By Rikki Fulton, Stan Mars
Francie & Josie begun their really good occupation on the Alhambra Theatre in Glasgow in 1958. initially delivered to existence by means of Stanley Baxter, it was once to be the partnership of Rikki Fulton and Jack Milroy that introduced Francie & Josie popularity and fortune.
Enough to shop for a number of fish suppers, besides. Hullawrerr China! is a suite of Francie and Josie's funniest moments from their decades in showbusiness - together with the unique model of the mythical Arbroath comic strip. And as Francie & Josie acknowledged themselves - 'we have perspired thegether to make a couple of spectacles of wurselves, foisted wurselves on a hugely expectorant public and we're taking the opperchancity to give ahead of your very eyes a creation which for sheer hypocrisy and slite-of-hand will reside eternally within the annuals of all maternity.'
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Extra resources for Hullawrerr China!: The Best Of Francie And Josie
In fact, José Carlos Avellar has characterized the chanchada as “sophisticated radio” because, especially early on, the actors were motionless and verbal explanations of what was going on were thought to be required at all points. Emphasizing the high continuity between chanchadas and the “teatro de revista” or Brazilian music hall, Dennison and Shaw speak of “a celluloid continuation” that poked fun at authorities and used many of the classic topics of teatro de revista and performing circus: the mockery of “outsiders” including foreigners and especially “dim-witted Portuguese immigrants” (11) and other stereotypes such as the “illiterate hick,” the “indolent civil servant,” the “wily mulata,” etc.
One of the formal elements that significantly contributes to the illusion of continuity in this sequence is the film sound: the tumbling body in the image is accompanied by labored sound effects that loop continuously despite the discontinuous trick shot. Listening more closely to the soundtrack, however, reveals the seams of this aural trick and forces us to consider the stutter not simply in the image track, but also in terms of the component elements of the soundtrack and the resultant sound–image relations.
The production of the diegesis relies on the spectators’ rerouting from apparatus to diegesis; however, the collision of sound effect as transcription and sound convention produces a fracturing moment. The comedic polysemic play of the comedian, capitalizing on animating the semiotic possibilities LUIS SANDRINI’S STUTTER 39 of the word, finds a counterpart in the soundtrack, capitalizing on the synchronic tension of narrative and discursive systems as well as indexical and symbolic signifying sound practices.