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John Izod, Karl Magee, Kathryn Hannan, and Isabelle Gourdin-Sangouard

, Tranchant praised Britannia Hospital highly as an account of England and the Western world created with sceptical, satirical verve by a Voltaire from across the Channel. 118 Also fulsome in his praise, André Pierre found Britannia Hospital a gigantesque farce caught between the Commedia del’Arte, the parodic resurrection of expressionist myths and the ravaging humour of Monty Python. It was also, thinking

in Lindsay Anderson
Victoria Coldham-Fussell

. 457). 8 Richard A. McCabe , Spenser’s Monstrous Regiment: Elizabethan Ireland and the Poetics of Difference ( Oxford : Oxford University Press , 2002 ), p. 8 . 9 Mary Beard , ‘ Ha Ha: What Made the Greeks Laugh? The Funny, the Peculiar, and a Possible Ancestor of Monty Python’s Parrot ’, TLS (February 2009 ), 3 – 5 (p. 5). 10 Church, Spenser , p. 179. 11 While Spenser is still sometimes regarded as an unequivocal spokesman for monarch and empire (for example, Kent R. Lehnhof , ‘ Incest and Empire in The Faerie Queene ’, ELH , 73 ( 2006

in Comic Spenser
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John Mundy and Glyn White

the absurdist tradition in British comedy evident later in the Goons and Monty Python. In America the central figure in the development of slapstick ‘comedian comedies’ was the British-born Charlie Chaplin (1889-1977). Though not usually regarded as an innovator, Sennett had produced a feature-length comedy, Tillie’s Punctured Romance, as early as 1914. Starring Marie Dressler in the title role

in Laughing matters
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John Mundy and Glyn White

of an otherwise live-action film, as a sequence as in Terry Gilliam’s animation in episodes of Monty Python’s Flying Circus , apparently integrated into the action such as in the musical Anchors Aweigh (1945) when Jerry the Mouse dances with Gene Kelly, or in the ambitious combination with live-action in Who Framed Roger Rabbit (1988). In Happy Feet (2006) the CGI animation mixes with live

in Laughing matters
Racial capitalism and workplace resistance
Ben Rogaly

English, so the induction, that tests, that was everything quite … Now I would say from this stance, I would say that was quite a good comedy, Monty Python, you know, because the people couldn’t speak. We couldn’t literally speak even a word in English and yeah, we had inductions, we had tests, so that says everything about the kind of company, how it works, the process is about just getting people in, cheap, I would say, cheap work resources, I don’t know. You know what I mean … [The tests] were real but as soon as we get into the room people, whoever was the

in Stories from a migrant city
Patricia Allmer

Gilliam’s early animation work in Britain with the Monty Python team, while her use of the animation technique of staccato stop-motion photography echoes the prevalence of that style in Švankmajer’s animations, which he has called ‘magical operations’. 18 Animation, Švankmajer argues, ‘isn’t about making inanimate objects move, it is about bringing them to life’. 19 This surrealist cinematic concern with ‘bringing to life’ extends, in Minck’s film, to a kind of re- animation, the bringing back to life through

in The traumatic surreal
Legends of virtual community
Caroline Bassett

:59 Page 150 The arc and the machine authenticating data – pet pictures, spouse pictures, off-screen interests; more importantly they give users a durable or semi-permanent identity online. Simple biographical homepages aside, other popular ‘genres’ of site on GeoCities included specialized resource sites, more-or-less permanent tribute sites, and fan sites (famous early sites included one about Monty Python and one about Hollywood), these last gaining by far the most hits. Many thousands of GeoCities pages remain entirely unedited after construction, and to this

in The arc and the machine
David Hesse

’s experience with music video clips. The New York Times called Highlander hollow and noted that ‘it should surprise nobody if excerpts [of Highlander] appear on the music video channel’. Furthermore, ‘Highlander keeps on exploding for almost two hours, with nothing at stake’.122 Films & Filming magazine called Highlander a piece of ‘unabashed hokum’ and noted that ‘the sequences set in sixteenth century Scotland alternately resemble a Monty Python sketch and an advertisement for Mentholated cigarettes’.123 Few people foresaw the film’s longevity in 1986. Some two years after

in Warrior dreams
Jes Wienberg

as a relic of another time, a time when the elite was supposed to acquire a broad spectrum of knowledge and proficiencies, a cultural code, so as to be able to function in state offices and mix at a distance from the rest of the population. To quote from the film Monty Python & The Holy Grail (1975), when King Arthur manages to complicate a question about the air-speed velocity of an unladen swallow and is therefore free to cross the Bridge of Death: “Well, you have to know these things when you’re a king, you know!” In more academic terms and with a reference to

in Heritopia
John Mundy and Glyn White

Edna Everage) and Paul O’Grady (as Lily Savage), and has been a resource for television sketch comedians from very varied backgrounds, from Dick Emery and Les Dawson to the performers of Monty Python’s Flying Circus, The League of Gentleman and Little Britain. Drag offers a carnivalesque exception to the everyday norms of gender performance, but one which is ambivalent and which ultimately denies

in Laughing matters