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A great, silly grin : the British satire boom of the 1960s

著者: Humphrey Carpenter
出版商: New York : PublicAffairs, ©2002.
版本/格式:   Print book : 英语 : 1st ed查看所有的版本和格式
数据库:WorldCat
提要:
"Looking back from an era in which Americans rely upon comedians for the most up-to-the minute social and political commentary (think Jay Leno, Saturday Night Live, or The Onion), how did it happen that we came to trust the sideways glance, the knowing aside, and the dead-on impersonation to tell us something about the world that straight headlines fail to do? The answer, as Humphrey Carpenter shows in this
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类型/形式: Criticism, interpretation, etc
History
附加的形体格式: Online version:
Carpenter, Humphrey.
Great, silly grin.
New York : PublicAffairs, ©2002
(OCoLC)604042356
文件类型:
所有的著者/提供者: Humphrey Carpenter
ISBN: 1586480812 9781586480813
OCLC号码: 48754196
注意: Originally published: That was satire that was. Boston : Victor Gollancz, 2000.
描述: viii, 391 pages : illustrations ; 25 cm
内容: Prologue: Permission to speak 3 --
Part 1 I've got a viper in this box --
Part 3 "The BBC moved in on the act" --
Part 4 Everyone is a satirist --
Curtain call: where are they now? 335.
其他题名: That was satire that was
责任: Humphrey Carpenter.

摘要:

"Looking back from an era in which Americans rely upon comedians for the most up-to-the minute social and political commentary (think Jay Leno, Saturday Night Live, or The Onion), how did it happen that we came to trust the sideways glance, the knowing aside, and the dead-on impersonation to tell us something about the world that straight headlines fail to do? The answer, as Humphrey Carpenter shows in this informative and uproarious book, is that we owe it all to our cousins across the Atlantic.

It was the British satire "boom" of the early 1960s that created a motherlode of styles, material, and formats for generations of bright comedians and social critics in America as well as in Britain, and set the standard for clever humor that still determines our tastes in comedy and commentary today."

"A Great, Silly Grin begins with the 1960 Edinburgh Festival, when a staggeringly inspired satirical review called Beyond the Fringe startled a public steeped in the polite, bland banality of the 1950s. From there it was a short trip to the coffee bars of London, where the appearance of a scrub yellow pamphlet calling itself Private Eye overturned the way Britons looked at their world, public events and personalities providing the raw material for this irreverent take on the news."--Jacket.

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