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Biblical plays between Czech drama and English comedy in early modern Central Europe
Pavel Drábek

.) These are the words of Adam Tesák Brodský at the beginning of his father Juraj Tesák Mošovský's Comedy from a Book of God's Testament Named Ruth ( Komedie z Kníhy Zákona Božího, jenž slove Ruth ; Ruth 1604), printed in Prague in 1604. What is more, Tesák Brodský admonishes that ‘nadto nesluší těmi, kteréž ex fontibus Israel, to jest, z studnic Písem svatých jsou sebrané, pohrdati’ (‘above all, it is unbeholding to scorn those comedies that are composed ex fontibus Israel , that is, from the springs of the Holy Scriptures’, A2r). 1

in Enacting the Bible in medieval and early modern drama
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From Les Bronzes to Ridicule
Lisa Downing

who performed an about-face in order to become a serious auteur , I will attempt to argue in this chapter that Leconte’s specific uses of comedy, throughout his filmmaking career to date, form a recognizable continuum and can therefore – to some extent - be read as an auteur ist signature. Although there is no doubt that the quality of Leconte’s films is inconsistent and that his humour has evolved from the

in Patrice Leconte
The episodic situation comedy revisited
Barry Langford

The question of what counts as an innovative feature in the development of a sitcom is difficult because in some ways we are talking about a framework so simple and so easy to recognise that the sitcom is, literally, child’s play. (Feuer 2001 :69) This essay takes a second look at the apparent simplicities of the situation comedy, comparing some ‘classic’ 1960s and 1970s British sitcoms with a more recent example, The Office (BBC 2001–3), with the aim of clarifying the relationship of narrative form to ideological and historical content. I have

in Popular television drama
Spanishness, dark comedy and horror
Juan F. Egea

translation. Whether these problems are cultural as well as linguistic is precisely one of the questions to be addressed in these pages. A cross between an indigenous dark comedy and an indie horror movie, Justino provokes generic considerations that are necessarily linked to questions – and questionings – of national cinema, which, in turn, raise issues of genre formation

in Contemporary Spanish cinema and genre
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R. S. White

pattern of expectations as yet awaiting content. It is the mould into which a story will be poured, the matrix that exists before words are supplied, and it will determine the emotional register of the experience (funny or sad? the bitter-sweet of tragi-comedy?). It anticipates a certain kind of closure, which may be satisfied or thwarted but still operates as a sustained expectation. The larger

in Shakespeare’s cinema of love
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Girls in the news
Peter William Evans

the so-called ‘Madcap Girls’ (Harper 2000 : 26) like Jessie Matthews, but equally suitable for casting in romantic comedies. Bank Holiday (1938) Referring to Bank Holiday , where as Nurse Catherine, Margaret Lockwood is caught between the competing attributes of two men, the conventional Geoff (Hugh Williams) and the more romantic Stephen (John Lodge), Bruce Babington defines her as a woman ‘moving

in Carol Reed
Life Is Sweet
Tony Whitehead

‘So long as you’re happy’: Life Is Sweet 5 An important development in Leigh’s working life came in 1989 when he formed the production company Thin Man Films with Simon Channing-Williams, who had first worked with him on Grown-Ups as first assistant director and had co-produced High Hopes. For the company’s first production, Leigh has said that he committed himself ‘to making a comedy that would have a potentially larger audience appeal than High Hopes’,1 and this he achieved, as Graham Fuller notes: ‘Lighter and sunnier in mood than High Hopes, but equally

in Mike Leigh
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The limits of comedy
Robert Duggan

Chapter 3 Martin Amis: the limits of comedy [I]n Angela Carter and Martin Amis, one finds Dickens’s impress, in particular the interest in the self as a public performer, an interest in grotesque portraiture and loud names, and in character as caricature, a vivid blot of essence. (Wood, 2002, 11) This chapter of the present study will look at the work of Martin Amis in the light of my earlier discussion of the grotesque in literature. I will be examining, among other works, his novels Money: A Suicide Note (1985a, first published 1984) and London Fields (1989

in The grotesque in contemporary British fiction
The comic art of housework
Julia Hallam

In the autumn of 2000 the original cast of Carla Lane’s Butterflies (BBC 1978–83), Wendy Craig (Ria Parkinson), Geoffrey Palmer (Ben Parkinson), Nicholas Lyndhust (Adam Parkinson) and Andrew Hall (Russell Parkinson), reassembled to celebrate Ria’s sixtieth birthday as part of the BBC’s annual charity appeal Comic Relief . Butterflies was a domestic situation comedy centred on the boredom and frustration of a ‘typical’ 1970s suburban housewife (white, middle-class and southern English) who teeters on the brink of having an affair but, overcome by guilt

in Popular television drama
Christine Cornea

practical terms, I was not only employed to convey characters in plays, television series and feature films, but also performed in experimental productions, musical shows, satirical comedy shows, television adverts, in-house training videos, corporate shows and documentaries. In short, I was also employed in productions that did not necessarily involve the sort of ‘character building’ most readily associated with ‘acting’ Beyond

in Genre and performance