In the cinema its pretty much the same as most places. As for the popularity of the kind of things that we produce I would almost say that we consider the kind of things we produce as a genre of its own. i would describe it as conversational comedy with very dramatic sub plots.
I don’t think British cinema tastes radically differ from the rest of the Western world, except for potentially having a different interpretation of comedy, but it’s been a long time since the last mainstream release offbeat/subversive comedy film.
The 2000s was something of a golden age for that genre. The Blood and Cornetto Trilogy, Ali G Indahouse, Four Lions and plenty others are all mainstream classics despite the comedy being perhaps sharper than you’d see in more cautious films today.
There’s quite a broad appetite for the old style ‘boy’s own adventure films’ I’d say, between the older James Bond films and the morally straightforward WW2 films of c. 1950-75. You don’t have to think too hard when you watch them, they’re total escapism and it’s easy to tell who the baddies are, but they were definitely a Sunday afternoon staple on TV growing up.
There’s a fairly distinct subgenre of crime dramas, parodied here. At the top end it’s cult classics like Snatch or Lock Stock and Two Smoking Barrels, but most of it is repetitive shite starring the likes of Danny Dyer ‘twatting geezers’ in a pub
Detective shite, probably. It’s not a coincidence that ”Nordic Noir” became a thing worldwide; Swedes are really into shows about cops solving crimes. There’s a very popular show on Swedish public television called The Thin Blue Line, and it’s all about how cops are misunderstood and under a lot of stress.
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Probably the same as everywhere else.
I would say there is a particular kind of offbeat comedy which feels very ‘British,’ but it’s difficult to put my finger on a definition of it.
Same as the rest of Europe in general, I’d think. As for domestic film production, some people never get enough of WW2, it seems.
As in Czech movies? I’d guess silly comedies. For tv shows, it’s criminal stories. That’s why I don’t watch Czech movies. It’s really sad.
In the cinema its pretty much the same as most places. As for the popularity of the kind of things that we produce I would almost say that we consider the kind of things we produce as a genre of its own. i would describe it as conversational comedy with very dramatic sub plots.
I don’t think British cinema tastes radically differ from the rest of the Western world, except for potentially having a different interpretation of comedy, but it’s been a long time since the last mainstream release offbeat/subversive comedy film.
The 2000s was something of a golden age for that genre. The Blood and Cornetto Trilogy, Ali G Indahouse, Four Lions and plenty others are all mainstream classics despite the comedy being perhaps sharper than you’d see in more cautious films today.
There’s quite a broad appetite for the old style ‘boy’s own adventure films’ I’d say, between the older James Bond films and the morally straightforward WW2 films of c. 1950-75. You don’t have to think too hard when you watch them, they’re total escapism and it’s easy to tell who the baddies are, but they were definitely a Sunday afternoon staple on TV growing up.
There’s a fairly distinct subgenre of crime dramas, parodied here. At the top end it’s cult classics like Snatch or Lock Stock and Two Smoking Barrels, but most of it is repetitive shite starring the likes of Danny Dyer ‘twatting geezers’ in a pub
Detective shite, probably. It’s not a coincidence that ”Nordic Noir” became a thing worldwide; Swedes are really into shows about cops solving crimes. There’s a very popular show on Swedish public television called The Thin Blue Line, and it’s all about how cops are misunderstood and under a lot of stress.
Comedy in all is forms : silly exaggerated comedy, Parisian intellectual comedy, beauf comedy (generally with Christian Clavier as a racist), ect…