While researching into satire and comedy of the 1960s, I realised the important of graphic arts in the role. I have just ordered a book called A Great Silly Grin; The British Satire Boom of the 1960s that features Gilliam and I'm really keen to see what it has to say about featured area on Terry Gilliam. I have always believed that Gilliam can be included under the theme of satire and I believe that this even travels through to his later themes such as Brazil.
However, ultimately Brazil is a purely Gilliamesque vision of an alternate world. It is completely self-indulgent and because of this Gilliam has been able to run wild with his visuals.
I could blog entirely on Brazil alone. Which I will do . . .
However, I need tolay out my focus for the research project and that is to show a focus on the 1960s animations and illustrations and then through a timeline show the development of work. However, with a constant influence from his early animating days. The visuals are always developing and, by the time of Brazil, I will compare the special effects of Brazil to another paralleling action film e.g. Blade Runner, and show the less pixelated style of Gilliam's work by comparison. It is, in my opinion, as though Gilliam is still animating, but with people.
My research project is a result of a lot of my own thoughts and opinions but with a great deal of research to back it up.
I wish to form an interesting piece of reading material that shows the positive sides of an artist's own self indulgence.
After much research into Gilliam's early illustrations and animations I have now found that my project is naturally finding a course towards satire and comedy.
In the opening credits of Life of Brian, Gilliam's simple cut-out technique really sets us up for what we are about to let ourselves in for. The content, for those who are yet to see it, includes characters taken and cut out of magazines, particularly angels. This continues the theme of religion and divine intervention of the film. In fact, the Pythons decide to show their own take on the New Testament and play with the ideas thrown to us in the Bible which results in humour as they destroy the commonly told story of the birth of the messiah. The actual content of Gilliam's simple animation involves the journey of one particular angel through a series of rather rude or odd events. She is not held in high regard or precious as angels are so usually shown but instead flies up to the sun in the end squarking in a very unangelical voice, then gets burnt by the sun.
Despite the simplicity of the animation, I believe that it is this simplicity that proves to be the success of the sequence. The complete reinvention and satirical way of animating such traditional characters and illustrations creates a hugely atmospheric and apt title sequence.
When describing Monty Python as satirical, I have been met with varied comments. In common is the thought that Monty Python is not in fact satire. Soooooo, I wikipedia-d it . . .
Satire (from Latin satura, not from the Greek mythological figure satyr[1]) is a literary genre, chiefly literary and dramatic, in which human or individual vices, follies, abuses, or shortcomings are held up to censure by means of ridicule, derision, burlesque, irony, or other methods, sometimes with an intent to bring about improvement.
[2] It is used in graphic arts and performing arts as well. Although satire is usually meant to be humorous, the purpose of satire is not primarily humour but criticism of an event, an individual or a group in a witty manner.
Satire usually has a definite target, which may be a person or group of people, an idea or attitude, an institution or a social practice. It is found in many artistic forms of expression, including literature, plays, commentary, and media such as song lyrics.
Often the target is examined by being held up for ridicule, ideally in the hope of shaming it into reform. A very common, almost defining feature of satire is a strong vein of irony or sarcasm. Also, parody, burlesque, exaggeration, juxtaposition, comparison, analogy, and double entendre are devices frequently used in satirical speech and writing.
The essential point, however, is that "in satire, irony is militant"[3]. This "militant irony" (or sarcasm) often professes to approve values that are the diametric opposite of what the satirist actually wishes to promote.
Therefore, we could say that Monty Python does in fact reflect human follies that are held to censure by means of ridicule and irony. However, this does chiefly rely on humour. Here is where the second part of the definition becomes apt:
ALTHOUGH SATIRE IS MEANT TO BE HUMOROUS, THE PURPOSE OF SATIRE IS NOT PRIMARILY HUMOUR BUT CRITICISM OF AN EVENT, AN INDIVIDUAL, OR GROUP IN A WITTY MANNER.
In fact, Monty Python does all three.
When I talk of satire and Monty Python I can, when talking generally, refer mainly to the films Life of Brian and Holy Grail as they are the most familiar with the public.
What never ceases to amaze me with MP is the broad spectrum of fans that it has. Often, people I'd never expect to like it are the biggest fans and can reel off entire scenes word for word. Here lies the key to its success, that a comedy sketch can surpass time and culture because, in my opinion, the themes in Python will never become outdated.
The early illustrations and animations of Terry Gilliam
Gilliam's foreword in his biography, written by Bob McCabe:
"...One of the things both Bob and myself wanted to highlight was the visual aspect of all the movies - you can write about them all you want but these movies are basically there to be seen."
The focus of my research begins with Terry Gilliam and an interest that I have in his films, including the early Monty Python years where he began in small, yet gruesome acting roles and provided all animation for the series of films.
It was these illustrations that tied together the style of satirical comedy so successfully. As the first Monty Python series hit our screens in 1969, reactions were mixed. It was a show that excited the youth and confused the parents.
Many of Gilliam's animations focus on bureaucracy, sometimes bordering on the rude in a naturally organic humorous way and involved the cutout technique.
Ironically, the lack of budget meant Gilliam had to often use found materials in his work, worked in his favour. He put into practice the technique that gave a definite, distinct edge to his work. It worked perfectly with the style of jaunty animation and the message of Python itself.
Prior to his permanent arrival in England, and after his time as a Politics student in Occidental College LA, an incident would occur that would prove the point of dissolution for Gilliam, concerning his homeland.
During a peaceful anti LBJ (President Lyndon Johnson) protest Gilliam and his then girlfriend Glenys Roberts decided to go to the scene of the nearby protest. They had heard that local police has sparked some trouble and, with Glenys being a reporter, she wanted to cover the event. Gilliam went with her and recalls to biographer Bob McCabe:
"There were cops everywhere and it was all going fine until the cops went berserk and we ended up in the middle of it. I did a big anti-riot poster afterwards that was sold in the shops. I started getting disillusioned with America and I wanted to go back to Europe, so we came to England"
Gilliam was in fact grabbed by his long hair that had already caused Gilliam some considerable trouble when he was randomly stopped and frisked. In Gilliam's own words:
"…because they knew who I was. I was an out of work musician, living off some middle-class man's daughter, peddling drugs."
It was the flowing, long hair that became a symbol for the free-thinkers of the 1960s. Then I thought of a song that my dad used to play me:
Almost Cut My Hair Almost cut my hair It happened just the other day It's gettin kinda long I coulda said it wasn't in my way But I didn't and I wonder why I feel like letting my freak flag fly Cause I feel like I owe it to someone
Must be because I had the flu' for Christmas And I'm not feeling up to par It increases my paranoia Like looking at my mirror and seeing a police car But I'm not giving in an inch to fear Cause I missed myself this year I feel like I owe it to someone
When I finally get myself together I'm going to get down in that sunny southern weather And I find a place inside to laugh Separate the wheat from the chaff I feel like I owe it to someone
Crosby, Stills, Nash & Young - Déjà Vu, March 1970
Current Bibliography
Books:
Dark Knights and Holy Fools. The Art and Films of Terry Gilliam by Bob McCabe Inside The Yellow Submarine by Robert R. Hieronimus The life of Python by George Perry
Films:
And Now For Something Completely Different Brazil Fear and Loathing in Las Vegas Jabberwocky Monty Python and The Holy Grail Monty Python's Meaning of life The Beatles Yellow Submarine The Fisher King The Life of Brian Tideland Time Bandits Twelve Monkeys
During the summer I went to Las Vegas with my boyfriend Peter.
One of the most amazing things about the trip were the shows in particular LOVE! by Cirque Du Soleil, the video below does it no justice at all, it was one of the most amazing things I've ever seen. Its worth going to Vegas for this alone.
After the show we went to the Revolution bar in the Mirage hotel, specially built by Cirque Du Soleil, where we made friends with some Americans around a nutty interactive table which you could draw onto. These drawings then showed on the walls, this was really good and got everyone talking.
The show has never left me and I keep finding bits of it cropping up in my work. At the moment its the mechanical set of tiny dancing wellington boots!!!!
