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From Shakespearean comedy to national identity
Celestino Deleyto

V.O.S. is a romantic comedy about the writing of a romantic comedy set in Barcelona. Clara (Àgata Roca) and Manu (Paul Berrondo) have decided to have a child together, even though they are not partners. Ander (Andrés Herrera), Manu’s best friend, is involved with Vicky (Vicenta N’Dongo). They are looking for a place to live although Ander is anxious about commitment. Clara

in Spanish cinema 1973–2010
Marriage, remarriage and screwball comedy
Kathrina Glitre

Marriage, remarriage and screwball comedy 41 2 The same, but different: marriage, remarriage and screwball comedy There is a moment early in The Awful Truth when Lucy Warriner (Irene Dunne), having decided to divorce her husband, Jerry (Cary Grant), telephones their lawyer. Rather than cutting to the interior of a suitable office, the scene cuts to a large but gloomy drawing-room, filled with old-fashioned lumps of furniture. The telephone is answered by a man with silvery-grey hair and a moustache. Discovering the reason for Lucy’s call, the lawyer’s jovial

in Hollywood romantic comedy States of the union, 1934–65
The politics of performance in the Spanish sophisticated comedy of the 1940s
Stuart Green

3 Exaggeration and nation: the politics of performance in the Spanish sophisticated comedy of the 1940s Stuart Green Introduction It is perhaps not surprising that the ideologically charged atmosphere of the decade immediately following the Spanish Civil War is reflected in academic studies of the cinema of this period. On the one hand, there is a wealth of scholarly analyses of the military and historical epics subsidised by state institutions.1 This is accompanied by approaches to the españolada (folkloric film) rooted in popular theatrical forms, sometimes

in Performance and Spanish film
The English Comedy as a transnational style
Pavel Drábek

similar observation can be made about the cultural particularity and the mixture of imported, transnational influences relating to the English Comedy ( Englische Comedie ), a theatrical style practised by the popular travelling English troupes and their inheritors between the 1580s and 1680s. Most scholarship on this phenomenon assumes that, dramaturgically, English travelling actors

in Transnational connections in early modern theatre
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Sara Upstone

Jonathan critiques her with the following: Well, it’s victim mentality TV, isn’t it? Let’s look at the strange brown people and admire their spunk or pity their struggles. What about the happy stories? What about the Asians who like who they are, who just get on and do it and … live? Yeah?2 In the wake of the rise of ‘Asian cool’, the desire to meet the image of a confident, self-assured British Asian identity is overwhelming. As the most ‘funny’ British Asian voice, best known for her roles in the BBC comedy series Goodness Gracious Me and The Kumars at Number 42

in British Asian fiction
Open Access (free)
The soundscape of Ingmar Bergman’s Smiles of a Summer Night
Alexis Luko

Aldous Huxley once said, ‘We participate in a tragedy; at a comedy we only look’. 1 In 1954, Ingmar Bergman found himself on the precipice of calamity, a key participant in his own real-life tragedy. Allegedly contemplating suicide on a Swiss mountain pass, suffering from a flopped film project, a broken marriage, and a failed love affair (not to mention agonizing stomach cramps), he explained, ‘I had two alternatives: write Smiles of a Summer Night [1955] or kill myself.’ 2 Bergman had what he

in Ingmar Bergman
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Equality and the career woman comedy
Kathrina Glitre

Equality and the career woman comedy 91 4 A little difference: equality and the career woman comedy It may seem paradoxical to discuss the theme of equality in relation to a cycle of films that is apparently obsessed with proving sexual difference. Most critics have understood the career woman’s final acceptance of more conventional femininity as reactionary.1 According to Sennett, ‘this was the lotus-land of Hollywood, where women must remain women, and so the “feminist” attitude was really a sham: the “liberated” lady had to discover romance before the final

in Hollywood romantic comedy States of the union, 1934–65
Quentin Falk

By the turn of the fifties, the studio’s legacy had been assured after a momentous decade-ending year. Following Crichton’s potent marker with Hue and Cry two years earlier, three films in particular – Cornelius’s Passport to Pimlico , Mackendrick’s Whisky Galore and Hamer’s Kind Hearts and Coronets – all released in quick succession during 1949 ensured the label ‘Ealing comedies’ became not just common currency, but also, simultaneously, a term of audience expectation and affection. George Perry in his studio memoir, Forever Ealing , suggests that this

in Charles Crichton
Leon Hunt

3885 Cult British TV Comedy:Layout 1 14/12/12 07:53 Page 147 6 The ‘Zooniverse’ and other (furnished) comic worlds Umberto Eco’s ‘Casablanca: cult movies and intertextual collage’ (1987) looms large in what we might call ‘cult theory’, an essay whose resonance transcends its blind spots and inevitable datedness – Matt Hills rightly calls it ‘groundbreaking’, but also warns that it ‘has not aged well’ (2002: 132). It is perhaps best to see Eco’s essay as not dissimilar to the qualities he associates with cult texts – ‘ramshackle, rickety, unhinged’ – and to

in Cult British TV comedy
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The Taming of the Shrew and odd-couple comedy
R. S. White

own right been filmed anew in virtually every year of the medium’s history. 1 This is actually quite odd, since it is one play that appears to be unredeemably Elizabethan, its reliance on patriarchy and domestic violence apparently beyond the pale even to earlier decades in the twentieth century. It seems to come from an earlier, less enlightened tradition than the kind of romantic comedy

in Shakespeare’s cinema of love