now analyze the major changes that the film has been parodied in a century of cinema.
making based on parody of early cinema is already a strong and self-imitation: the film of 1900 by Porter Uncle Josh at the moving picture show shows the hero in the movies enter into the film and become part of it. In the early '20s are clearly parody movie titles such as The Frozen North (1922) Buster Keaton, who joked on the first cliché of the wild west movie, The Three Must-Get-Theres (1922) Max Linder, parody the movie The Three Musketeers, played by Douglas Fairbanks in the previous year, or Sherlock jr. (1924), Keaton always, lead author (and artist) of parodies in the years of the silent era.
During the 30s is interesting to note the adoption of the language of parody also from the animated film: the material film parodies and its iconography canonized beginning to provide some avenues for mocking treatment, and Warner Bros. in particular was able to exploit this new road with funny cartoons that satirized mainly on famous characters of Walt Disney: Foxy was a parody of Mickey Mouse, Minnie and Honey Brunno Pluto. Subsequently, the cartoons of Warner abandoned these people, but still maintained parody recognizable elements, such as self-referential film, which the cartoonist Chuck Jones was the main promoter.
The 40s recorded a massive increase in film parody, which begin to be treated as a separate category. This is due to the Marx Brothers movie, and I like the cow ... (Go West, 1940), Bob Hope, as The palaface (1948) and especially the comic duo Abbott & Costello (in Italian Gianni & Costello), of which we can not fail to mention the brain of Frankenstein, the monster first parody, and more generally on the Universal monsters. In this particular film, it is interesting to note the emphasis on the element of parody on the interpretation of the actors in the parts of the original monster (Bela Lugosi plays Dracula, Lon Chaney Jr. Wolf Man and Glenn Strange Frankenstein [Glenn Strange replaced Karloff in the last film in the series]), to create a strong self-referentiality.
Always regarded as a kind of second order, the parody will be ennobled in the '70s by a new generation of writers such as Woody Allen (Play It Again Sam [Play It Again Sam], author, 1972; Zelig [id], 1983) and Mel Brooks, which we can not mention the masterpieces of the genre such as Blazing Saddles (Noon and a half of Fire, 1974), Young Frankenstein (Frankenstein, 1974) Silent Movie (The Last Silent Movie, 1976). They seize
parody of the process into an instrument of critical analysis and depth of the film industry, becoming part of a broader design overhaul of the philological and nostalgic Hollywood movies, which started in those years from all over the film industry .* (more. ..) *
taken from Alvise Barbaro Frankenstein. From horror to parody , Thesis, University of Milan, 2004.
