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{{Short description|Imitative work created to mock, comment on or trivialise an original work}}
A '''parody''' is a creative work designed to imitate, comment on, and/or mock its subject by means of [[satire|satirical]] or [[irony|ironic]] [[imitation]]. Often its subject is an [[Originality|original work]] or some aspect of it (theme/content, author, style, etc), but a parody can also be about a real-life person (e.g. a politician), event, or movement (e.g. the [[French Revolution]] or [[Counterculture of the 1960s|1960s counterculture]]). Literary scholar Professor Simon Dentith defines parody as "any cultural practice which provides a relatively [[polemic]]al allusive imitation of another cultural production or practice".<ref>Dentith (2000) p.9</ref> The literary theorist [[Linda Hutcheon]] said "parody ... is imitation, not always at the expense of the parodied text."
Parody may be found in art or culture, including [[literature]], [[parody music|music]], [[Theatre|theater]], [[television]] and [[film]], [[animation]], and [[Video game|gaming]].
The writer and critic [[John Gross]] observes in his ''Oxford Book of Parodies'', that parody seems to flourish on territory somewhere between [[pastiche]] ("a composition in another artist's manner, without satirical intent") and [[burlesque]] (which "fools around with the material of high literature and adapts it to low ends").<ref>{{cite magazine |author=J.M.W. Thompson |title=Close to the Bone |magazine=Standpoint magazine |date=May 2010 |url=http://standpointmag.co.uk/books-may-10-close-to-the-bone-oxford-book-of-parodies-john-gross |journal= |access-date=2011-02-26 |archive-date=2016-04-16 |archive-url=https://web.archive.org/web/20160416224155/http://standpointmag.co.uk/books-may-10-close-to-the-bone-oxford-book-of-parodies-john-gross }}</ref> Meanwhile, the ''[[Encyclopédie]]'' of [[Denis Diderot]] distinguishes between the parody and the burlesque, "A good parody is a fine amusement, capable of amusing and instructing the most sensible and polished minds; the burlesque is a miserable buffoonery which can only please the populace."<ref>{{cite journal|url=http://hdl.handle.net/2027/spo.did2222.0000.811|title=Parody|journal=Encyclopedia of Diderot & d'Alembert - Collaborative Translation Project|date=June 2007|hdl=2027/spo.did2222.0000.811|access-date=3 October 2018}}</ref> Historically, when a formula grows tired, as in the case of the moralistic melodramas in the 1910s, it retains value only as a parody, as demonstrated by the [[Buster Keaton]] shorts that mocked that genre.<ref name="Balducci2011p231">{{cite book|url=https://books.google.com/books?id=pSa-fqnL7iIC&pg=PA231|title=The Funny Parts: A History of Film Comedy Routines and Gags|first=Anthony|last=Balducci|date=28 November 2011|publisher=McFarland|isbn=978-0-7864-8893-3|access-date=3 October 2018|via=Google Books}}</ref>
==Terminology==
A parody may also be known as a '''spoof''', a '''satire''', a '''send-up''', a '''take-off''', a '''lampoon''', a '''play on''' ('''something'''), or a '''caricature'''.
== Origins ==
According to [[Aristotle]] (''[[Poetics (Aristotle)|Poetics]]'', ii. 5), [[Hegemon of Thasos]] was the inventor of a kind of parody; by slightly altering the wording in well-known poems he transformed the sublime into the ridiculous. In ancient [[Greek literature]], a ''parodia'' was a narrative poem imitating the style and prosody of [[Epic poetry|epic]]s "but treating light, satirical or [[mock-heroic]] subjects".<ref>(Denith, 10)</ref> Indeed, the components of the Greek word are παρά ''para'' "beside, counter, against" and ᾠδή ''oide'' "song". Thus, the original Greek word παρῳδία ''parodia'' has sometimes been taken to mean "counter-song", an imitation that is set against the original. The ''Oxford English Dictionary'', for example, defines parody as imitation "turned as to produce a ridiculous effect".<ref>Quoted in Hutcheon, 32.</ref> Because ''par-'' also has the non-antagonistic meaning of ''beside'', "there is nothing in ''parodia'' to necessitate the inclusion of a concept of ridicule."<ref>(Hutcheon, 32)</ref>
In Greek [[Old Comedy]] even the gods could be made fun of. ''[[The Frogs]]'' portrays the hero-turned-god [[Heracles]] as a glutton and the God of Drama [[Dionysus]] as cowardly and unintelligent. The traditional trip to the [[Hades|Underworld]] story is parodied as Dionysus dresses as Heracles to go to the Underworld, in an attempt to bring back a poet to save Athens. The [[Ancient Greece|Ancient Greeks]] created [[satyr play]]s which parodied [[tragic play]]s, often with performers dressed like [[satyrs]].
Parody was used in early Greek philosophical texts to make philosophical points. Such texts are known as ''[[spoudaiogeloion]],'' a famous example of which is the ''[[Silloi]]'' by [[Pyrrhonism|Pyrrhonist]] philosopher [[Timon of Phlius]] which parodied philosophers living and dead. The style was a rhetorical mainstay of the [[Cynicism (philosophy)|Cynics]] and was the most common tone of the works made by [[Menippus]] and [[Meleager of Gadara]].{{sfn|Fain|2010|p=201}}
In the 2nd century CE, [[Lucian of Samosata]] created a parody of travel texts such as ''[[Indica (Ctesias)|Indica]]'' and ''[[The Odyssey]]''. He described the authors of such accounts as liars who had never traveled, nor ever talked to any credible person who had. In his ironically named book ''[[True History]]'' Lucian delivers a story which exaggerates the hyperbole and improbable claims of those stories. Sometimes described as the first [[science fiction]], the [[Character (arts)|characters]] travel to the Moon, engage in interplanetary war with the help of aliens they meet there, and then return to Earth to experience civilization inside a 200-mile-long creature generally interpreted as being a whale. This is a parody of [[Ctesias]]' claims that India has a one-legged race of humans with a single foot so huge it can be used as an umbrella, [[Homer]]'s stories of one-eyed giants, and so on.
== Related terms ==
Parody exists in the following related genres: [[satire]], travesty, [[pastiche]], [[Sketch comedy|skit]], [[burlesque]].
=== Satire ===
Satires and parodies are both derivative works that exaggerate their source material(s) in humorous ways.<ref>{{Cite book |last1=Davis |first1=Evan R. |title=Teaching Modern British and American Satire |last2=Nace |first2=Nicholas D. |publisher=Modern Language Association of America |year=2019 |location=New York |pages=1–34 |chapter=Introduction}}</ref><ref>{{Cite book |last=Stevens |first=Anne H. |title=Teaching Modern British and American Satire |publisher=Modern Language Association of America |editor=Evan R. Davis |editor2=Nicholas D. Nace |year=2019 |location=New York |pages=44–49 |chapter=Parody}}</ref><ref name=":0">{{Cite book |last=Greenberg |first=Jonathan |title=The Cambridge Introduction to Satire |publisher=Cambridge University Press |year=2019 |isbn=978-1-107-68205-4}}</ref> However, a satire is meant to make fun of the real world, whereas a parody is a derivative of a specific work ("specific parody") or a general genre ("general parody" or "spoof"). Furthermore, satires are provocative and critical as they point to a specific vice associated with an individual or a group of people to mock them into correction or as a form of punishment.<ref name=":0" /><ref>{{Cite book |last=Griffin |first=Dustin |title=Satire: A Critical Reintroduction |publisher=University Press of Kentucky |year=1994 |isbn=0-8131-1844-1}}</ref> In contrast, parodies are more focused on producing playful humor and do not always attack or criticize its targeted work and/or genre.<ref name=":0" /><ref name=":1">{{Cite book |last=Dentith |first=Simon |title=Parody: The New Critical Idiom |publisher=Routledge |year=2000 |isbn=0-415-18221-2}}</ref> Of course, it is possible for a parody to maintain satiric elements without crossing into satire itself, as long as its "light verse with modest aspirations" ultimately dominates the work.<ref name=":0" />
=== Travesty ===
A travesty imitates and transforms a work, but focuses more on the satirization of it. Because satire is meant to attack someone or something,<ref name=":0" /> the harmless playfulness of parody is lost.<ref name=":1" />
=== Pastiche ===
A pastiche imitates a work as a parody does, but unlike a parody, pastiche is neither transformative of the original work, nor is it humorous.<ref name=":1" /><ref name=":2" /> Literary critic [[Fredric Jameson]] has referred to the pastiche as a "blank parody", or "parody that has lost its sense of humor".<ref name=":2" />
=== Skit ===
Skits imitate works "in a satirical regime". But unlike travesties, skits do not transform the source material.<ref name=":1" />
=== Burlesque ===
The burlesque primarily targets heroic poems and theater to degrade popular heroes and gods, as well as mock the common tropes within the genre.<ref name=":0" /> Simon Dentith has described this type of parody as "parodic anti-heroic drama".<ref name=":1" />
=== Spoof ===
A parody imitates and mocks a specific, recognizable work (e.g. a book, movie, etc.) or the characteristic style of a particular author. A spoof mocks an entire genre by exaggerating its conventions and cliches for humorous effect.<ref name=":1" />
==Music==
{{Main|Parody music}}
In [[classical music]], as a technical term, ''parody'' refers to a reworking of one kind of composition into another (for example, a [[motet]] into a keyboard work as [[Girolamo Cavazzoni]], [[Antonio de Cabezón]], and [[Alonso Mudarra]] all did to [[Josquin des Prez]] [[motet]]s).<ref name=g1>Tilmouth, Michael and Richard Sherr. [http://www.oxfordmusiconline.com/subscriber/article/grove/music/20937 "Parody (i)"]'  Grove Music Online, Oxford Music Online, accessed 19 February 2012 {{subscription required}}</ref> More commonly, a [[parody mass]] (''missa parodia'') or an [[oratorio]] used extensive quotation from other vocal works such as motets or [[cantata]]s; [[Tomás Luis de Victoria|Victoria]], [[Giovanni Pierluigi da Palestrina|Palestrina]], [[Orlande de Lassus|Lassus]], and other composers of the 16th century used this technique. The term is also sometimes applied to procedures common in the [[Baroque music|Baroque period]], such as when [[Johann Sebastian Bach|Bach]] reworks music from [[Bach cantata|cantata]]s in his ''[[Christmas Oratorio]]''.
The musicological definition of the term ''parody'' has now generally been supplanted by a more general meaning of the word. In its more contemporary usage, [[parody music|musical parody]] usually has humorous, even satirical intent, in which familiar musical ideas or lyrics are lifted into a different, often incongruous, context.<ref name=g2>Burkholder, J. Peter. [http://www.oxfordmusiconline.com/subscriber/article/grove/music/52918pg8  "Borrowing"], Grove Music Online, Oxford Music Online, accessed 19 February. 2012 {{subscription required}}</ref> Musical parodies may imitate or refer to the peculiar style of a composer or artist, or even a general style of music. For example, "The Ritz Roll and Rock", a song and dance number performed by [[Fred Astaire]] in the movie ''[[Silk Stockings (1957 film)|Silk Stockings]]'', parodies the [[rock and roll]] genre. Conversely, while the best-known work of [["Weird Al" Yankovic]] is based on particular popular songs, it also often utilises wildly incongruous elements of [[popular culture|pop culture]] for comedic effect.
==English term==
[[File:Jan Brueghel the Younger, Satire on Tulip Mania, c. 1640.jpg|thumb|''{{Interlanguage link multi|Allegory of the Tulip omania|de|3=Allegorie der Tulipomanie}}'', persiflage on the [[tulip mania]], by [[Jan Brueghel the Younger]] (1640s)]]
The first usage of the word ''parody'' in English cited in the ''[[Oxford English Dictionary]]'' is in [[Ben Jonson]], in ''Every Man in His Humour'' in 1598: "A Parodie, a parodie! to make it absurder than it was." The next citation comes from [[John Dryden]] in 1693, who also appended an explanation, suggesting that the word was in common use, meaning to make fun of or re-create what you are doing.
==Modernist and post-modernist parody==
Since the 20th century, parody has been heightened as the central and most representative artistic device, the catalysing agent of artistic creation and innovation.<ref name="Sheinberg 2000p141">Sheinberg (2000) pp.141, 150</ref><ref name="Stavans1997p37">Stavans (1997) [https://books.google.com/books?id=Ro6a1EyaS2AC&pg=PA37 p.37]</ref> This most prominently happened in the second half of the century with [[postmodernism]], but earlier [[modernism]] and [[Russian formalism]] had anticipated this perspective.<ref name="Sheinberg 2000p141"/><ref>Bradbury, Malcolm [https://books.google.com/books?id=hUtOMoCNHyIC ''No, not Bloomsbury''] p.53, quoting [[Boris Eikhenbaum]]: {{quotation|Nearly all periods of artistic innovation have had a strong parodic impulse, advancing generic change. As the Russian formalist Boris Eichenbaum once put it: "In the evolution of each genre, there are times when its use for entirely serious or elevated objectives degenerates and produces a comic or parodic form....And thus is produced the regeneration of the genre: it finds new possibilities and new forms."}}</ref> For the Russian formalists, parody was a way of liberation from the background text that enables to produce new and autonomous artistic forms.<ref name="Hutcheon85p28">Hutcheon (1985) pp.28, 35</ref><ref>[[Boris Eikhenbaum]] ''Theory of the "Formal Method"'' (1925) and ''O. Henry and the Theory of the Short Story'' (1925)</ref>
Historian Christopher Rea<ref>{{Cite web |title=Christopher Rea |url=https://asia.ubc.ca/persons/christopher-rea/ |url-status=live |archive-url=https://web.archive.org/web/20190803041342/https://asia.ubc.ca/persons/christopher-rea/ |archive-date=Aug 3, 2019 |website=Department of Asian Studies, The University of British Columbia}}</ref> writes that "In the 1910s and 1920s, writers in China's entertainment market parodied anything and everything.... They parodied speeches, advertisements, confessions, petitions, orders, handbills, notices, policies, regulations, resolutions, discourses, explications, sutras, memorials to the throne, and conference minutes. We have an exchange of letters between the Queue and the Beard and Eyebrows. We have a eulogy for a chamber pot. We have 'Research on Why Men Have Beards and Women Don't,' 'A Telegram from the Thunder God to His Mother Resigning His Post,' and 'A Public Notice from the King of Whoring Prohibiting Playboys from Skipping Debts.'"<ref>{{Cite web |url=https://www.thechinastory.org/2016/03/from-the-year-of-the-ape-to-the-year-of-the-monkey/ |title=From the Year of the Ape to the Year of the Monkey |website=The China Story |date=2 March 2016 |first1=Christopher |last1=Rea |access-date=2019-02-17 |archive-date=2020-04-11 |archive-url=https://web.archive.org/web/20200411022019/https://www.thechinastory.org/2016/03/from-the-year-of-the-ape-to-the-year-of-the-monkey/ }}</ref><ref>Christopher Rea, ''The Age of Irreverence: A New History of Laughter in China'' (Oakland, CA: University of California Press, 2015), pp. 52, 53.</ref>
[[Jorge Luis Borges]]'s (1939) short story "[[Pierre Menard, Author of the Quixote]]", is often regarded as predicting postmodernism and conceiving the ideal of the ultimate parody.<ref name="Stavans1997p31">Stavans (1997) [https://books.google.com/books?id=Ro6a1EyaS2AC&pg=PA31 p.31]</ref><ref>Elizabeth Bellalouna, Michael L. LaBlanc, Ira Mark Milne (2000) [https://books.google.com/books?id=CecJAQAAMAAJ ''Literature of Developing Nations for Students: L-Z''] p.50</ref> In the broader sense of Greek ''parodia'', parody can occur when whole elements of one work are lifted out of their context and reused, not necessarily to be ridiculed.<ref name="Elices2004p90">Elices (2004) p.90 quotation: {{quotation|From these words, it can be inferred that Genette's conceptualisation does not diverge from Hutcheon's, in the sense that he does not mention the component of ridicule that is suggested by the prefix ''paros''. Genette alludes to the re-interpretative capacity of parodists in order to confer an artistic autonomy to their works.}}</ref> Traditional definitions of parody usually only discuss parody in the stricter sense of something intended to ridicule the text it parodies. There is also a broader, extended sense of parody that may not include ridicule, and may be based on many other uses and intentions.<ref name="Elices2004p90"/><ref name="Hutcheon85p50">Hutcheon (1985) p.50</ref> The broader sense of parody, parody done with intent other than ridicule, has become prevalent in the modern parody of the 20th century.<ref name="Hutcheon85p50"/> In the extended sense, the modern parody does not target the parodied text, but instead uses it as a weapon to target something else.<ref name="Hutcheon85p52">Hutcheon (1985) p.52</ref><ref>Yunck 1963</ref> The reason for the prevalence of the extended, recontextualizing type of parody in the 20th century is that artists have sought to connect with the past while registering differences brought by [[modernity]].<ref>Hutcheon (1985)</ref>{{Page needed|date=January 2012}} Major modernist examples of this recontextualizing parody include [[James Joyce]]'s ''[[Ulysses (novel)|Ulysses]]'', which incorporates elements of [[Homer]]'s ''[[Odyssey]]'' in a 20th-century Irish context, and [[T. S. Eliot]]'s ''[[The Waste Land]]'',<ref name="Hutcheon85p52"/> which incorporates and recontextualizes elements of a vast range of prior texts, including [[Dante]]'s ''[[Divine Comedy|The Inferno]]''.{{Citation needed|date=January 2012}} The work of [[Andy Warhol]] is another prominent example of the modern "recontextualizing" parody.<ref name="Hutcheon85p52"/> According to French literary theorist [[Gérard Genette]], the most rigorous and elegant form of parody is also the most economical, that is a ''minimal parody'', the one that literally reprises a known text and gives it a new meaning.<ref>[[Gérard Genette]] (1982) [https://books.google.com/books?id=KbYzNp94C9oC&pg=PA16 ''Palimpsests: literature in the second degree''] p.16</ref><ref name="Sangsue2006p72">Sangsue (2006) [https://books.google.com/books?id=Z5MWFcIEE7EC&pg=PA72 p.72] quotation: {{quotation|Genette individua la forma "piú rigorosa" di parodia nella "parodia minimale", consistente nella ripresa letterale di un testo conosciuto e nella sua applicazione a un nuovo contesto, come nella citazione deviata dal suo senso}}</ref>
Blank parody, in which an artist takes the skeletal form of an art work and places it in a new context without ridiculing it, is common.<ref name=":2">{{Cite book |last=Jameson |first=Fredric |title=The Anti-Aesthetic: Essays on Postmodern Culture |publisher=Bay Press |editor=Hal Foster |year=1983 |isbn= |pages=111–125 |chapter=Postmodernism and Consumer Society}}</ref> [[Pastiche]] is a closely related [[genre]], and parody can also occur when characters or settings belonging to one work are used in a humorous or ironic way in another, such as the transformation of minor characters [[Rosencrantz and Guildenstern]] from [[Shakespeare]]'s drama [[Hamlet]] into the principal characters in a comedic perspective on the same events in the play (and film) ''[[Rosencrantz and Guildenstern Are Dead]]''.{{Citation needed|date=January 2012}} Similarly, [[Mishu Hilmy]]'s ''Trapped in the Netflix'' uses parody to [[Deconstruction|deconstruct]] contemporary [[Netflix]] shows like [[Mad Men]] providing commentary through popular characters. Don Draper [[mansplaining]] about mansplaining, [[Luke Danes]] monologizing about a lack of independence while embracing [[codependency]].<ref name="pink">{{cite news|last1=Willett|first1=Bec|title=Trapped in the Netflix at iO|url=http://perform.ink/review-trapped-netflix-io/|access-date=23 March 2018|publisher=[[Performink]]|date=17 December 2017}}</ref>  In [[Flann O'Brien]]'s novel ''[[At Swim-Two-Birds]]'', for example, mad [[King Sweeney]], [[Fionn mac Cumhaill|Finn MacCool]], a [[pookah]], and an assortment of [[cowboy]]s all assemble in an inn in [[Dublin]]: the mixture of mythic characters, characters from [[genre]] fiction, and a quotidian setting combine for a humor that is not directed at any of the characters or their authors. This combination of established and identifiable characters in a new setting is not the same as the [[post-modernist]] trope of using historical characters in fiction out of context to provide a metaphoric element.{{Citation needed|date=January 2012}}
==Reputation==
Sometimes the reputation of a parody outlasts the reputation of what is being parodied. For example, ''[[Don Quixote]]'', which mocks the traditional [[knight errant]] tales, is much better known than the novel that inspired it, ''[[Amadis de Gaula]]'' (although Amadis is mentioned in the book). Another case is the [[novel]] ''[[Shamela]]''  by [[Henry Fielding]] (1742), which was a parody of the gloomy [[epistolary novel]] ''[[Pamela (novel)|Pamela, or Virtue Rewarded]]'' (1740) by [[Samuel Richardson]]. Many of [[Lewis Carroll]]'s parodies of Victorian didactic verse for children, such as "[[You Are Old, Father William]]", are much better known than the (largely forgotten) originals. [[Stella Gibbons]]'s comic novel ''[[Cold Comfort Farm]]'' has eclipsed the pastoral novels of [[Mary Webb]] which largely inspired it.
In more recent times, the television sitcom ''[['Allo 'Allo!]]'' is perhaps better known than the drama ''[[Secret Army (TV series)|Secret Army]]'' which it parodies.
Some artists carve out careers by making parodies. One of the best-known examples is that of [["Weird Al" Yankovic]]. His career of parodying other musical acts and their songs has outlasted many of the artists or bands he has parodied.  Yankovic is not required under law to get permission to parody; as a personal rule, however, he does seek permission to parody a person's song before recording it. Several artists, such as rapper [[Chamillionaire]] and Seattle-based [[grunge]] band [[Nirvana (band)|Nirvana]] stated that Yankovic's parodies of their respective songs were excellent, and many artists have considered being parodied by him to be a badge of honor.<ref name="Ayers">{{cite news|url=https://blogs.wsj.com/speakeasy/2014/07/24/weird-al-interview-mandatory-fun/|title='Weird Al' Yankovic Explains His Secret Formula for Going Viral and Hitting No. 1|last=Ayers|first=Mike|date=24 July 2014|work=[[The Wall Street Journal]]|access-date=12 September 2015}}</ref><ref name="Hamersly">{{cite news|url=http://www.miamiherald.com/miami-com/things-to-do/article225799790.html|title="Weird Al" Yankovic brings his masterful musical parody to South Florida|last=Hamersly|first=Michael|work=[[Miami Herald]]|access-date=12 September 2015|archive-date=March 30, 2024|archive-url=https://web.archive.org/web/20240330112037/http://www.miamiherald.com/miami-com/things-to-do/article225799790.html}}</ref>
In the US legal system the point that in most cases a parody of a work constitutes fair use was upheld in the case of [[Rick Dees]], who decided to use 29 seconds of the music from the song ''When Sonny Gets Blue'' to parody [[Johnny Mathis]]' singing style even after being refused permission. An appeals court upheld the trial court's decision that this type of parody represents fair use. ''[[Fisher v. Dees]]'' [[Court citation|794 F.2d 432]] (9th Cir. 1986)
==Film parodies==
{{Main|Parody film}}
{{Original research|section|date=May 2009}}
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Some [[Genre|genre theorists]], following [[Bakhtin]], see parody as a natural development in the life cycle of any [[genre]]; this idea has proven especially fruitful for genre film theorists. Such theorists note that [[Western movie]]s, for example, after the classic stage defined the conventions of the genre, underwent a parody stage, in which those same conventions were ridiculed and critiqued. Because audiences had seen these classic Westerns, they had expectations for any new Westerns, and when these expectations were inverted, the audience laughed.
An early parody film was the 1922 movie ''[[Mud and Sand]]'', a [[Stan Laurel]] film that made fun of [[Rudolph Valentino]]'s film ''[[Blood and Sand (1922 film)|Blood and Sand]]''. Laurel specialized in parodies in the mid-1920s, writing and acting in a number of them. Some were send-ups of popular films, such as ''[[Dr. Jekyll and Mr. Hyde (disambiguation)|Dr. Jekyll and Mr. Hyde]]''<!-- there are several such films so don't disambiguate this link -->—parodied in the comic ''[[Dr. Pyckle and Mr. Pryde]]'' (1926). Others were spoofs of Broadway plays, such as ''[[No, No, Nanette]]'' (1925), parodied as ''[[Yes, Yes, Nanette]]'' (1925). In 1940 [[Charlie Chaplin]] created a satirical comedy about [[Adolf Hitler]] with the film ''[[The Great Dictator]]'', following the first-ever Hollywood parody of the Nazis, the [[Three Stooges]]' short subject ''[[You Nazty Spy!]]''.
About 20 years later [[Mel Brooks]] started his career with a Hitler parody as well. After his 1967 film ''[[The Producers (1967 film)|The Producers]]'' won both an [[Academy Award]] and a [[Writers Guild of America Award]] for Best Original Screenplay,<ref>{{cite web|url=https://www.imdb.com/title/tt0063462/?ref_=nv_sr_srsg_3|website=imdb.com|title=The Producers (1967)|date=10 November 1968|access-date=17 October 2020}}</ref> Brooks became one of the most famous film parodists and created spoofs in multiple film genres. ''[[Blazing Saddles]]'' (1974) is a parody of western films, ''[[History of the World, Part I]]'' (1981) is a historical parody, ''[[Robin Hood Men in Tights]]'' (1993) is Brooks' take on the classic Robin Hood tale, and his spoofs in the horror, sci-fi and adventure genres include ''[[Young Frankenstein]]'' (1974), and ''[[Spaceballs]]'' (1987, a ''[[Star Wars]]'' spoof).
The British comedy group [[Monty Python]] is also famous for its parodies, for example, the [[King Arthur]] spoof ''[[Monty Python and the Holy Grail]]'' (1974), and the [[Jesus]] satire ''[[Life of Brian]]'' (1979). In the 1980s the team of [[David Zucker (filmmaker)|David Zucker]], [[Jim Abrahams]] and [[Jerry Zucker (film director)|Jerry Zucker]] parodied well-established genres such as disaster, war and police movies with the ''[[Airplane!]]'', ''[[Hot Shots!]]'' and ''[[The Naked Gun|Naked Gun]]'' series respectively. There is a 1989 film parody from Spain of the TV series ''[[The A-Team]]'' called ''El equipo Aahhgg'' directed by José Truchado.
More recently, parodies have taken on whole film genres at once. One of the first was ''[[Don't Be a Menace to South Central While Drinking Your Juice in the Hood]]'' and the ''[[Scary Movie (series)|Scary Movie]]'' franchise. Other recent genre parodies include. ''[[Shriek If You Know What I Did Last Friday The 13th]]'', ''[[Not Another Teen Movie]]'', ''[[Date Movie]]'', ''[[Epic Movie]]'', ''[[Meet the Spartans]]'', ''[[Superhero Movie]]'', ''[[Disaster Movie]]'', ''[[Vampires Suck]]'', and ''[[The 41-Year-Old Virgin Who Knocked Up Sarah Marshall and Felt Superbad About It]]'', all of which have been critically panned.{{citation needed|date=November 2016}}
===Copyright===
Many parody films have as their target out-of-copyright or non-copyrighted subjects (such as ''Frankenstein'' or Robin Hood) whilst others settle for imitation which does not infringe copyright, but is clearly aimed at a popular (and usually lucrative) subject. The spy film craze of the 1960s, fuelled by the popularity of [[James Bond]] is such an example. In this genre a rare, and possibly unique, example of a parody film taking aim at a non-comedic subject over which it actually holds copyright is the 1967 James Bond spoof ''[[Casino Royale (1967 film)|Casino Royale]]''. In this case, producer [[Charles K. Feldman]] initially intended to make a serious film, but decided that it would not be able to compete with the established series of Bond films. Hence, he decided to parody the series.<ref>Barnes, A. & Hearn, M. (1997) ''Kiss kiss bang bang: the unofficial James Bond film companion'', Batsford, p. 63 {{ISBN|978-0-7134-8182-2}}</ref>
==Poetic parodies==
[[Kenneth Baker, Baron Baker of Dorking|Kenneth Baker]] considered poetic parody to take five main forms.<ref>K. Baker ed., ''Unauthorized Versions'' (London 1990) Introduction p. xx–xxii</ref>
# The first was to use parody to attack the author parodied, as in [[J K Stephen]]'s mimicry of [[Wordsworth]], "Two voices are there: one is of the deep....And one is of an old half-witted sheep."<ref>K. Baker ed., ''Unauthorized Versions'' (London 1990) p. 429</ref>
# The second was to pastiche the author's style, as with [[Henry Reed (poet)|Henry Reed]]'s parody of [[T. S. Eliot]], ''Chard Whitlow'': "As we get older we do not get any younger...."<ref>K. Baker ed., ''Unauthorized Versions'' (London 1990) p. 107</ref>
# The third type reversed (and so undercut) the sentiments of the poem parodied, as with [[Monty Python]]'s ''All Things Dull and Ugly''.
# A fourth approach was to use the target poem as a matrix for inserting unrelated (generally humorous) material&nbsp;– "To have it out or not? That is the question....Thus dentists do make cowards of us all."<ref>K. Baker ed., ''Unauthorized Versions'' (London 1990) p. 319</ref>
# Finally, parody may be used to attack contemporary/topical targets by utilizing the format of a well-known piece of verse: "O [[Salman Rushdie|Rushdie]], Rushdie, it's a vile world" ([[Cat Stevens]]).<ref>K. Baker ed., ''Unauthorized Versions'' (London 1990) p. 355</ref>
A further, more constructive form of poetic parody is one that links the contemporary poet with past forms and past masters through affectionate parodying&nbsp;– thus sharing poetic codes while avoiding some of the [[anxiety of influence]].<ref>S. Cushman ed., ''The Princeton Encyclopedia of Poetry and Poetics'' (Princeton 2012) p. 1003</ref>
More aggressive in tone are playground poetry parodies, often attacking authority, values and culture itself in a carnivalesque rebellion:<ref>J. Thomas, ''Poetry's Playground'' (2007) p. 45–52</ref> "Twinkle, Twinkle little star,/ Who the hell do you think you are?"<ref>Quoted in S. Burt ed., ''The Cambridge History of American Poetry'' (Cambridge 2014)</ref>
==Self-parody==
{{Main|Self-parody}}
A subset of parody is ''[[self-parody]]'' in which artists parody their own work (as in [[Ricky Gervais]]'s ''[[Extras (TV series)|Extras]]'').
==Copyright issues and other legal issues==
{{see also|Plagiarism}}
Although a parody can be considered a [[derivative work]] of a pre-existing, copyrighted work, some countries have ruled that parodies can fall under [[Limitations and exceptions to copyright|copyright limitations]] such as [[fair dealing]], or otherwise have fair dealing laws that include parody in their scope.
===United States===
Parodies are protected under the [[fair use]] doctrine of [[United States copyright law]], but the defense is more successful if the usage of an existing copyrighted work is transformative in nature, such as being a critique or commentary upon it.
In ''[[Campbell v. Acuff-Rose Music, Inc.]]'', the [[Supreme Court of the United States|Supreme Court]]  ruled that a rap parody of "[[Oh, Pretty Woman]]" by [[2 Live Crew]] was fair use, as the parody was a distinctive, transformative work designed to ridicule the original song, and that "even if 2 Live Crew's copying of the original's first line of lyrics and characteristic opening bass riff may be said to go to the original's 'heart,' that heart is what most readily conjures up the song for parody, and it is the heart at which parody takes aim."
In 2001, the [[United States Court of Appeals for the Eleventh Circuit|Eleventh Circuit Court of Appeals]], in ''[[Suntrust v. Houghton Mifflin]]'', upheld the right of [[Alice Randall]] to publish a parody of ''[[Gone with the Wind (novel)|Gone with the Wind]]'' called ''[[The Wind Done Gone]]'', which told the same story from the point of view of [[Scarlett O'Hara]]'s slaves, who were glad to be rid of her.
In 2007, the [[United States Court of Appeals for the Ninth Circuit|Ninth Circuit Court of Appeals]] denied a fair use defense in the ''[[Dr. Seuss Enters., L.P. v. Penguin Books USA, Inc.|Dr. Seuss Enterprises v. Penguin Books]]'' case. Citing the ''Campbell v. Acuff-Rose'' decision, they found that a [[satire]] of the [[O. J. Simpson murder case|O.J. Simpson murder trial]] and parody of ''[[The Cat in the Hat]]'' had infringed upon the children's book because it did not provide a commentary function upon that work.<ref>{{cite web|url=http://fairuse.stanford.edu/Copyright_and_Fair_Use_Overview/chapter9/9-c.html|title=Summaries of Fair Use Cases|author=Richard Stim|work=Stanford Copyright and Fair Use Center|date=4 April 2013}}</ref><ref>{{cite web|url=https://scholar.google.com/scholar_case?case=15758460119711775481&hl=en&as_sdt=2&as_vis=1&oi=scholarr|title=Google Scholar|work=google.com}}</ref>
===Canada===
{{update|type=section|Changes from the Copyright Modernization Act, 2012|date=September 2012}}
Under [[Canadian law]], although there is protection for [[fair dealing#Canada|Fair Dealing]], there is no explicit protection for parody and satire. In ''[[Canwest v. Horizon]]'', the publisher of the [[Vancouver Sun]] launched a [[lawsuit]] against a group which had published a pro-[[State of Palestine|Palestinian]] parody of the paper. Alan Donaldson, the judge in the case, [[court ruling|ruled]] that parody is not a [[legal defence|defence]] to a [[Canadian copyright law|copyright]] claim.<ref>{{cite web|url=https://thetyee.ca/Mediacheck/2008/12/11/CanwestSuit/|title=The Tyee&nbsp;– Canwest Suit May Test Limits of Free Speech|date=11 December 2008|work=The Tyee}}</ref>
As of the implementation of the Copyright Modernization Act 2012, "Fair dealing for the purpose of research, private study, education, parody or satire does not infringe copyright."<ref>{{Cite web |last=Branch |first=Legislative Services |date=2019-11-15 |title=Consolidated federal laws of canada, Copyright Modernization Act |url=https://laws-lois.justice.gc.ca/eng/annualstatutes/2012_20/fulltext.html |access-date=2023-03-06 |website=laws-lois.justice.gc.ca}}</ref>
===United Kingdom===
In 2006 the ''[[Gowers Review of Intellectual Property]]'' recommended that the UK should "create an exception to copyright for the purpose of caricature, parody or pastiche by 2008".<ref>The Stationery Office. (2006) Gowers Review of Intellectual Property. [Online]. Available at [http://www.official-documents.gov.uk/document/other/0118404830/0118404830.pdf official-documents.gov.uk] (Accessed: 22 February 2011).</ref> Following the first stage of a two-part public consultation, the Intellectual Property Office reported that the information received "was not sufficient to persuade us that the advantages of a new parody exception were sufficient to override the disadvantages to the creators and owners of the underlying work. There is therefore no proposal to change the current approach to parody, caricature and pastiche in the UK."<ref name="Gowers Second Stage Consultation">UK Intellectual Property Office. (2009) Taking Forward the Gowers Review of Intellectual Property: Second Stage Consultation on Copyright Exceptions. [Online]. Available at [http://www.ipo.gov.uk/consult-gowers2.pdf ipo.gov.uk] {{webarchive|url=https://web.archive.org/web/20110517005032/http://www.ipo.gov.uk/consult-gowers2.pdf |date=2011-05-17 }} (Accessed: 22 February 2011).</ref>
However, following the Hargreaves Review in May 2011 (which made similar proposals to the Gowers Review) the Government broadly accepted these proposals.  The current law (effective from 1 October 2014), namely Section 30A<ref>{{cite web|url=http://www.legislation.gov.uk/uksi/2014/2356/regulation/5/made|title=The Copyright and Rights in Performances (Quotation and Parody) Regulations 2014|website=Legislation.gov.uk|access-date=3 October 2018}}</ref> of the [[Copyright, Designs and Patents Act 1988]], now provides an exception to infringement where there is fair dealing of the original work for the purpose of parody (or alternatively for the purpose of caricature or pastiche).  The legislation does not define what is meant by "parody", but the UK IPO&nbsp;– the [[Intellectual Property Office (United Kingdom)]]&nbsp;– suggests<ref>{{cite web|url=https://www.gov.uk/government/uploads/system/uploads/attachment_data/file/359250/Exceptions_to_copyright_-_Guidance_for_creators_and_copyright_owners.pdf|title=Exceptions to copyright: Guidance for creators and copyright owners|website=Gov.uk|access-date=3 October 2018}}</ref> that a "parody" is something that imitates a work
for humorous or satirical effect.  See also [[Fair dealing in United Kingdom law]].
===Jail===
Some countries do not like parodies and the parodies can be considered insulting. The person who makes the parody can be fined or even jailed. For instance in the UAE<ref> {{Cite web |date=2013-12-23 |title=American begins one-year prison sentence in UAE for satirical video |url=http://www.theguardian.com/world/2013/dec/23/american-one-year-sentence-uae-satirical-video |access-date=2023-01-11 |website=the Guardian |language=en}}</ref> and North Korea,<ref> {{Cite web |date=2014-07-23 |title=North Korea Furious Over Kim Jong Un Parody Dance Video |url=https://www.nbcnews.com/news/asian-america/north-korea-furious-over-kim-jong-un-parody-dance-video-n162786 |access-date=2023-07-06 |website=www.nbcnews.com |language=en}}</ref> this is not allowed.
==Internet culture==
Parody is a prominent genre in online culture, thanks in part to the ease with which digital texts may be altered, appropriated, and shared. Japanese [[kuso]] and Chinese [[e'gao]] are emblematic of the importance of parody in online cultures in Asia. Video mash-ups and other parodic [[Meme|memes]], such as humorously altered Chinese characters, have been particularly popular as a tool for political protest in the People's Republic of China, the government of which maintains an extensive censorship apparatus.<ref>Christopher Rea, "Spoofing (e'gao) Culture on the Chinese Internet." In Humour in Chinese Life and Culture: Resistance and Control in Modern Times. Jessica Milner Davis and Jocelyn Chey, eds. Hong Kong: Hong Kong University Press, 2013, pp. 149–172</ref> Chinese internet slang makes extensive use of puns and parodies on how Chinese characters are pronounced or written, as illustrated in the [https://chinadigitaltimes.net/space/Grass-Mud_Horse_Lexicon:_Browse_by_Topic Grass-Mud Horse Lexicon].
===Computer-generated parodies===
{{excerpt|Parody generator}}
==Social and political uses==
[[File:I did not raise my girl to be a voter3.jpg|right|thumb|Satirical political cartoon that appeared in ''[[Puck (magazine)|Puck]]'' magazine, October 9, 1915. Caption "I did not raise my girl to be a voter" parodies the anti-[[World War I]] song "[[I Didn't Raise My Boy To Be A Soldier]]". A chorus of disreputable men support a lone anti-suffrage woman.]]
[[File:Reggie Brown by Gage Skidmore 2.jpg|thumb|left|[[Reggie Brown (impersonator)|Reggie Brown]], a voice actor and [[Barack Obama]] impersonator]]
Parody is often used to make a social or political statement. Examples include [[Jonathan Swift|Swift]]'s "[[A Modest Proposal]]", which satirized English neglect of Ireland by parodying emotionally disengaged political tracts; and, recently, ''[[The Daily Show]], [[The Larry Sanders Show]]'' and ''[[The Colbert Report]]'', which parody a news broadcast and a talk show to satirize political and social trends and events.
On the other hand, the writer and frequent parodist [[Vladimir Nabokov]] made a distinction: "Satire is a lesson, parody is a game."<ref>{{cite journal | last1 = Appel | first1 = Alfred Jr. | author-link1 = Alfred Appel | last2 = Nabokov  | first2 = Vladimir | author-link2 = Vladimir Nabokov | year = 1967 | title = An Interview with Vladimir Nabokov | journal = Wisconsin Studies in Contemporary Literature | volume = VIII | issue = 2 | pages = 127–152 | doi = 10.2307/1207097 | jstor = 1207097 | url = http://lib.ru/NABOKOW/Inter06.txt_with-big-pictures.html | access-date = 28 Dec 2013}}</ref>
Some events, such as a national tragedy, can be difficult to handle. Chet Clem, Editorial Manager of the news parody publication ''[[The Onion]]'', told ''[[Wikinews]]'' in an interview the questions that are raised when addressing difficult topics:
{{cquote|I know the [[September 11 attacks|September 11]] issue was an obviously very large challenge to approach.  Do we even put out an issue?  What is funny at this time in American history?  Where are the jokes?  Do people want jokes right now?  Is the nation ready to laugh again?  Who knows.  There will always be some level of division in the back room.  It's also what keeps us on our toes.<ref name=DS>[[n:The Onion: An interview with 'America's Finest News Source'|An interview with The Onion]], David Shankbone, ''[[Wikinews]]'', November 25, 2007.</ref>}}
Parody is by no means necessarily satirical, and may sometimes be done with respect and appreciation of the subject involved, without being a heedless sarcastic attack.
Parody has also been used to facilitate dialogue between cultures or subcultures. Sociolinguist [[Mary Louise Pratt]] identifies parody as one of the "arts of the contact zone", through which marginalized or oppressed groups "selectively appropriate", or imitate and take over, aspects of more empowered cultures.<ref>Pratt (1991)</ref>
Shakespeare often uses a series of parodies to convey his meaning. In the social context of his era, an example can be seen in ''[[King Lear]]'' where the [[Jester|fool]] is introduced with his [[Comb (anatomy)#Other|coxcomb]] to be a parody of the king.
==Examples==
===Historic examples===
{{Columns-list|colwidth=30em|
* ''[[Chaucer's Tale of Sir Topas|Sir Thopas]]'' in ''[[Canterbury Tales]]'', by [[Geoffrey Chaucer]]
* ''[[Morgante]]'' by [[Luigi Pulci]]
* ''[[The Nymph's Reply to the Shepherd]]'' by Sir Walter Raleigh
* ''[[La secchia rapita]]'' by [[Alessandro Tassoni]]
* ''[[Don Quixote]]'' by [[Miguel de Cervantes]]
* ''[[Beware the Cat]]'' by [[William Baldwin (author)|William Baldwin]]
* ''[[The Knight of the Burning Pestle]]'' by [[Francis Beaumont]] and [[John Fletcher (playwright)|John Fletcher]]
* ''[[Dragon of Wantley]]'', an anonymous 17th century ballad
* ''[[Hudibras]]'' by [[Samuel Butler (poet)|Samuel Butler]]
* "[[MacFlecknoe]]", by [[John Dryden]]
* ''[[A Tale of a Tub]]'' by [[Jonathan Swift]]
* ''[[The Rape of the Lock]]'' by [[Alexander Pope]]
* ''[[Namby Pamby]]'' by [[Henry Carey (writer)|Henry Carey]]
* ''[[Northanger Abbey]]'' by [[Jane Austen]]
* ''[[Gulliver's Travels]]'' by [[Jonathan Swift]]
* ''[[The Dunciad]]'' by [[Alexander Pope]]
* ''[[Memoirs of Martinus Scriblerus]]'' by [[John Gay]], Alexander Pope, [[John Arbuthnot]], ''et al.''
* [[Wolfgang Amadeus Mozart|Mozart]]'s ''[[A Musical Joke]]'' (''Ein musikalischer Spaß''), K.522 (1787)&nbsp;– parody of incompetent contemporaries of Mozart, as assumed by some theorists
* ''[[Sartor Resartus]]'' by [[Thomas Carlyle]]
* ''[[Ways and Means (poem)|Ways and Means]]'', or ''The aged, aged man'', by [[Lewis Carroll]]. Much of ''[[Alice in Wonderland]]'' and ''[[Through the Looking-Glass]]'' is parodic of [[Victorian era|Victorian]] schooling.
* ''[[Batrachomyomachia]]'' (battle between frogs and mice), an ''[[Iliad]]'' parody by an unknown ancient Greek author
* ''[https://www.gutenberg.org/ebooks/64229  A Century of Parody and Imitation]'' by [[Walter Jerrold]] and [[Robert Maynard Leonard|R. Maynard Leonard]]
}}
===Internet examples===
*[[Punt nua]],  a parody currency and internet meme (2011)
* "After Ever After" [[a capella]] series by [[YouTube personality]] [[Jon Cozart]], parody of various Disney songs
===Modern television examples===
* [[Saturday Night Live parodies of Sarah Palin|''Saturday Night Live'' parodies of Sarah Palin]]
* [[Saturday Night Live parodies of Donald Trump|''Saturday Night Live'' parodies of Donald Trump]]
* [[Square One TV]] [[mathnet|parodies]] of ''[[Dragnet (franchise)|Dragnet]]''
* ''Southpaw Regional Wrestling,'' [[WWE]]'s parody of 80s territory-style [[professional wrestling]]
* ''[[On Cinema]]'' and [[Spin-off (media)|spin-off]] ''[[Decker (TV series)|Decker]]'' parody [[film review]] shows and [[political cinema|political]] [[action film|action]] [[thriller films|thrillers]], respectively.
* "Handyman Corner" and "Handyman Tip" segments on ''[[The Red Green Show]]'' by [[Steve Smith (comedian)|Steve Smith]] and [[Rick Green (comedian)|Rick Green]], parodying [[home improvement]] and [[do-it-yourself]] shows
* The "Get the Belt" sketch on ''[[A Black Lady Sketch Show]]'' parodies the genre of dance movies like ''[[Step Up (franchise)|Step Up]]'' and ''[[Save the Last Dance]]''.
===Anime and manga===
* ''[[Attack on Titan: Junior High]]''
* ''[[KonoSuba]]''
* ''[[One Punch Man]]''
* ''[[Panty & Stocking with Garterbelt]]''
==See also==
{{div col|colwidth=22em}}
* [[Abridgement]]
* [[Anti-Barney Humor]]
* [[Détournement]]
* [[Drawn Together]]
* [[Internet meme]]
* [[Intertextuality]]
* [[Joke]]
* [[Literary technique]]
* [[Metaparody]]
* [[Parody advertisement]]
* [[Parody in popular music]]
* [[Parody film]]
* [[Parody music]]
* [[Parody religion]]
* [[Parody science]]
* [[:wikt:persiflage|Persiflage]]
* [[P. D. Q. Bach]]
*[[Satire]]
* [[Subvertising]]
* [[Tom Lehrer]]
* [["Weird Al" Yankovic]]
{{div col end}}
==Notes==
{{Reflist}}
==References==
* {{Cite book |year=2000 |last=Dentith |first=Simon |title=Parody (The New Critical Idiom) |publisher=Routledge |isbn=0-415-18221-2}}
*Elices Agudo, Juan Francisco (2004) [https://web.archive.org/web/20130510122903/http://books.google.com/books?id=IIllAAAAMAAJ ''Historical and theoretical approaches to English satire'']
* {{Cite book |year=1985 |last=Hutcheon |first=Linda |title=A Theory of Parody: The Teachings of Twentieth-Century Art Forms |chapter=3. The Pragmatic Range of Parody |location=New York |publisher=Methuen |isbn=0-252-06938-2}}
* {{Cite journal |year=1991 |author=Mary Louise Pratt |author-link=Mary Louise Pratt |title=Arts of the Contact Zone |journal=Profession |volume=91 |pages=33–40 |location=New York |publisher=[[Modern Language Association|MLA]] |quote=archived at University of Idaho, English 506, Rhetoric and Composition: History, Theory, and Research |url=http://www.class.uidaho.edu/thomas/English_506/Arts_of_the_Contact_Zone.pdf |archive-url=https://web.archive.org/web/20081026203249/http://www.nwe.ufl.edu/~stripp/2504/pratt.html |archive-date=2008-10-26 }}. From Ways of Reading, 5th edition, ed. David Bartholomae and Anthony Petroksky (New York: Bedford/St. Martin's, 1999
*Sangsue, Daniel (2006) [https://books.google.com/books?id=Z5MWFcIEE7EC ''La parodia'']
*Sheinberg, Esti (2000) [https://books.google.com/books?id=z14IAQAAMAAJ ''Irony, Satire, Parody and the Grotesque in the Music of Shostakovich'']
*Stavans, Ilan and Jesse H. Lytle, Jennifer A. Mattson (1997) [https://books.google.com/books?id=Ro6a1EyaS2AC ''Antiheroes: Mexico and its detective novel'']
*Ore, Johnathan (2014) [http://www.cbc.ca/newsblogs/yourcommunity/2014/12/youtuber-shane-dawsons-fans-revolt-after-sony-pulls-his-taylor-swift-parody-video.html Youtuber Shane Dawsons fans revolt after Sony pulls his Taylor Swift parody video]
==Further reading==
{{Wikisource1911Enc|Parody}}
{{Wikisource1911Enc|Lampoon}}
* {{Cite book |year=1981 |last1=Bakhtin |first1=Mikhail |title=The Dialogic Imagination: Four Essays |author2=Ed. Michael Holquist. Trans. Caryl Emerson and Michael Holquist |location=Austin and London |publisher=University of Texas Press |isbn=0-292-71527-7 |url-access=registration |url=https://archive.org/details/dialogicimaginat0000bakh }}
* {{Cite book |year=1988 |last=Gates | first=Henry Louis Jr. |title=The Signifying Monkey: A Theory of Afro-American Literary Criticism |publisher=Oxford University Press |isbn=0-19-503463-5}}
* {{Cite book |year=1999 |title=Ways of Reading |edition=5th |editor=David Bartholomae |editor2=Anthony Petroksky |location=New York |publisher=Bedford/St. Martin's |isbn=978-0-312-45413-5 |quote=An anthology including ''Arts of the Contact Zone'' |url-access=registration |url=https://archive.org/details/waysofreadingant0008bart }}
* {{Cite book |year=1993 |last=Rose |first=Margaret |title=Parody: Ancient, Modern and Post-Modern |location=Cambridge |publisher=Cambridge University Press |isbn=0-521-41860-7}}
* {{Cite book |year=1999 |last=Caponi |first=Gena Dagel |title=Signifyin(g), Sanctifyin', & Slam Dunking: A Reader in African American Expressive Culture |publisher=University of Massachusetts Press |isbn=1-55849-183-X}}
* {{Cite book |year=2000 |last=Harries |first=Dan |title=Film Parody |location=London |publisher=BFI |isbn=0-85170-802-1}}
* {{Cite book |year=2002 |last=Pueo |first=Juan Carlos |title=Los reflejos en juego (Una teoría de la parodia) |location=Valencia (Spain) |publisher=Tirant lo Blanch |isbn=84-8442-559-2}}
* {{Cite book |year=2006 |last=Gray |first=Jonathan |title=Watching with The Simpsons: Television, Parody, and Intertextuality |location=New York |publisher=Routledge |isbn=0-415-36202-4}}
* {{Cite book|title=The Oxford Book of Parodies|isbn=978-0-19-954882-8|location=Oxford|publisher=Oxford University Press|editor=John Gross|year=2010}}
* {{cite book|last1=Fain|first1=Gordon L.|title=Ancient Greek Epigrams: Major Poets in Verse Translation|date=2010|publisher=University of California Press|location=Berkeley|isbn=978-0-520-26579-0}}
==External links==
{{Plainlist|
{{Commons category-inline}}
{{Wiktionary-inline}}
}}
{{Appropriation in the Arts}}
{{Authority control}}
[[Category:Parodies| ]]
[[Category:Satire]]