid as much attention to wipeouts as successful maneuvers, and his films ( “Adaptation” and “Being John Malkovich”) and music videos evince a taste for anarchy and a love of physical movement. While Mr. Knoxville and Mr. Tremaine both clam up at the mention of art, Mr. Jonze is comfortable riffing on the more high-toned relations of “Jackass.”

“When we first started, I knew that it was lowbrow comedy,” he said, “but I also thought that we were doing conceptual art in some way.” Mr. Jonze described his discovery of the performance artist Chris Burden as “revelatory.” In his most infamous piece, “Shoot,” from 1971, Mr. Burden arranged for himself to be shot in the left arm with a rifle. Mr. Jonze and Mr. Knoxville’s first collaboration was a video for the skateboarding magazine Big Brother that echoes In a backyard “self-defense test,” Mr. Knoxville assaults himself with pepper spray and a Taser and finally, wearing a bulletproof suit, shoots himself in the chest with a handgun.

Performance artists like Paul McCarthy and Vito Acconci were experimenting with bodily waste and fluids long before the “Jackass” guys. There is also a street-theater aspect to “Jackass,” and the anti-social acting out has much in common with more obviously artistic provocations like Lars von Trier’s and Harmony Korine’s “Trash Humpers.” A skit in “Jackass Number Two” involves the placement of a leech on an eyeball. In case anyone doubted that it was a nod to the transgressive classic that opens with the close-up slicing of an eyeball, Luis Buñuel is thanked in the credits.

In the early days “Jackass” had the feel of a surrealist disruption. “Just the way it was put on TV without any host, without any context,” Mr. Jonze said. “It has no explanation for being. It just is.”

The shift from low-tech video to 3-D further erodes what remains of that underground aura, but it cements the place of “Jackass” in a tradition that the scholar Tom Gunning has called the cinema of attractions, a prenarrative approach to filmmaking emphasizing spectacle over story. For Mr. Jonze it was a good match of form and function. “The great thing about doing our movie in 3-D is we’re not trying to disappear into a narrative,” he said.

Mr. Tremaine said he appreciated the contradiction of “thinking of the dumbest things we could do with the most expensive cameras ever made.” But Mr. Knoxville was the last holdout, in part because 3-D cameras are bulkier and require an outside crew. “We thought it would affect the way we shoot and the relationships between the guys,” he said.

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He also wanted to avoid gimmickry. “It had to be funny in 2-D first,” he said. “We didn’t want to just do cheap 3-D moments, like things jumping out at you.”

Some things do leap from the screen in “Jackass 3-D” — swarming bees, a party whistle extending from someone’s rear end — but the film mostly sticks to the “Jackass” formula: genital injury, close encounters with bulls and snakes, fun with body hair and adhesives. As usual, the most effective setups have a brute simplicity, like “The High Five,” in which unsuspecting dupes are knocked flat on their backs by a giant swinging hand.

For the first time, Mr. Tremaine said, the entire gang was present throughout the shoot. The pleasure of a “Jackass” skit derives not just from the stunt itself but also from the convulsive laughter that follows it. “We give each other hell, but at the end of the day you can tell we love each other.” Mr. Knoxville said. “Not that I want to make this sound like a feel-good movie.”

Ten years into the enterprise it’s hard for a “Jackass” reunion to avoid nostalgia. Most of the personnel are pushing 40 — as the closing montage emphasizes, with a flashback to their younger selves — and some have lived through public travails. (Steve-O’s battle with addiction was chronicled in an MTV documentary.)

Physical ability isn’t much of an issue yet for the aging crew. Mr. Knoxville said he was in better shape for this movie than for the other two. “The Three Stooges did it until they were 60,” he added.

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But nerve is a bigger factor than endurance. For all its repetitiveness “Jackass 3-D” offers glimpses of a new source of comedy: the jackass in autumn, not exactly wiser but less reckless, cursed with foreknowledge, haunted by the pain reflex. “The moment before they do something, the pause is just that much longer,” Mr. Jonze said. “They’re really thinking about it, trying to convince themselves, and that makes it that much more funny.”

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