Advertisement

Shakespop

  • Stephen HamrickEmail author
Chapter
  • 11 Downloads
Part of the Palgrave Studies in Comedy book series (PSCOM)

Abstract

This chapter provides a brief critical history of relevant, popular appropriations of Shakespeare, setting the existing criticism on Morecambe & Wise within this history. Adaptations of Shakespeare proliferate in twentieth and twenty-first-century comedy, posing interesting interpretative challenges. The chapter’s overview of ‘Shakespop’ criticism provides the necessary foundation for examining the Boys’ use of Shakespeare.

Bibliography1

  1. Bakhtin, Mikhail (1968) Rabelais and His World. Trans. Hélène Iswolsky. Cambridge, MA: MIT Press.Google Scholar
  2. Bate, Jonathan (1989) Shakespearean Constitutions: Politics, Theatre, Criticism, 1730–1830. Oxford UP.Google Scholar
  3. Black, Lawrence (2005) ‘Whose Finger on the Button? British Television and The Politics of Cultural Control.’ Historical Journal of Film, Radio and Television, 25.4, 547–575.CrossRefGoogle Scholar
  4. Burns, Tom (1977) The BBC: Public Institution and Private World. Macmillan.Google Scholar
  5. Burt, Richard (1998) Unspeakable ShaXXXspeares: Queer Theory and American Kiddie Culture. St. Martin’s.Google Scholar
  6. Burt, Richard (2000) ‘Shakespeare in Love and the End of the Shakespearean: Academic and Mass Culture Constructions of Literary Authorship,’ in Mark Burnett and Romona Wray, eds, Shakespeare, Film, Fin de Siècle. Macmillan, 203–231.Google Scholar
  7. Burt, Richard (2002) ‘To e- or Not to e-? Disposing of Schlockspeare in the Age of Digital Media,’ in Richard Burt, ed, Shakespeare After Mass Media. Palgrave Macmillan, 1–34.Google Scholar
  8. Coles, Kim, libr (1977) ‘Book Interview on The Morecambe & Wise Special.’ The London Broadcasting Company Archive. 12 December. bufvc.ac.uk.
  9. Delfont, Bernard (1964) Summer Stars of 1964, Programme. Great Yarmouth.Google Scholar
  10. Desmet, Christy (1999) ‘Introduction,’ in Desmet and Robert Sawyer, eds, Shakespeare and Appropriation. Routledge.Google Scholar
  11. Dobson, Michael (1992) The Making of the National Poet: Shakespeare, Adaptation, and Authorship, 1660–1769. Oxford: Clarendon.Google Scholar
  12. Doherty, Sean, dir (2012) Bring Me Morecambe and Wise. UK Gold TV.Google Scholar
  13. Dollimore, Jonathan and Alan Sinfield (1985) Political Shakespeare: Essays in Cultural Materialism. Manchester UP.Google Scholar
  14. Doyle, Arthur Conan (2001/1890) The Sign of Four. Penguin.Google Scholar
  15. Edwards, Reginald (1989) ‘Margaret Thatcher, Thatcherism and Education.’ McGill Journal of Education, 24.2, 203–214.Google Scholar
  16. Entertainments Committee, Bridlington Corporation (1966) All Star Sunday Concert: Morecambe and Wise Programme. Bridlington: Woodhouse.Google Scholar
  17. Gifford, Denis (1976) Reveille Extra. 30/4/76–16/7/76.Google Scholar
  18. Gifford, Denis (1978) Eric and Ernie’s TV Fun Book. Arrow Books.Google Scholar
  19. Greene, Robert (1592) Greene’s Groates-Worth of Witte. William Wright. STC 12245.Google Scholar
  20. Hawkes, Terence (1992) Meaning by Shakespeare. Routledge.Google Scholar
  21. Himmelweit, Hilde, Betty Swift, and Marianne Jaeger (1980) ‘The Audience as Critic: A Conceptual Analysis of Television Entertainment,’ in Percy Tannenbaum, ed, The Entertainment Functions of Television. Hove: Psychology Press, 67–106.Google Scholar
  22. Hodgdon, Barbara (1998) The Shakespeare Trade: Performances and Appropriations. Philadelphia: Penn UP.Google Scholar
  23. Holderness, Graham, ed (1988) The Shakespeare Myth. Manchester UP.Google Scholar
  24. Holderness, Graham, ed (2018) ‘Hamlet the Dane: ‘Tell My Story,’ in Andrew Hartley, ed, Shakespeare and Millennial Fiction. Cambridge UP, 13–32.Google Scholar
  25. Holm, Nicholas (2017) Humour as Politics: The Political Aesthetics of Contemporary Comedy. Palgrave Macmillan.Google Scholar
  26. Howard, Jean and Marion O’Connor, eds (1987) Shakespeare Reproduced: The Text in History and Ideology. Methuen.Google Scholar
  27. Huang, Alexa and Elizabeth Rivlin, eds (2014) Shakespeare and the Ethics of Appropriation. Palgrave Macmillan.Google Scholar
  28. Hunt, Albert (2013/1981) The Language of Television: Uses and Abuses. Routledge.Google Scholar
  29. Keller, James and Leslie Stratyner (2004) ‘Introduction,’ in Keller and Stratyner, eds, Almost Shakespeare: Reinventing His Works for Cinema and Television. Jefferson: McFarland.Google Scholar
  30. Langley, Bob (1981) ‘Interview with Eric Morecambe.’ Pebble Mill at One. BBC. 14 September.Google Scholar
  31. Lanier, Douglas (2002a) “Art Thou base, Common and Popular?’: The Cultural Politics of Kenneth Branagh’s Hamlet,’ in Courtney Lehmann and Lisa Starks, eds, Spectacular Shakespeare: Theory and Popular Cinema. Madison: Farleigh Dickinson UP, 149–171.Google Scholar
  32. Lanier, Douglas (2002b) Shakespeare and Modern Popular Culture. Oxford UP.Google Scholar
  33. Lanier, Douglas (2011) ‘Post-Textual Shakespeare.’ Shakespeare Survey, 64, 145–162.CrossRefGoogle Scholar
  34. Lanier, Douglas (2014) ‘Shakespearean Rhizomatics: Adaptation, Ethics, Value,’ in Alexa Huang and Elizabeth Rivlin, eds, Shakespeare and the Ethics of Appropriation. Palgrave Macmillan, 21–40.Google Scholar
  35. Longhurst, Derek (1988) “You Base Football-Player!’: Shakespeare in Contemporary Popular Culture,’ in Graham Holderness, ed, The Shakespeare Myth. Manchester UP, 59–72.Google Scholar
  36. McLuskie, Kate and Kate Rumbold, eds (2014) Cultural Value in Twenty-First-Century England. Manchester UP.Google Scholar
  37. Medhurst, Andy (2007) A National Joke: Popular Comedy and English Cultural Identities. Routledge.Google Scholar
  38. Mills, Howard (1989) ‘Shakespeare Critics: Two-and-half Nations.’ English: Journal of the English Association, 38.160, 77–83.Google Scholar
  39. Moran, Joe (2013) ‘Those Lost TV Times.’ New Statesman. 9 January, 69.Google Scholar
  40. Morecambe, Eric (1981) Mr Lonely. Eyre Methuen.Google Scholar
  41. Morecambe, Eric, and Ernie Wise (1977) The Morecambe & Wise Special. Orion Publishing Group. All attempts at tracing the copyright holder of the images in this text were unsuccessful, including through the publisher.Google Scholar
  42. Morecambe, Eric, and Ernie Wise (1979) The Morecambe and Wise Jokebook. Arthur Barker.Google Scholar
  43. Morecambe, Eric, and Ernie Wise (1981) An Autobiography by Morecambe and Wise with help from Michael Freedland: There’s No Answer to That!!. Arthur Barker.Google Scholar
  44. Morecambe, Eric, and Ernie Wise (2008) The Morecambe and Wise Show: The Thames Years. Network.Google Scholar
  45. Morecambe, Eric, and Ernie Wise (2010) Morecambe & Wise: The BBC Collection. BBC.Google Scholar
  46. Morecambe, Eric, and Ernie Wise (2016) Morecambe & Wise: Two of a Kind. Network.Google Scholar
  47. Morecambe, Eric, and Ernie Wise (2018) Morecambe & Wise: The Complete BBC Radio 2 Series. BBC.Google Scholar
  48. Nuss, Melynda (2012) Distance, Theatre, and the Public Voice, 1750–1850. Palgrave Macmillan.Google Scholar
  49. Pople, Jim, prod (1973) ‘Interview.’ Royal Film Performance: Lost Horizon. Thames. 3 March.Google Scholar
  50. Preston, Carol and Chris Power, dirs (2015) Ant & Dec’s Saturday Night Takeaway. ITV. 28 February.Google Scholar
  51. Purcell, Stephen (2009) Popular Shakespeare: Simulation and Subversion on the Modern Stage. Palgrave Macmillan.Google Scholar
  52. Richards, Jeffrey (2014) The Golden Age of Pantomime: Slapstick, Spectacle, and Subversion in Victorian England. I.B. Tauris.Google Scholar
  53. Rutherford, Lois (1986) ‘‘Harmless Nonsense’: The Comic Sketch and the Development of Music Hall Entertainment,’ in J.S. Bratton, ed, Music Hall: Performance and Style. Milton Keynes: Open UP.Google Scholar
  54. Sammond, Nicholas (2015) Birth of an Industry: Blackface Minstrelsy and the Rise of American Animation. Durham: Duke UP.CrossRefGoogle Scholar
  55. Shaughnessy, Robert (2011) The Routledge Guide to William Shakespeare. Routledge.Google Scholar
  56. Shaw, George Bernard (1901) Three Plays for Puritans. Grant Richards.Google Scholar
  57. Shellard, Dominic and Siobhan Keenan, eds (2016) Shakespeare’s Cultural Capital: His Economic Impact from the Sixteenth to the Twenty-First Century. Palgrave Macmillan.Google Scholar
  58. Taylor, Gary (1989) Reinventing Shakespeare: A Cultural History, From the Restoration to the Present. Weidenfeld & Nicolson.Google Scholar
  59. Teague, Fran (2011) ‘Shakespeare and Musical Theatre,’ in Mark Thornton Burnett, Adrian Streete, and Ramona Wray, eds, The Edinburgh Companion to Shakespeare and the Arts. Edinburgh UP, 185–199.Google Scholar
  60. Thumim, Janet (2004) Inventing Television Culture: Men, Women, and the Box. Oxford UP.Google Scholar
  61. Wilmut, Roger (1989) Kindly Leave the Stage!: The Story of Variety, 1919–1960. Methuen.Google Scholar
  62. Winter Gardens, Bournemouth (1966) The Morecambe & Wise Show: Their Show of Stars Programme. Stilwell Darby & Co. 16 July.Google Scholar
  63. Yates, Candida (2013) ‘Psychoanalysis and Television: Notes Towards a Psycho-cultural Approach,’ in Caroline Bainbridge, Ivan Ward, and Candida Yates, eds, Television and Psychoanalysis: Psycho-Cultural Perspectives. Karnac, 1–30.Google Scholar

Copyright information

© The Author(s) 2020

Authors and Affiliations

  1. 1.MoorheadUSA

Personalised recommendations