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020 _a9783031412226
_9978-3-031-41222-6
024 7 _a10.1007/978-3-031-41222-6
_2doi
050 4 _aPN1992-1992.92
072 7 _aAPT
_2bicssc
072 7 _aPER010000
_2bisacsh
072 7 _aATJ
_2thema
100 1 _aGlynn, Stephen.
_eauthor.
_4aut
_4http://id.loc.gov/vocabulary/relators/aut
_968019
245 1 4 _aThe British Sitcom Spinoff Film
_h[electronic resource] /
_cby Stephen Glynn.
250 _a1st ed. 2024.
264 1 _aCham :
_bSpringer Nature Switzerland :
_bImprint: Palgrave Macmillan,
_c2024.
300 _aXI, 273 p. 21 illus.
_bonline resource.
336 _atext
_btxt
_2rdacontent
337 _acomputer
_bc
_2rdamedia
338 _aonline resource
_bcr
_2rdacarrier
347 _atext file
_bPDF
_2rda
505 0 _aChapter 1 – Introduction -- Chapter 2 – Precursors and Pioneers: 1940-1960 -- Chapter 3 - The ‘Golden Age’: 1969-1980. Part 1: Racists, Romans and Randy Busmen -- Chapter 4 - The ‘Golden Age’: 1969-1980. Part 2: Soldiers, Shopping and Sexual Frustration -- Chapter 5 – Revival and Revisionism: 1986-2007. Part 1: Global Destruction and Domination -- Chapter 6 – Revival and Revisionism: 2007-2021. Part 2: Schools, Legacies and Mockumentaries -- Chapter 7 – Conclusion.
520 _aStephen Glynn has produced a terrific book on British TV sitcom spinoff films. He writes clearly and concisely and with a demonstrable passion for the subject. He pulls off the difficult trick of bringing an impressive breadth of knowledge to this material while also communicating it in helpful and often amusing ways. -Paul Newland, University of Worcester This book constitutes the first full volume dedicated to an academic analysis of theatrically-released spinoff films derived from British radio and television sitcoms. Regularly maligned as the nadir of British film production and marginalised as a last resort for the financially-bereft industry during the 1970s, this study demonstrates that the sitcom spinoff film has instead been a persistent and important presence in British cinema from the 1940s to the present day, and includes works with distinct artistic merit. Alongside an investigation of theeconomic imperative underpinning these productions, i.e. the exploitation of a proven product with a ready-made audience, it is argued that, with a longevity stretching from Arthur Askey and his wartime Band Waggon (1940) to the crew of Kurupt FM and their recent People Just Do Nothing: Big in Japan (2021), the British sitcom spinoff can be interpreted as following a full generic ‘life cycle’. Starting with the ‘formative’ stage where works from Hi Gang! (1941) to I Only Arsked! (1958) establish the genre’s characteristics, the spinoff genre moves to its ‘classic’ stage where, secure for form and content, it enjoys considerable popular success with films like Till Death Us Do Part (1969), On the Buses (1971), The Likely Lads (1976) and Rising Damp (1980); the genre’s revival since the late-1990s reveals a more ‘parodic’ final stage, with films like The League of Gentlemen’s Apocalypse (2005) adopting a consciously self-reflective mode. It is also posited that the sitcom spinoff film is a viable source for social history, with the often-stereotypical re-presentations of characters and events an ideological metonym for the concerns of wider British society, notably in issues of class, race, gender and sexuality. Stephen Glynn lectures in Film and Television at De Montfort University, UK. He has published widely on British cinema and genre and previous volumes for Palgrave include The British Pop Music Film (2013), The British School Film (2016) and The British Football Film (2018).
650 0 _aTelevision broadcasting.
_967524
650 0 _aMotion pictures
_xGreat Britain.
_968020
650 0 _aComedy.
_968021
650 1 4 _aTelevision Studies.
_968022
650 2 4 _aBritish Film and TV.
_968023
650 2 4 _aComedy Studies.
_968024
710 2 _aSpringerLink (Online service)
773 0 _tSpringer Nature eBook
776 0 8 _iPrinted edition:
_z9783031412219
776 0 8 _iPrinted edition:
_z9783031412233
776 0 8 _iPrinted edition:
_z9783031412240
856 4 0 _uhttps://doi.org/10.1007/978-3-031-41222-6
912 _aZDB-2-LCM
912 _aZDB-2-SXL
999 _c56760
_d56760