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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.

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Peter Marks

. Gilliam had been working on the long-term project Theseus and the Minotaur with a new collaborator, the English screenwriter Tony Grisoni, when in a holiday break he got the chance to direct a film already well advanced in planning, Fear and Loathing in Las Vegas . Based on Hunter. S. Thompson’s classic of Gonzo Journalism, 1 which was first published in two articles for Rolling Stone

in Terry Gilliam
Abstract only
Peter Marks

crudely homogenises the diversity of his output. One way of marking this range comes from understanding that Gilliam employs an extraordinary variety of genres: medieval comedy; children’s historical adventure; dystopian satire; the fantastic voyage; science fiction; Gonzo Journalism; fairy tale; and gothic horror. Each genre rejects or reworks the norms of realism, but in distinct ways, so that the

in Terry Gilliam
Peter Marks

reductive reading of Gilliam merely as a fantasist (as if that term was itself a form of criticism), for his films utilise genres and themes as diverse as science fiction, Gothic horror, nonsense poetry, fairy tales, imaginary travels, medieval myth, Gonzo Journalism and dystopias. The literary element of this not exhaustive list registers the fact that for all the alluring and magical imagery of his films (another aspect

in Terry Gilliam