Jules White (born Julius Weiss; 17 September 1900 – 30 April 1985) was an American film director and producer best known for his short-subject comedies starring The Three Stooges.

White began working in motion pictures in the 1910s, as a child actor, for Pathé Studios. He appears in a small role as a Confederate soldier in the landmark silent feature The Birth of a Nation (1915). By the 1920s, his brother, Jack White, had become a successful comedy producer at Educational Pictures, and Jules worked for him as a film editor. Jules became a director in 1926, specializing in comedies^{[citation needed]} such as The Battling Kangaroo (1926).

In 1930, White and his boyhood friend Zion Myers moved to the Metro-Goldwyn-Mayer studio. They conceived and co-directed M-G-M's gimmicky Dogville Comedies, which featured trained dogs in satires of recent Hollywood films (like The Dogway Melody and So Quiet on the Canine Front). White and Myers co-directed the Buster Keaton feature Sidewalks of New York (1931), and launched a series of "Goofy Movies", one-reel parodies of silent-era melodramas.^{[citation needed]}

In 1933, Jules White was appointed head of Columbia Pictures' short-subject division, which became the most prolific comedy factory in Hollywood. In a time when theaters were playing more double-feature programs, fewer short comedies were being made; by the mid-1930s the three major comedy producers — Hal Roach, Educational Pictures and Universal Pictures — scaled back their operations. In contrast, by 1938 Columbia's two-reel-comedy department was busier than ever, and White split it into two units. White produced for the first unit and Hugh McCollum – former executive secretary for Columbia head Harry Cohn – for the second. The Columbia comedy stars alternated between the White and McCollum units.

With McCollum shouldering some of the administrative burden, White was free to pursue his first love: directing. He began directing the Columbia shorts in 1938 and would become the department's most prolific director. He directed his sound films as though they were silent comedies: he paced the visual action very fast, and he coached his actors to gesture broadly and react painfully, even demonstrating the movements and grimaces he wanted. This emphasis on cartoonish slapstick worked well in the right context, but could become blunt and shocking when stretched too far. White was generally under pressure to finish his productions within a few days, so very often White the producer did not tone down White the director, and the outlandishly violent gags stayed in. Still, moviegoers loved these slam-bang short comedies, and Columbia produced more than 500 of them over a quarter-century.

Physical comedy was the main ingredient in White's short features. Some of his personal favorite gags were used repeatedly over the years. One involves a comedian being arrested who protests, "I demand a cheap lawyer!" (later "I'm gonna get myself a cheap lawyer!"). Another involves the star comedian accidentally colliding with the villain and apologizing, "Sorry, mister, there was a man chasing me... you're the man!" One of White's familiar gags involves an actor being stuck in the posterior by a sharp object and yelling, "Help, help! I'm losing my mind!"

White's style is most evident in his string of two-reelers starring comics Wally Vernon and Eddie Quillan. Vernon and Quillan were old pros whose dancing skills made them especially agile comedians. White capitalized on this by staging the kind of rough-and-tumble slapstick not seen since silent-movie days, with the stars and supporting players doing pratfalls, crossing their eyes, getting hit with messy projectiles, having barehanded fistfights and being knocked "cuckoo" in film after film. These comedies were pet projects for White; consequently, he kept making Vernon and Quillan shorts long after most of his other series had ended.

By the 1950s, White was working so quickly and economically that he could film a new short comedy in a single day. His standard procedure was to borrow footage from older films and shoot a few new scenes, often using the same actors, sets, and costumes. A "new" 15-minute comedy could contain clips from as many as three vintage comedies. Though most of White's comedies of the 1950s are almost identical to his comedies of the 1940s, he still made a few films from scratch, including three 3-D comedies, Spooks! and Pardon My Backfire (1953), both starring The Three Stooges, and Down the Hatch, starring dialect comic Harry Mimmo.