A Critical Companion to Terry Gilliam

doi:10.5771/9781666912265

A Critical Companion to Terry Gilliam

1. Edition 2022

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doi.org/10.5771/9781666912265
ISBN print: 978-1-6669-1225-8
ISBN online: 978-1-6669-1226-5
Lexington, Lanham Lexington, Lanham

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Abstract

A Critical Companion to Terry Gilliam provides a fresh, up-to-date exploration of the director’s films and artistic practices, ranging from his first film Monty Python and the Holy Grail (1975) to his recently released and latest film The Man Who Killed Don Quixote (2018). This volume presents Gilliam as a director whose films weave together an avant-garde cinematic style, imaginative exaggeration, and social critique. Consequently, while his films can seem artistically chaotic and thus have the effect of frustrating and upsetting the viewer, the essays in this volume show that this is part of a very disciplined creative plan to achieve the defamiliarization of various accepted notions of human and social life.

Schlagworte

artist auteur cinema cinematic art Cultural Studies Monty Python fantasy film

Chapter Expand | CollapsePage
i–vi Preface i–vi
- Contents
1–12 Introduction 1–12
13–32 Terry Gilliam, The Man who Killed Don Quixote and Cinephilia 13–32
33–48 Ideology through the Looking Glass‌‌ 33–48
49–64 ‌‌Carnival and the Imaging of Language in Terry Gilliam’s Jabberwocky (1977) and Monty Pyt 49–64
65–78 Subversion of the Cosmos in Time Bandits 65–78
79–100 “I Think It Has Something to Do with Free Will” 79–100
101–116 Meet to Eat. The Restaurant in Terry Gilliam’s Brazil (1985) and The Fisher King (1991) 101–116
117–134 A Bittersweet Apocalypse 117–134
135–156 The Art of Deserts in Fear and Loathing in Las Vegas‌‌‌ and The Man Who Killed Don Quixote 135–156
157–174 Between the Forest and Civilization 157–174
175–190 Tideland and the Ossification of the Imaginary Faculties 175–190
191–208 Wonderland and the Wasteland 191–208
209–222 Black Hole 209–222
223–240 The Zerø and One Theorem 223–240
241–246 Afterword 241–246
247–254 Index 247–254
255–258 About the Editors‌‌‌‌ 255–258

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