Film Parody
| Author | : Dan Harries |
| Publisher | : British Film Institute |
| Total Pages | : 168 |
| Release | : 2000 |
| Genre | : Performing Arts |
| ISBN | : |
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Parody as Film Genre
| Author | : Wes D. Gehring |
| Publisher | : Bloomsbury Publishing USA |
| Total Pages | : 249 |
| Release | : 1999-09-30 |
| Genre | : Performing Arts |
| ISBN | : 031300353X |
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Parody is the least appreciated of all film comedy genres and receives little serious attention, even among film fans. This study elevates parody to mainstream significance. A historical overview places the genre in context, and a number of basic parody components, which better define the genre and celebrate its value, are examined. Parody is differentiated from satire, and the two parody types, traditional and reaffirmation, are explained. Chapters study the most spoofed genre in American parody history, the Western; pantheon members of American Film Comedy such as The Marx Brothers, W. C. Fields, Mae West, and Laurel and Hardy; pivotal parody artists, Bob Hope and Woody Allen; Mel Brooks, whose name is often synonymous with parody; and finally, parody in the 1990s. Films discussed include Destry Rides Again (1939), The Road to Utopia (1945), My Favorite Brunette (1947), The Paleface (1948), Butch Cassidy and the Sundance Kid (1969), Blazing Saddles (1974), Young Frankenstein (1974), Hot Shots! Part Deux (1993) and Scream (1996). This examination of parody will appeal to scholars and students of American film and film comedy, as well as those interested in the specific comedians discussed and the Western genre. Gehring's work will also find a place in American pop culture studies and sociological studies of the period from the 1920s to the 1990s. The book is carefully documented and includes a selected bibliography and filmography.
Parody
| Author | : Robert Chambers |
| Publisher | : Peter Lang |
| Total Pages | : 292 |
| Release | : 2010 |
| Genre | : Criticism |
| ISBN | : 9781433108693 |
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Parody: The Art That Plays with Art explodes the near-universal belief that parody is a copycat genre or that it consists of a collection of trivial and derivative forms. Parody is revealed as an über-technique, a principal source of innovation and invention in the arts. The technique is defined in terms of three major variations that bang, bind, and blend artistic conventions into contrasting pairings, the results of which are upheavals of existing conventions and the formation of unexpected and sometimes startling and revolutionary new configurations. Parodic art fashions a galaxy of contrasts, and from these stem an illusionistic sense of multiplicity and an array of divergent meanings and interpretive paths. This book, an extreme departure from existing analyses of parody, is nonetheless highly accessible and will be of major interest not only to scholars but to general readers and to professional writers as well. Parody: The Art That Plays with Art is particularly suited for readers interested in modernism, postmodernism, meta-art, criticism, satire, and irony.
Beyond a Joke
| Author | : Neil Archer |
| Publisher | : Bloomsbury Publishing |
| Total Pages | : 256 |
| Release | : 2016-10-27 |
| Genre | : Performing Arts |
| ISBN | : 1786730901 |
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At the opening ceremony for the London 2012 Olympics, a global audience of nearly one billion viewers were treated to the unprecedented sight of James Bond meeting Queen Elizabeth II. Shortly after, the 'Queen' hurled herself out of a helicopter, her Union Jack parachute guiding her down to the Olympic Stadium. What it is about moments such as these that define both a particular idea of Britishness and a particular type of British film comedy? How has British cinema exploited parody as a means of negotiating its sense of identity? How does this function within a globalized marketplace and in the face of dominant Hollywood cinema? Beyond a Joke explores the myriad ways British film culture has used forms of parody, from the 1960s to the present day. It provides a contextual and textual analysis of a range of works that, while popular, have only rarely been the subject of serious academic attention – from Morecambe and Wise to Shaun of the Dead to the London 2012 Olympics' opening ceremony. Combining the methodologies both of film history and film theory, Beyond a Joke locates parody within specific industrial and cultural moments, while also looking in detail at the aesthetics of parody as a mode. Ultimately, such works are shown to be a form of culturally specific film or televisual product for exporting to the global market, in which 'Britishness', shaped in self-mocking and ironic terms, becomes the selling point. Written in an accessible style and illustrated throughout with a diverse range of examples, Beyond a Joke is the first book to explore parody within a specifically British context and makes an invaluable contribution to the scholarship on both British and global film culture.
Vampirism in Gothic film parody: From Tod Browning’s ‘Dracula’ to Mel Brooks’ ‘Dracula: Dead and Loving It’
| Author | : Eugen Gusser |
| Publisher | : diplom.de |
| Total Pages | : |
| Release | : 2019-03-01 |
| Genre | : Foreign Language Study |
| ISBN | : 3959935773 |
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This thesis analyses motifs of vampirism in gothic film parodies on the basis of Mel Brooks “Dracula: Dead and Loving it”, which parodies its original “Dracula” by Tod Browning. The contrasting juxtaposition of the two films serves to provide the parodic constructions of vampirism. By using the six methods of parody by Dan Harris – reiteration, inversion, misdirection, literalizitation, extraneous inclusion and exaggeration – the parodic constructions will be examined. This works aims to find answers to the question what is left of the old-fashioned motifs of vampirism.
Movies R Fun!
| Author | : Josh Cooley |
| Publisher | : Chronicle Books |
| Total Pages | : 48 |
| Release | : 2014-02-25 |
| Genre | : Humor |
| ISBN | : 1452130221 |
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No one under seventeen should be admitted without a parent or guardian to these “fun-filled” illustrations of twisted movie moments from a beloved animator (Parade). Let’s face it, reading sucks . . . but movies are fun! In this grown-up parody of a children’s picture book, Pixar writer and artist Josh Cooley presents the most hilariously inappropriate—that is, the best—scenes from contemporary classic films in an illustrated, for-early-readers style. Terrifying, sexy, and awesome scenes from such favorite films as Alien, Rosemary’s Baby, Fargo, Basic Instinct, Seven, The Silence of the Lambs, Apocalypse Now, The Shining, and many more are playfully illustrated and captioned to make reading fun and exciting for kids who never grew up. A sly celebration of the things fans love most about these legendary films (and movies in general), this is one book that probably should not be read at bedtime.
A Theory of Parody
| Author | : Linda Hutcheon |
| Publisher | : University of Illinois Press |
| Total Pages | : 172 |
| Release | : 2023-11-21 |
| Genre | : Literary Criticism |
| ISBN | : 0252054377 |
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In this major study of a flexible and multifaceted mode of expression, Linda Hutcheon looks at works of modern literature, visual art, music, film, theater, and architecture to arrive at a comprehensive assessment of what parody is and what it does. Hutcheon identifies parody as one of the major forms of modern self-reflexivity, one that marks the intersection of invention and critique and offers an important mode of coming to terms with the texts and discourses of the past. Looking at works as diverse as Tom Stoppard's Rosenkrantz and Guildenstern Are Dead, Brian de Palma's Dressed to Kill, Woody Allen's Zelig, Karlheinz Stockhausen's Hymnen, James Joyce's Ulysses, and Magritte's This Is Not a Pipe, Hutcheon discusses the remarkable range of intent in modern parody while distinguishing it from pastiche, burlesque, travesty, and satire. She shows how parody, through ironic playing with multiple conventions, combines creative expression with critical commentary. Its productive-creative approach to tradition results in a modern recoding that establishes difference at the heart of similarity. In a new introduction, Hutcheon discusses why parody continues to fascinate her and why it is commonly viewed as suspect-–for being either too ideologically shifty or too much of a threat to the ownership of intellectual and creative property.
Film Genre for the Screenwriter
| Author | : Jule Selbo |
| Publisher | : Routledge |
| Total Pages | : 345 |
| Release | : 2014-07-25 |
| Genre | : Performing Arts |
| ISBN | : 1317695674 |
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Film Genre for the Screenwriter is a practical study of how classic film genre components can be used in the construction of a screenplay. Based on Jule Selbo’s popular course, this accessible guide includes an examination of the historical origins of specific film genres, how and why these genres are received and appreciated by film-going audiences, and how the student and professional screenwriter alike can use the knowledge of film genre components in the ideation and execution of a screenplay. Explaining the defining elements, characteristics and tropes of genres from romantic comedy to slasher horror, and using examples from classic films like Casablanca alongside recent blockbuster franchises like Harry Potter, Selbo offers a compelling and readable analysis of film genre in its written form. The book also offers case studies, talking points and exercises to make its content approachable and applicable to readers and writers across the creative field.
Hindi Film Songs and the Cinema
| Author | : Anna Morcom |
| Publisher | : Routledge |
| Total Pages | : 306 |
| Release | : 2017-07-05 |
| Genre | : Music |
| ISBN | : 1351563742 |
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Since their beginnings in the 1930s, Hindi films and film songs have dominated Indian public culture in India, and have also made their presence felt strongly in many global contexts. Hindi film songs have been described on the one hand as highly standardized and on the other as highly eclectic. Anna Morcom addresses many of the paradoxes eccentricities and myths of not just Hindi film songs but also of Hindi cinema by analysing film songs in cinematic context. While the presence of songs in Hindi films is commonly dismissed aspurely commercial this book demonstrates that in terms of the production process, musical style, and commercial life, it is most powerfully the parent film that shapes and defines the film songs and their success rather than the other way round. While they constitute India‘s still foremost genre of popular music, film songs are also situational, dramatic sequences, inherently multi-media in style and conception. This book is uniquely grounded in detailed musical and visual analysis of Hindi film songs, song sequences and films as well as a wealth of ethnographic material from the Hindi film and music industries. Its findings lead to highly novel ways of viewing Hindi film songs, their key role in Hindi cinema, and how this affects their wider life in India and across the globe. It will be indispensable to scholars seeking to understand both Hindi film songs and Hindi cinema. It also forms a major contribution to popular music, popular culture, film music studies and ethnomusicology, tackling pertinent issues of cultural production, (multi-)media, and the cross-cultural use of music in Hindi cinema. The book caters for both music specialists as well as a wider audience.
The Hunger Pains
| Author | : The Harvard Lampoon |
| Publisher | : Simon and Schuster |
| Total Pages | : 178 |
| Release | : 2012-02-07 |
| Genre | : Humor |
| ISBN | : 145166821X |
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The hilarious instant New York Times bestseller, The Hunger Pains is a loving parody of the dystopian YA novel and film, The Hunger Games. Winning means wealth, fame, and a life of therapy losing means death, but also fame! This is The Hunger Pains. When Kantkiss Neverclean replaces her sister as a contestant on the Hunger Games—the second-highest-rated reality TV show in Peaceland, behind Extreme Home Makeover—she has no idea what to expect. Having lived her entire life in the telemarketing district’s worst neighborhood, the Crack, Kantkiss feels unprepared to fight to the death while simultaneously winking and looking adorable for the cameras. But when her survival rests on choosing between the dreamy hunk from home, Carol Handsomestein, or the doughy klutz, Pita Malarkey, Kantkiss discovers that the toughest conflicts may not be found on the battlefield but in her own heart . . . which is unfortunately on a battlefield.
