Comic Relief. Deus ex machina. Double Entendre. Dramatic irony. Extended Metaphor. Fairy Tale. Figures of Speech. Literary Device. Pathetic Fallacy. Plot Twist. Point of View. Red Herring. Rhetorical Device. Rhetorical Question.
Science Fiction. Self-Fulfilling Prophecy. Turning Point. Urban Legend. Obviously, parodists must carefully consider copyright, because most parodies require taking aspects of an original work in order to conjure it in the minds of the audience. This means that in principle it is possible to create parodies that re-use works protected by copyright without having to obtain permission from the rightsholders. How much copying from a work is fair or unfair is an issue ultimately decided by a court of law taking into account the interests and rights of the copyright owner as well as the freedom of expression of the person relying upon the parody exception.
In making this decision, a court will typically take a number of different factors into account, such as the amount of the work that has been copied. In other words, the parody exception cannot be overridden by contract. This means that you may still be able to make a parody of something, even if other terms and conditions imposed by a platform owner or publisher would otherwise restrict your use of the underlying source material.
There are four broad principles to consider with respect to copyright and parody:. A parody will not infringe copyright if the parodist has secured the permission of the rightsholder.
Note that the author or artist is not always the rightsholder — it may be a publishing company or a music label. Seeking permission from these entities can be a costly and time-consuming process, and this may discourage small-scale parodists. However, with permission secured, you are free to parody the work within the bounds of the agreed licence, without risk of infringement.
A problem facing some parodists is that the original creator or rightsholder may not wish to have their work parodied in a negative way, and may therefore refuse permission to use their work. However, just because permission has been refused, this does not mean that you cannot make use of the work for parody purposes. Even if the rightsholder has expressly refused their permission, you are still entitled to rely on the exception for parody so long as your use of the work is fair.
In considering whether an unlicensed parody has infringed the copyright of the creator, courts in the UK will consider the importance substantiality of the copied portions of the work for the original piece as a whole. For example, a parody of a fashion magazine that copied the cover pixel-for-pixel and simply added a moustache to the model, might be found to take too much of the original work and therefore be infringing.
A parody that evoked a fashion magazine cover without using the same text, typeface, or photograph of the original magazine is unlikely to be found infringing. In no case is it acceptable to copy something in near entirety and use parody as an excuse — the spirit of parody is the creation of new work and social commentary. Remember that many parodies will be composite works. For example a commercial music video consists of a music recording, composition, lyrics, performance and cinematographic video.
Copying even one of these elements can constitute infringement, meaning that it does not comply with copyright law. A completely new video recording may be removed from YouTube if it contains clips from a music track belonging to a rightsholder who objects to the use.
Parody is not just a modern phenomenon. In the 17th century, Miguel de Cervantes parodied the style of Spanish picaresque romances in Don Quixote. Similarly, modern readers unaware of the style of Spanish picaresque romance might fail to detect the parodic elements in Don Quixote. If you have never read any Gothic fiction, the humor of Northanger Abbey will be unclear.
Parody is at least as old as ancient Greece. At Athenian dramatic competitions renowned dramatists like Sophocles and Euripides sought to produce the top plays. The ancient Greeks, therefore, enjoyed parody as much as tragedy. Russian literary theorist and philosopher Mikhail Bakhtin explains that heroic figures like Odysseus and Hercules were mocked in the satyr plays. Odysseus feigned madness in an attempt to avoid fighting the Trojans.
This is the ancient Greek equivalent of Seth Rogen-style physical comedy. Yet, this was not considered blasphemous, as it might be for an American to write a play making fun of George Washington or Abraham Lincoln.
Parodies fail, therefore, when they pay insufficiently close attention to the details of their source. The closer the imitation, the better the parody. While non-fans may see little difference between Star Trek and Star Wars , a good parody is specific enough that the difference is clear.
Bakhtin argues that parodies are latent in the original. In other words, parodies are like the shadows of the thing they parody. Not only can anything be parodied, but as soon as someone creates art—any kind of art—the parody already exists in theory because it derives from the style of the original.
No single parody, of course, can exhaust the potential for parody. Different parodies may focus on various aspects of the source. While some parodies might be holistic, other may only parody a single element from their source.
Galaxy Quest , for instance, is a holistic parody of Star Trek , as it parodies the visuals, plot devices, character types, etc. In contrast, many different films have parodied Dr. Beyond these kinds of differences of scope, parodies also differ in strategy. Parodies can follow a number of different strategies. One might call three of the most common strategies exaggeration, inversion, and trivialization.
Although these are somewhat fluid concepts and overlap in many parodies, they are useful in discussing the differences between parodies. Exaggeration takes an aspect of the original, serious version and pushes it to the extreme. Method actors are meticulous in their preparation to play a role and inhabit the characters they play even when they are not filming.
Daniel Day-Lewis, for instance, caught pneumonia while filming Gangs of New York because he only wore period-accurate clothing. Tropic Thunder parodies this intense level of commitment. As a white man playing a black character, Lazarus acts as if he is African American. Lazarus wears make up to darken his skin and uses black English. Tropic Thunder , thus, exaggerates the behavior of method actors. Connecting method acting to the racist tradition of blackface minstrelsy made some audiences uncomfortable.
Caliendo imitates people, like John Madden , who tends to make ridiculous, tautological statements. At times, Colbert took his parody beyond his show, such as at a Congressional hearing on agriculture and migrant labor.
Colbert performs a parody of conservative views on immigration, which focus on securing the border and free market solutions. Number one. Inversion involves flipping the terms in an accepted system of values—good becomes bad, bad becomes good.
Many of the articles in The Onion use inversion as a strategy. Sometimes inversion works not by switching bad for good, but by swapping the unexpected with the expected.
The article flips the more controversial identity being gay with the less controversial one being Christian. It follows the format of a story about the existential difficulty of a teenager struggling with the decision to come out, except the terms have been inverted. The humor lies in the glimpse the article gives us of a world in which it is more controversial to be Christian than gay, the opposite of current attitudes.
Trivialization consists of taking a serious topic and treating it as if it is silly or insignificant. Guest portrays folk music, dog competitions, and heavy metal in the silliest terms possible. Austin Powers trivializes the action sequences, intensity, and casual sex of the James Bond franchise. One of Dr. Another form of trivialization common in parodies of genre fiction draws attention to a lack of realism in the original.
Parodies of science fiction, fantasy, and espionage typically employ this strategy. Whereas these genres normally ask us to suspend our disbelief, their parodies force us to disbelieve. A recurring joke in the spy parody Archer , for instance, involves characters experiencing excruciating pain and temporarily losing their hearing when someone fires a gun near their ears.
I really like change. Have I made myself clear? The image of Obama riding a unicorn trivializes the idealistic, hopeful emphasis of his campaign. Parodies, of course, can be visual, not just literary. This parody follows the exact color-scheme and layout of the source, substituting Optimus Prime for Obama. Similarly, the Star Wars Coffee logo uses the same green and white color scheme from the Starbucks logo, substituting the head of a Storm Trooper for the Starbucks siren. As both of these images reveal, often only subtle changes are required to create an effective parody.
While these two parodies seem harmless, others can be quite offensive. These parodies had a satirical edge: raising questions about the connection between Islam and violence. Parody and satire are not identical, though they are closely related: parody is a form of ironic imitation, whereas satire is an ironic form of social criticism. The Star Wars Coffee logo is a non-satirical parody, since it does not convey social criticism, but merely imitates the Starbucks logo. There can also be satire that is not a parody because it does not imitate the style of another source.
While some consider it healthy to poke fun at major religious figures like Moses, Jesus, and Muhammad, some devout believers find this incredibly offensive. Islamic terrorists, for instance, shot several people at the offices of the leftist French satirical newspaper Charlie Hebdo for its caricatures of Muhammad. Defenders of Charlie Hebdo advocate the right to freedom of speech and point out that the newspaper satirizes various religious traditions, rather than singling one out.
Parody has not always been perceived as offensive or threatening. In earlier eras, especially in ancient Greece and Rome, parody was essential. As discussed above, the same Greek playwrights who wrote tragedies also wrote parodies.
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