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A Study Guide by Marguerite O'hara

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A Study Guide by Marguerite O'hara CHARTING A COURSE THROUGH THE STORY OF AUSTRALIAN COMEDY … … A THREE-PART DOCUMENTARY NARRATED BY ERIC BANA. © ATOM 2015 A STUDY GUIDE BY MARGUERITE O’HARA http://www.metromagazine.com.au ISBN: 978-1-74295-568-1 http://www.theeducationshop.com.au Introduction Stop Laughing…this is serious is a three-part television series charting a course through the story of Australian performances, featuring insight and the Australian History curriculum as a comedy, featuring over 60 interviews anecdotes from what Barry Humphries way of understanding how Australians with the men and women who make calls ‘the cheering up business’. have come to express themselves us laugh. Through a blend of social both at home and abroad. This pro- history, extensive archive material and The series explores how comedy gram goes to the heart of Australian intimate interviews with the country’s ties us together as a nation, travers- cultural studies and entertainment, most loved comedians, we travel via ing generations and bridging cultural exploring issues of class, ethnicity, stand up, radio, television, theatre and divides. We Aussies love to laugh language and identity and how these film from indigenous comedy to new at ourselves, our politics, our fellow aspects of Australian life have been viral media jokers of today, revealing Australians – are there are no sacred responded to and shaped by a range how humour, laughter and comedy are cows? Along the way the viewer will of writers, artists and performers over integral to our national identity. laugh but also come to appreciate time. Is it the case that Australians the craft of our greatest comedians love to laugh at themselves and oth- By unpicking our cultural cringe, who ultimately reveal important truths ers, that their larrikin qualities are poking fun at our national identity, about the world in which we live. expressed through comedians who confronting hard truths and exploring turn their gaze on to foibles, vanities our taboos, we come to realise that and pretensions? Australians’ greatest characteristic is Curriculum our ability to laugh at ourselves. Whilst what is funny to one person is Guidelines often not funny to someone else (and Narrated by Eric Bana, the series ex- often the reasons for these different plores the development of Australian Stop Laughing…this is serious would responses are hard to pin down), it’s comedy through social and political be suitable for secondary students. worthwhile understanding the cultural 2015 © ATOM SCREEN EDUCATION change, examining the way humour Understanding and appreciating what and historical context in which come- has reflected and responded to makes us laugh is something that dians’ work, to observe how they see multicultural Australia, gender issues, students working across many areas the world and what they find funny. and politics. Each episode moves of the Arts and Humanities curricu- seamlessly backwards and forwards lum would enjoy and find interesting. The program raises a number of is- through time, weaving contempo- The program could be integrated into sues about the nature of satire and rary comedy with early comedic Theatre Studies and cultural studies in comedy that are as relevant today as 2 they have always been. The interview- ees offer many insights into their ap- proach to comedy and how their own distinctive style was often influenced by that of entertainers who went be- fore them. The following points outline issues that are raised in different ways across each of the three episodes of Stop Laughing…this is serious. 1. Are there limits to where comedians should go? Are there some subjects DIRECTOR STEPHEN OLIVER (LEFT) and issues that should be off limits to comedians, such as religion, KEY CREW gender and ethnicity? For instance, Executive Producer: Jennifer Collins should family violence, aspects of religious beliefs or child abuse ever Series Producer/Director/Writer: be topics for humour? Does the Stephen Oliver Moodys, Jonah from Tonga and vicious 2015 massacre at Charlie Ja’mie: Private School Girl. (Keep Hebdo, the French satirical maga- Post Production Producer/Writer: in mind that many comedians who zine that is irreverently and stridently Ruth Cullen, Ep 1 appear on our television screens non-conformist in tone and style, learnt their craft through stand-up, Director of Photography: Aaron Smith suggest that some subjects should and many still return to it quite be off limits? The social and political Talent Producer: Marnie Foulis regularly). How do ‘mockumen- climate prevailing in a society often taries’ relate to so-called reality determines where comedians will Production Manager: Sky Di Pietro shows on television? What were go in pursuit of confronting hard the forerunners to these styles of truths. What, if anything, should Line Producer: Catherine Durr comedy on screen? be off limits and who decides 4. How does language and idiom, this? Does the passage of time Researcher: Ged Wood and particularly the style of speech allow comics to create humour that has developed and changed Archive Researchers: out of tragedies? Should complete Michael Osmond, Lisa Rossiter in Australia, give a particular freedom of expression be a central identity and strength to Australian value of democratic societies? In Editors: humour? What makes for a strong which societies is it a punishable Orly Danon, Ep 1. Antoinette Ford, Ep 2, comic voice? offence to make fun of the leaders Shannon Ruddock, Ep 3 5. How has the changing composi- and/or the royal family? What does tion of Australian society resulted Indigenous Consultant: Dena Curtis it mean in Australia ‘to racially vilify’ in a richness and cultural diversity someone? in our comedic style where people 2. How has technology, particularly various online platforms, changed from many different ethnic back- media such as film, television and the way in which audiences can grounds have enriched the way we access and enjoy a range of com- see ourselves and our neighbours? edy? In what ways and how effec- Are non-Anglos still essentially tively has mass media ‘globalised’ tokenistic characters on television humour and comedy? Are there comedy programs? some situations and comedies that still express a distinctly Australian A comprehensive Press Kit for this humour that does not translate program can be downloaded at: easily into other societies? For http://clpr.com.au/pdf/work/SLTIS- instance, do programs such as the PRESSKIT-03.pdf recent American remake of Rake, It includes profiles of the many come- with its quintessentially Australian dians interviewed for the series as well characters, have much chance of as information about the filmmakers. 2015 © ATOM SCREEN EDUCATION succeeding in other countries? Do we ‘get’ South Park and The The title of the series Stop Simpsons? Laughing…this is serious is a nod 3. How does the work of ‘stand-up’ to the iconic Australian cartoon by comedians differ from that of the Stan Cross (1888–1977) – ‘For gor- more extended ‘narrative’ comic sake, stop laughing, this is serious!’ series such as Kath and Kim, The (see cartoon this page) 3 EXECUTIVE PRODUCER JENNIFER COLLINS The cartoon published in the 1933 July issue of SMITH’S WEEKLY features two construction workers falling off a building – one hanging by his fingers on the edge of a high rise construc- tion, and the other in full laughter, there are more than 60 interviews with Australian comedians share. holding on for dear life and in doing comedians. This is very much ‘their so, has grabbed the trousers of the story’ told in their own highly individual Hence the series is divided roughly other, yanking them to his ankles. One ways. These interviews examine the into three themes – ‘LOOK AT MOI, mate says to the other, ‘For gorsake, development of Australian comedy LOOK AT MOI’ looks ‘inwards’ for stop laughing, this is serious’. as it has reflected and responded to our comedy (at our ordinary, domes- issues and events, and how it ties us tic lives), ‘FAARK, FAARK’ looks ‘up’ The cartoon tapped into the humour together as a nation. Collins explains (lampooning those in authority), and of the Australian public. The cartoon why the filmmakers decided not to fol- ‘HELLO POSSUMS’ looking ‘out- was so popular it was reprinted and low a strictly chronological approach. wards’ to the world (our comedians on distributed throughout Australia and the world stage). overseas. Stop Laughing…this is serious is the story of Australian comedy told against All through the Depression years, the backdrop of our rapidly changing Episode prints were framed and hung on walls social history – we present not only and workplaces throughout Australia. our golden comic moments, but frame synopses His humour was that of everyday life, them within the context of what was of ordinary Australians. Cross de- happening in Australia at that particular veloped into one of Australia’s finest time. We explore how comedians used Episode 1: ‘Faark, Faark’ black and white artists. His art fea- humour to respond to social and politi- tured ‘typical’ Australians from farmers cal change. We deliberately avoided The first episode ‘FAARK, FAARK’ to jackeroos, to diggers and doctors. producing the three parts as a chrono- (Graham Kennedy) looks upwards logical history of Australian Comedy. at those in authority. We have long 2015 © ATOM SCREEN EDUCATION First and foremost, we knew it would revered the little guy punching up- The structure be impossible to cover the full history of wards, and we love to celebrate the Australian comedy in one short series, rebels and rogues who can make us Producer Jennifer Collins explains and secondly we felt that it was the laugh at our situation no matter how how and why the filmmakers chose juxtaposition of contemporary and older grim. From Graham Kennedy, Les to present the program in a particular comedy performance that would best Patterson and Magda Szubanski, via way.
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