ADAPTING TRISTRAM SHANDY by Adria Young Submitted in ...

Storyreminds him of the 1984 cult-classic This is Spinal Tap (Ebert np). 95 This is
appropriate because itis also very much like Winterbottom's rockumentary 24 Hour Party
People (2002). 96 A Cock and Bull Story uses both the technical and conceptual elements
of the genre. The visual effects include shaky, hand-held-style camera-work, evident
dollying, and stock shots like a video of Pavlov's dog (subbing in for John Locke's
association of ideas) and a series of portraits of men with large noses (Dante, Newton,
Alexander the Great et. al.), all typical technical elements of documentary films
(Aufderheide 10). The cuts between episodes are distinguished, rather than “invisible,”
with various types of “wipes” (Brady 215), like camera-shutters or irises in and out. 97
Some of the episodes throughout the film are documentary-style interviews, which are
examples of the film's intermediality (as in, the incorporation of other media forms), and
a method that documentaries use to “convey truth,” since the principle aim of
documentaries is the documentation of “life” (Aufderheide 3). This “life” of Tristram
Shandy is supplemented with aninformative segment by “Patrick” (Wildgust, curator of
Shandy Hall, as performed by Stephen Fry) who explains the themes of the novel, and a
segment of an interview in which Brydon gushes over Coogan (Coogan later remarks, “I
think he's obsessed with me”). And the film's perspective is documentary: the camera
follows Coogan around on-set. Even though it is unacknowledged and given omniscient
perspective, the characters constantly acknowledge the concept of film-making and its
technical aspects. At times, we see the film crew beyond the camera view. The audience
also sees scenes-behind-the-scenes, like wardrobe and makeup and even suites. Finally, at
one point, Coogan's voice-over tells the audience to check out the DVD's special features
for more. The documentary/mockumentary genre has very close associations with the
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