James Joyce’s Finnegans Wake is engaged in a new era of communication made possible by new-fangled mass media such as radio, film, and television. But he never jettisons old forms of communication like letters, newspapers, and magazines, thus rather encompassing a variety of forms of communication in order to attest the problematics of human communication. Joyce’s interest in acoustic errors is deployed in his pervasive uses of stuttering. Joyce’s extensive use of errors produces an effect of humor among the miseries of human life. There are three tactics frequently used throughout Finnegans Wake: montage, portmanteau word, and pun. The first tactic is derived from emergent film industry, in which Joyce must have been interested, since he visited Dublin in order to open a movie theater, Volta. Joyce’s admiration for Sergei Eisenstein is sufficient for his use of the film technique. Second, Joyce refers to Lewis Carroll, whose biographical sources are woven into the Wake—such as his stuttering, relationship with Alice Liddell, and frequent use of portmanteau words. Lastly, Finnegans Wake is filled with a lot of puns. I argue that Joyce embraces not only new forms of communication and technologies, but also never jettisons old forms of communication like conventional periodicals. Joyce’s interest in comic cartoons and their imaginative capability is shown when he deploys the music hall pairs and cartoon characters such as Mutt and Jeff. Above all, a Victorian popular magazine, Ally Sloper’s Half-Holiday, witnesses the emergent discourse of entertainment and consumerism. So Finnegans Wake is not limited to acoustic qualities, but rather extended so as to encompass a variety of forms of communication. Joyce’s inclusion of Victorian periodicals is derived from his aesthetic strategy, which makes possible the incessant production of new meanings.