Search results

You are looking at 1 - 6 of 6 items for :

  • "Armando Iannucci" x
  • Refine by access: All content x
Clear All

Featuring more than 6,500 articles, including over 350 new entries, this fifth edition of The Encyclopedia of British Film is an invaluable reference guide to the British film industry. It is the most authoritative volume yet, stretching from the inception of the industry to the present day, with detailed listings of the producers, directors, actors and studios behind a century or so of great British cinema.

Brian McFarlane's meticulously researched guide is the definitive companion for anyone interested in the world of film. Previous editions have sold many thousands of copies, and this fifth instalment will be an essential work of reference for universities, libraries and enthusiasts of British cinema.

Abstract only
Unpacking the political satire in Veep
Michael P. Young

who claim to serve the people when they are really just serving themselves. Whilst the creator and director Armando Iannucci posits that political satire acts as a proxy for popular discontent by sublimating our frustration with the political class (O’Sullivan 2018 ), my aim here is to show how Veep uses simple forms – of contrast, language and characterisation – in its satirical schema to pose complex questions about politics, identity and performance. I will also suggest that Veep 's off-colour jocularity, contrasting audiovisuals and modal shifts, ultimately

in Complexity / simplicity
Mapping post-alternative comedy
Leon Hunt

Stars. As an influence, they connect to a range of important shows, including The League of Gentlemen and The Mighty Boosh. Secondly, there is the group of writers and performers surrounding Armando Iannucci and Chris Morris, working on On the Hour (Radio 4 1991–92) and its TV spin-off The Day Today (Channel 4 1994) and Brass Eye (Channel 4 1997, 2001) before moving on to other notable series – Stewart Lee and Richard Herring (Fist of Fun, This Morning with Richard Not Judy, Stewart Lee’s Comedy Vehicle), Graham Linehan and Arthur Mathews (Father Ted, Big Train) Steve

in Cult British TV comedy
Abstract only
Veep, Homeland, and Scandal
Elisabeth Bronfen

shows discussed in Chapters 3 and 4, four female presidents are compelled to resign, four are able to move into this position only because of the premature death or resignation of the president, only two are actually elected by the people, and one is elected only after two prior attempts have failed. 8 See Chapter 2 in Sigmund Freud, Beyond the Pleasure Principle (1920), The Standard Edition , volume XVIII (London: Hogarth Press, 1955), pp. 12–17. 9 Veep , ‘Frozen Yoghurt’, season 1, episode 2, dir. Armando Iannucci, writ. Armando Iannucci and Simon

in Serial Shakespeare
From laugh track to commentary track
Leon Hunt

’ to ‘a consistent laugh riot’ (Ibid.). This is Alan Partridge (Series 1, BBC 2 1997) and Garth Marenghi’s Darkplace both provide in-character ‘gag audio tracks’ with different levels of success partly determined by their intratextual relationship to the original series. The Alan Partridge DVD also provides a more conventional commentary by Steve Coogan and co-writers Armando Iannucci and Peter Baynham that is actually (to my ears, at least) funnier than the ‘gag’ one. The joke commentary is provided by Alan and secretary Lynne (actress Felicity Montagu). It is

in Cult British TV comedy
International humanitarian law in war movies
Martyna Fałkowska-Clarys and Vaios Koutroulis

scope of this contribution: movies focusing on the political or diplomatic aspects of war (such as In the Loop (Armando Iannucci, UK, 2009), Lions for Lambs (Robert Redford, USA, 2007) or Quai d’Orsay (Bertrand Tavernier, France, 2013)), movies dealing with the social dimension of conflicts, such as the disappearance and return of soldiers from war and the influence this has on their families, etc. ( Brothers (Jim Sheridan, USA, 2009) or In the Valley of Elah (Paul Higgis, USA, 2007)), and movies focusing on the treatment of persons who have fallen in the

in Cinematic perspectives on international law