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Film Parody
Film Parody is the first major book on one of the most prolific and profitable - though under-discussed - modes of contemporary filmmaking. This book provides a lucid introduction to the films and a rigorous theoretical account of how parody itself operates on textual, pragmatic, and socio-cultural levels. Harries provocatively asserts that film parody is now so routinized by the major studios that it must be considered, in its own right, as a major mode of contemporary filmmaking. Tracing a history of parodic cinema from early Laurel and Hardy spoofs to recent box-office hits such as "Austin Powers: International Man of Mystery," this book defines parody in relation to other related, though different, modes of discourse such as irony and pastiche. Drawing from this history, and close analyses of films including "Blazing Saddles, Airplane!, Young Frankenstein, Hot Shots!, Naked Gun 33 1/3," and "Zelig, Film Parody "lays out the formal characteristics and examines the various strategies spectators bring to bear when watching parodies.
Parodies of the Works of English & American Authors
Includes parodies of Tennyson, Longfellow, Bret Harte, Thomas Hood, Swinburne, Browning, Shakespeare, Milton, Poe, Shelley, Cowper, Coleridge, Herrick, Carroll, Lever, Lover, Burns, Scott, Goldsmith, Kingsley, Byron and many others.
The Parodies Collection
Here, collected together for the first time in eBook (because quite frankly, who would want to carry all of these around as actual books? Imagine the scorn on the bus!) are seven of Adam Roberts' superb parodies of popular culture. From the Soddit and his not-a-shameless-cash-in journey to the cavern of Smug the dragon - during which he finds a ring, which may well feature in later books and/or films - to the dragon with a girl tattoo (look, it was very popular at the time, OK?), here you will find lovingly crafted, affectionate (well, sometimes) takes on some of the most loved - or at least financially successful - "works of art" of our time. Contains THE SODDIT, DOCTOR WHOM, THE DRAGON WITH THE GIRL TATTOO, THE McATRIX DERIDED, STAR WARPED, THE SELLAMILLION and THE VA DINCI COD.
Parody
Parody is a most iridescent phenomenon: of ancient Greek origin, parody's very malleability has allowed it to survive and to conquer Western cultures. Changing discourse on parody, its complex relationship with related humorous forms (e.g. travesty, burlesque, satire), its ability to cross genre boundaries, the many parodies handed down by tradition, and its ubiquity in contemporary culture all testify to its multifaceted nature. No wonder that 'parody' has become a phrase without clear meaning. The essays in this collection reflect the multidimensionality of recent parody studies. They pay tribute to its long and varied tradition, covering examples of parodic practice from the Middle Ages t...
Parodies of the Romantic Age
This volume collects together a wealth of material ranging from verse parodies originally published in pamphlet form, to longer works such as P.G. Patmore's parodies of the works of Byron, Lamb and Hazlitt.
Parodies of the Romantic Age Vol 4
This volume collects together a wealth of material ranging from verse parodies originally published in pamphlet form, to longer works such as P.G. Patmore's parodies of the works of Byron, Lamb and Hazlitt.
Parodies of the Romantic Age Vol 1
This volume collects together a wealth of material ranging from verse parodies originally published in pamphlet form, to longer works such as P.G. Patmore's parodies of the works of Byron, Lamb and Hazlitt.
Kinds of Parody from the Medieval to the Postmodern
This book approaches parody as a literary form that has assumed diverse forms and functions throughout history. The author handles this diversity by classifying parody according to its objects of imitation and specifying three major parodic kinds: parody directed at texts and personal styles, parody directed at genre, and parody directed at discourse. The book argues that different literary-historical periods in Britain have witnessed the prevalence of different kinds of parody and investigates the reasons underlying this phenomenon. All periods from the Middle Ages to the present are considered in this regard, but a special significance is given to the postmodern age, where parody has become a widely produced literary form. The book contends further that postmodern parody is primarily discourse parody - a phenomenon which can be explained through the major concerns of postmodernism as a movement. In addition to situating parody and its kinds in a historical context, this book engages in a detailed analysis of parody in the postmodern age, preparing the ground for making an informed assessment of the direction parody and its kinds may take in the near future.
