1. How would you describe ZAZ's approach to film parody or film spoofs in this scene? Cite specific examples.
It's pretty much wall-to-wall gags, one after another, and they don't limit themselves to parodying a specific genre, but throw in slapstick elements and visual gags wherever they can, whether or not they further the plot (like the scene where "Al" walks in, the camera never moves to include his face in the scene, and when Drebin tells him he has something in his mouth, about a quarter of a banana falls out). Also, there's the random gag where two characters walk through a door while Drebin walks past the fake scenery half-wall (it calls more attention to the filmmaking, and to me has more of a surreal quality, than similar humor based on the scenery in Young Frankenstein). But character is still involved, as Nielsen plays it completely straight and his character remains pompous, but clueless, throughout.
2. How is ZAZ's approach to spoofing similar to or different from Mel Brook and Gene Wilder's approach in yesterday's Daily Dose?
I'd say Young Frankenstein's gags are usually related to the genre, either playing with the conventions of the film (the scene in the science class) or the sets and scenery (like the exchange between Frankenstein and Terri Garr's character, Inga, when they arrive at the castle with its massive door ****--"What ****!" "Thank you, Doctor!"--the revolving bookshelf scene, or the scene when the table used for Frankenstein's experiments with the monster lowers from the ceiling to reveal Inga and Frankenstein, who've obviously just slept together.) With Brooks and Wilder, the gags are usually part of the plot, or further the plot--for instance, the "Puttin' on the Ritz" dance number doesn't come out of nowhere, as it might in a ZAZ film (say, the troopers in Top Secret!); it's Frankenstein's way of showing the world what his creation is capable of.) ZAZ films are more anarchic, I'd say.
3. In the context of slapstick comedy, compare Peter Sellers' Inspector Clouseau with Leslie Nielsen's Frank Drebin.
Both characters take themselves seriously, but are constantly doing ridiculous things or leaving chaos in their wake. Both could be called pompous or pretentious, but I think Drebin is more so. Leslie Nielsen's deep voice adds to that pompous feel.
Also, Drebin doesn't seem to notice his screwups, or be aware of how stupid he comes off. Like when he tries to look through the microscope with his closed eye. When he's corrected, he simply looks through the other eye, without reacting emotionally at all. And in the scene when the car's airbags inflate, I'm pretty sure we're meant to think he has no idea what happened--although at the very end it seems like maybe a look of recognition crosses his face at the end).
Inspector Clouseau, on the other hand, is often seen trying to recover his dignity (as in the billiards Daily Dose scene, where he tries to blame his clumsiness on the designer of the cue rack and then on the house's architect). Also, from what I remember of the Nielsen comedies, the physical stuff usually happens around him, but he usually isn't doing a lot of physical acting (pratfalls, etc.) himself. Sellers is more adept at physical humor, I think.