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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.

Andrew Higson

past? Do they offer the same sorts of pleasures to the same sorts of audiences? Do they position themselves in the marketplace in the same way? To answer these questions I will examine the various modes of film practice adopted for representing the Middle Ages, from the epic historical adventure film to low-budget art-house fare. I will suggest on the one hand that film-makers frequently blur the

in Medieval film
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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
Textual analyses
Robert James

frame than Laughton only serves to reinforce his message. Of course, the film’s satisfactory resolution – the promise of a ‘new understanding’ between officers and men – ultimately served to dispel these anxieties, but its even-handedness offered to comfort workingclass audiences who would have identified with the ship’s tormented lower orders. Mutiny on the Bounty is thus an historical adventure that comments on social inequalities. As Franchot Tone’s idealistic Roger Byam (commanding the frame during an impassioned two-minute long speech) proclaims in his address to

in Popular culture and working-class taste in Britain, 1930–39
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Maria Holmgren Troy, Elizabeth Kella, and Helena Wahlström

. Their bond is sealed by Lily finding a keepsake in the house for Sam, a washboard, which as she assures him will help him create a ‘memory’ of his birth family’s life before the murderous attack. Hence, somewhat surprisingly, The Missing combines two orphans’ development beyond the trauma of loss of family with the genre of the picaresque historical adventure novel. A finalist for the 2013 Pultizer Prize, Eowyn Ivey’s The Snow Child (2012) takes its inspiration from outside US borders, but is nonetheless ‘about American life.’ This work is a beautifully wrought

in Making home
Imperialism and popular culture in the Netherlands, 1870–1960
Vincent Kuitenbrouwer

Tjakranegara on Lombok with furious looking Indonesians throwing themselves on cool Dutch bayonets. 53 Also outside the schools the youth was exposed to heroic stories from the Dutch Indies in children’s books. Until the 1870s, one title appeared annually in which the Indies featured. After that there was a steady growth up to six titles a year. Historical adventure books were the most popular genre, followed

in European empires and the people
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Pasts at play
Rachel Bryant Davies and Barbara Gribling

. 20 Within the history of childhood and children's literature, children's consumption, children's historical adventure novels and children's periodicals have been significant areas of scholarly study. 21 Meanwhile, there is an emerging focus on material culture, the interactivity of reading and play, and different socio-economic experiences of childhood in historical contexts. 22

in Pasts at play
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Jonathan Rayner

. An investigation of films representing maritime or naval activity from the eighteenth or nineteenth centuries (which might otherwise be labelled historical adventure films or swashbucklers), would be an obvious next step to take, though one which lies beyond the scope of this work. The recent phenomenon of Master and Commander: The Far Side of the World (Peter Weir, 2003), illustrates the popularity of a traditional swashbuckling adventure with contemporary audiences. The TNWD01 16/11/06 11:26 AM Page 209 Conclusion 209 filmmakers’ challenge to create an

in The naval war film
Patrick A. Dunae

historical adventure tales. His earliest works were indifferently received and until the mid-1880s he was less popular than Kingston, Ballantyne, Marryat, and Mayne Reid with the juvenile public. 26 But Henty persisted with his craft and eventually hit upon a formula that appealed consistently to young readers. ‘It’s a funny thing,’ he mused in 1893, ‘but I generally find that boys prefer those of my books that deal

in Imperialism and juvenile literature
James Chapman

century. I wanted it to be authentic.’18 The 1990s had seen a cycle of big-budget historical adventure films  – including Robin Hood: Prince of Thieves (1991), The Last of the Mohicans (1992), Rob Roy (1994) and Braveheart (1995)  – characterised by an aesthetic of what might be described as ‘dirty realism’ consisting of a supposedly naturalistic visual style with subdued, often drab colours and a worn look to props and costumes. There was also a greater attention to unpleasant details (bad hair and teeth, for instance) and a more realistic representation of violence

in Swashbucklers