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A brief digression on twins
R. S. White

In The Boys from Syracuse (1940), based on the original Broadway production in 1938, Richard Rodgers composed the music and Lorenz Hart the lyrics, and they signal very clearly the musical’s origins in The Comedy of Errors . There is certainly nothing hidden, disguised, or unintentional about the reference in this case. The immediate source is credited as the Broadway

in Shakespeare’s cinema of love
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‘Tears of laughter': comedy-drama in 1990s British cinema
Nigel Mather

This study of British cinema will explore the interactions of comedy and drama within a group of significant and influential films released during the decade of the 1990s. The opening chapter, ‘“Things can only get better … ”: comedies of class, culture and community’, will examine a group of British films from this period which engage with economic and social issues in unusual and compelling ways

in Tears of laughter
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It nearly took my arm off! British comedy and the ‘new offensiveness’
Leon Hunt

3885 Cult British TV Comedy:Layout 1 14/12/12 07:53 Page 201 8 Near the knuckle? It nearly took my arm off! British comedy and the ‘new offensiveness’ I’m very different to Bernard Manning because I am being postmodern and ironic. Unlike Bernard Manning, I understand that what I’m saying is unacceptable. You might say, ‘Does that make you better than Bernard Manning or much, much worse?’ Richard Herring1 ‘Offensive’ comedy is divisive by nature. If we simply find a joke unacceptable, then we are unlikely to find it funny. Here the displeasure entirely

in Cult British TV comedy
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Consuming desires in the sex comedy
Kathrina Glitre

Consuming desires in the sex comedy 137 6 Possess me: consuming desires in the sex comedy The concerns and interests of the sex comedy are neatly encapsulated in a scene from The Tender Trap. Julie Gillis (Debbie Reynolds) is certainly not a career woman; her one desire is to get married, despite a burgeoning stage career. When Julie fails to turn up for rehearsal, her agent, Charlie Reader (Frank Sinatra), eventually finds her at the American Home Show. She has been testing out a living-room suite, but is undecided: ‘I love this style of house, and I love

in Hollywood romantic comedy States of the union, 1934–65
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Jokes, racism and Black and Asian voices in British comedy television
Gavin Schaffer

8 Framing The Fosters: jokes, racism and Black and Asian voices in British comedy television Gavin Schaffer This chapter interrogates the relationship among television comedy, power and racial politics in post-war Britain. In a period where Black and Asian Britons were forced to negotiate racism as a day-to-day reality, I want to question the role played by television comedy in reflecting and shaping British multicultural society.1 This chapter probes Black and Asian agency in comedy production, questioning who the joke makers were, and what impact this had on

in Adjusting the contrast
From laugh track to commentary track
Leon Hunt

3885 Cult British TV Comedy:Layout 1 14/12/12 07:53 Page 128 5 Community and intimacy: from laugh track to commentary track According to Andy Medhurst, ‘Comedy says to us: you’re among friends, relax, join in’ (2007: 19). While proponents of more confrontational or ‘experimental’ forms of comedy might challenge (or at least qualify) this proposition, it seems safe to accept that comedy does require some sense of belonging. The nature of this belonging might vary hugely, along lines determined by nation, class, ethnicity, gender, sexuality and age. It might

in Cult British TV comedy
Paul Feig

movie for years but since I do comedy, I knew I had to figure out the perfect role for him, a role that could showcase what I hoped was the sense of humor I was sure he had. So, I set up a general meeting for Jason and me. As the day approached, I was more nervous than I had ever been to meet anybody in my life. I kept playing out scenarios in my head. What if he’s really mean

in Crank it up
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Developments in post-alternative sketch comedy
Leon Hunt

3885 Cult British TV Comedy:Layout 1 14/12/12 07:52 Page 98 4 Patchy in places: developments in post-alternative sketch comedy DAVID: Okay, so running order for the show. I was thinking: Hit. Miss. Hit. Hit. Miss. Miss. Hit. Miss. Hit. Miss. Hit. Miss. Miss. Miss. Hit. Hit. Miss. Hit. Miss. ROBERT: Are we definitely going for the whole ‘Hit and Miss’ thing? DAVID: It’s a sketch show. It’s got to be hit and miss, that’s what people expect. ROBERT: It’s just . . . it is quite time-consuming writing and filming all the ‘misses’. It always feels a bit, you know

in Cult British TV comedy
Romantic comedy
R. S. White

A film genre, as the term is being used in this book, has three dominant components that make up what Rick Altman calls its ‘genetic blueprint’: 1 a recognisable plot, a basic structure, and a recurrent ideology or set of assumptions about its subject matter. In romantic comedy the plot invariably centres on a love affair that is presented in ways that highlight comic incidents leading

in Shakespeare’s cinema of love
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Brigitte Rollet

French cinema of the 1970s and 1980s. This chapter deals mainly with a description and an analysis of Serreau’s comedies, within the wider perspective of French comedies (or comedies à la fran ç aise). The aim is to show to what extent her comedies both reproduce and reject the usual and typical ‘ingredients’ of the genre. The specificity (or the lack of specificity) of French comedies in general is also considered. After a presentation of the genre, which is one of the most popular in France, the issue of its traditionally male

in Coline Serreau