By Richard Gordon
Sir Lancelot Spratt, revered and lots more and plenty feared senior advisor at St. Swithan’s, has ultimately taken the plunge and retired to benefit from the quiet lifestyles. now not in a position to fill his days terrorizing employees and sufferers alike, he turns as an alternative to a brand new passion—a spot of trout fishing. notwithstanding, his solace and quiet reverie on the dew pond is quickly damaged through his niece—the mischievous and particularly beautiful Euphemia. along with her enticing smile (and together with her glands the way in which they're) it isn't lengthy sooner than a tender health practitioner falls madly and helplessly in love together with her. And if this wasn’t adequate to accommodate, Sir Lancelot’s neighbor publicizes that he by myself has fishing rights to the pond.
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Extra info for The Summer of Sir Lancelot
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.