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Author: Peter Marks

This book argues the centrality of hybridity to Terry Gilliam's films. Gilliam had a collaborative approach to filmmaking and a desire to provoke audiences to their own interpretations as other forms of intertextual practice. Placing Gilliam in the category of cinematic fantasist does some preliminary critical work, but crudely homogenises the diversity of his output. One way of marking this range comes from understanding that Gilliam employs an extraordinary variety of genres. These include medieval comedy; children's historical adventure; dystopian satire; the fantastic voyage; science fiction; Gonzo Journalism; fairy tale; and gothic horror. Gilliam's work with Monty Python assured him a revered place in the history of that medium in Britain. As a result, the Python films, And Now for Something Completely Different, The Holy Grail, Life of Brian and The Meaning of Life, along with his own, Jabberwocky, Time Bandits, and Brazil, show him moving successfully into the British film industry. Most of his films have been adaptations of literary texts, and Jabberwocky forges an extended tale of monsters and market forces. The Adventures of Baron Munchausen builds on some tales from the original texts, constructing a complex examination of fantasy, representation and mortality. Taking crucial ingredients from medieval and older mythologies, the screenplay of The Fisher King resituates them and reworks them for modern America. Gilliam's complex interaction with Britain and America explains his ambiguous place in accounts of American and British films.

Peter Marks

performers were given opportunities to create shows. They were also allowed enormous artistic freedom on the content, structure and tone of these programmes. An essential element was the tradition of Oxford and Cambridge university student revues, in which all the British members of what would eventually become Monty Python’s Flying Circus performed. The most important early figures from this tradition were

in Terry Gilliam
Abstract only
Peter Marks

filming of The Adventures of Baron Munchausen (1989), an earlier expedition into the precarious world of European filmmaking. By 1988 Gilliam had lived in Britain for two decades, establishing himself as a central force in Monty Python’s Flying Circus , the most inventive and celebrated comedy troupe in British television. His work with Python assured him a revered place in the history of that

in Terry Gilliam
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Peter Marks

on seats) and of decay. King Bruno’s castle gives way to cramped and garish suburbia grimly oriented towards the television. In Brazil and Twelve Monkeys , televisions are channels for state or commercial propaganda. This might seem hypocritical given Gilliam’s history, but Monty Python’s Flying Circus was a form of anti-television, its parodies and absurdities a reaction against the

in Terry Gilliam
Surreal Englishness and postimperial Gothic in The Bojeffries Saga
Tony Venezia

suburbia, they represent over-determined signifiers of the abjected Gothic other that denies a coherent and unified English identity. According to Spicer, a common trope in post-war comedy from the Goons to Monty Python was to play off the fantastic against the real, to reveal how it is actually the everyday that is irrational, a trend that continued in later alternative comedy. 48 A similar

in Alan Moore and the Gothic Tradition
Peter Marks

version contrasts markedly with Monty Python and the Holy Grail , but, as we saw earlier, a connection to Gilliam does exist, Boorman having used Jabberwocky as a prompt for his own work. LaGravenese’s screenplay meshed with Gilliam’s own medieval interests and previous films. The writer’s key source, though, was not Weston, Eliot nor Boorman, let alone Monty Python, but

in Terry Gilliam
Peter Marks

come to recognise this ghastly vision as Jeliza-Rose’s mother, and the setting as the family apartment, a dingy riot of druggy icons and brica-brac (including, in a self-referential joke, ‘Monty Python’s Contractual Obligation’ LP). Gilliam’s use of wide-angle lenses, canted frames and odd camera angles creates a twisted and oppressive environment that mixes Gothic elements of heavy shadow, decay

in Terry Gilliam
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Peter Marks

. 11 Susan Stewart, ‘Nonsense: Aspects on Intertextuality in Folklore and Literature’, in Thompson (ed.), Monty Python: Complete and Utter History , pp. 31–2. 12 Gilliam, in McCabe, Dark Knights and Holy Fools , p. 69

in Terry Gilliam
Peter Marks

(1971). 2 Gilliam suffering the fatal heart attack that saves the Knights of the Round Table from the Black Beast of Arrrghhh in Monty Python and the Holy Grail (1974

in Terry Gilliam