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Shane MeadowsCritical Essays$
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Martin Fradley, Sarah Godfrey, and Melanie Williams

Print publication date: 2013

Print ISBN-13: 9780748676392

Published to Edinburgh Scholarship Online: January 2014

DOI: 10.3366/edinburgh/9780748676392.001.0001

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‘Shane, don't film this bit’: Comedy and Performance in Le Donk and Scor-zay-zee

‘Shane, don't film this bit’: Comedy and Performance in Le Donk and Scor-zay-zee

Chapter:
(p.142) Chapter 10 ‘Shane, don't film this bit’: Comedy and Performance in Le Donk and Scor-zay-zee
Source:
Shane Meadows
Author(s):
Brett Mills
Publisher:
Edinburgh University Press
DOI:10.3366/edinburgh/9780748676392.003.0010

This chapter explores Le Donk and Scor-Zay-Zee as a comic film that uses documentary form. The film is a mockumentary, in which Meadows plays himself, but other performers play fictional characters. A key assumption in analyses of mockumentary is that the form is used to explore the idea of performance in everyday life, and the ways in which individuals attempt to manage how they are perceived by others. This aspect of examined throughout analysis of Le Donk in the film. ?This is related to debates about masculinity and the surveillance society. The chapter also explores Meadows role – both in front and behind the camera – and interrogates what we can understand about a filmmaker known for the autobiographical element of their work adopting a format in which they appear as themselves, but primarily behind the camera. The chapter also questions why this film has received less attention than others of Meadows, and suggests its comic tone has meant it has been categorised as less significant than his more ‘serious’ works.

Keywords:   Shane Meadows, Comedy, Documentary, Mockumentary, Performance, Masculinity, surveillance society

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