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Cast: Robin Hughes, Frank Delfino, John Carradine, Harry Guardino, Robert Middleton, Michael Pate, Mildred Natwick, Herbert Rudley, Noel Drayton, Pat Aherne, Paul Newlan, Larry Pennell, Alan Napier, Billy Curtis, Glynis Johns, Cecil Parker, Angela Lansbury, Basil Rathbone, Ethan Laidlaw, Danny Kaye, A.J. Buster Resmondo, Stephen Wyman, Claud Wuhrman, Lewis Martin, Joel Smith, Irving Douglas, Nels P. Nelson, Russell Gaige, George Spotts, Leo Wheeler, Edward Gibbons, Leslie Denison, Edward Ashley-Cooper, Thomas G. Royal Jr., Irving Fulton, John Irving, Ray Kellogg, Roger Lee McKee, Len Hendry, William Pullen, Joe Ploski, Lee Miller, Roy G. Gunther, Trevor Ward, Robert E. Smith, Charles Irwin, Wallace Russell, Eric Alden, Chad Dee Block, Floyd Hugh Dixon, Ronald R. Rice, Phyllis Coghlan, Ed Stoddard, Kenneth Harp, 'Little Billy' Rhodes, Gerald R. Peters, Frank Meservey, Robert Hart, Henry Lewis Stone, Bill Cartledge, Tommy Cottonaro, Gary Stalley, John O'Malley, Morgan Justin, Franklyn Farnum, Tudor Owen, Mike Mahoney, William Augustus Fuller, Alan Eric, Larry Stalley, Richard Gilden, James B. Jordan, Harry Monty, Leo Britt, Lee Belser, Burnell Dietch, Lloyd Nelson, Richard Kean ...LESS
The Court Jester is a 1955 musical-comedy film starring Danny Kaye, Glynis Johns, Basil Rathbone, Angela Lansbury and Cecil Parker. The movie was co-written, co-directed, and co-produced by Melvin Frank and Norman Panama. The film was released by Paramount Pictures in Technicolor and in the
The Court Jester is a 1955 musical-comedy film starring Danny Kaye, Glynis Johns, Basil Rathbone, Angela Lansbury and Cecil Parker. The movie was co-written, co-directed, and co-produced by Melvin Frank and Norman Panama. The film was released by Paramount Pictures in Technicolor and in the VistaVision widescreen format. Danny Kaye received a Golden Globe nomination for Best Motion Picture Actor - Comedy/Musical. Made for a cost of $4 million in the fall of 1955, it was the most expensive comedy film produced at the time. The motion picture bombed at the box-office on its release, bringing in only $2.2 million in receipts the following winter and spring of 1956. Since then, it has become a television matinee favorite. The film contains the famous exchange: "The pellet with the poison's in the vessel with the pestle; the chalice from the palace has the brew that is true!". In 2000, The Court Jester was listed at #98 on the American Film Institute's list of 100 Years... 100 Laughs. In 2004, The Court Jester was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant." LESS
Punchlines for Progress assembles some of the best American political satirists to highlight the power and importance of the court jester. From the Red Scare through today this tradition continues to inform and speak truth to power. Featuring Amy Goodman, Lenny Bruce, George Carlen, Jon Stewart, Steven Colbert, and Marten Luther King Jr. among others. This is a Mash Up documentary, a reflexive art form that allows the artist to create their own meaning out of media based cultural artifacts. This video collage technique helps people to surpass passive consumption by becoming active producers of media. Through the act of reappropriating, recontextualizing, and remixing, media awareness becomes less of a bombardment and more of a game. Lawrence Lessig suggests that remix is the modern day equivalent of quoting authors in papers and books. He argues, It is a type of literacy a form of expression that is increasingly defining young generations! This language of remix is a digital call and response culture where source material is recycled repeatedly to expand on ideas and provoke further social discourse. Comedians are true remix arts. Through imitation and reinterpretation they allow us to look at the world from their perspective. Weather it be racism or religion, stand-comedians have opened doors for our first amendment rites by reveling in our cultural taboos. In Punchlines For Progress I am merging the art of the satirists in American culture with the experimental stile of Internet remix artists. Im interested in the rebellious tendencies of both art forms and their attempts at disseminating alternative socio-political commentary to the masses through nontraditional methods. Both have histories of confronting the law very openly. Both push social boundaries and have the ability to inform and transform American culture, and both have been described as symptoms of its decline. What is so frightening about theses methods of self-expression? What positive contributions do they offer and how are they changing the way we communicate? This film falls under the Copyright act of 1976 that allows people Fair Use of any public footage when used for social commentary and criticism. It was created during my studies at university with much forethought into the democratization of media. It is not intended to lessen the importance of copyright laws. Instead it is meant to level the playing field of public discourse by utilizing the worlds largest digita...
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