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Lez Cooke

dull and what can be done to make it brighter.20 Clearly intended to be a zany comedy The Long Spoon was radical in pre-empting the surrealist comedy of the Monty Python team by several years. Formally, however, it was less innovative than The Middle Men, being described by viewers as ‘competent, if unremarkable.’21 I’ll Be Waiting (BBC, 25 August 1961), the fifth play in the series, was adapted from a story by Raymond Chandler. Its scenario was evocatively described in the Radio Times: ‘Midnight. In a hotel on ‘Sunset Strip’ a redhead waits for her man. Outside in

in Troy Kennedy Martin
Peter Marks

version contrasts markedly with Monty Python and the Holy Grail , but, as we saw earlier, a connection to Gilliam does exist, Boorman having used Jabberwocky as a prompt for his own work. LaGravenese’s screenplay meshed with Gilliam’s own medieval interests and previous films. The writer’s key source, though, was not Weston, Eliot nor Boorman, let alone Monty Python, but

in Terry Gilliam
Surreal Englishness and postimperial Gothic in The Bojeffries Saga
Tony Venezia

suburbia, they represent over-determined signifiers of the abjected Gothic other that denies a coherent and unified English identity. According to Spicer, a common trope in post-war comedy from the Goons to Monty Python was to play off the fantastic against the real, to reveal how it is actually the everyday that is irrational, a trend that continued in later alternative comedy. 48 A similar

in Alan Moore and the Gothic Tradition
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Live television and improvised comedy in the Soviet Union, 1957–71
Andrew Janco

voice of the state broadcaster (diktor) was replaced by young voices eager to push limits and to speak of issues relevant to common Soviet citizens. Comparisons might be drawn to Monty Python or Saturday Night Live during the 1970s. In both cases, televised sketch comedy reflected the voice of youth culture, while also appealing to a broad audience. KVN continues to be a popular programme on Russian television, but the period from 1961 to 1968 was a distinct moment when the show was more than entertainment: it was a unique televised space for the bravado and unease of

in Popular television in authoritarian Europe
Chris Morris and comedy’s representational strategies
Brett Mills

feted for its formal innovation, such as Monty Python’s Flying Circus (BBC1 & 2, 1969–74), Spike Milligan’s Q (BBC2, 1969–80) and The Young Ones (BBC 2, 1982–84). Nevertheless, such experimentalism may also serve to justify content that is less concerned with exploring serious issues. A large proportion of Morris’s sketches, for 3049 Experimental British Tele 192 16/5/07 08:02 Page 192 Experimental British television example, seem to generate laughter for less socially ‘serious’ purposes than has been mentioned. These would include enjoyment in the repeated use

in Experimental British television
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The past in the present/the present in the past
Paul Newland

Horrors of the British Folk Music Tradition in The Wicker Man (Robin Hardy, 1973)’.  6 Hunt, ‘Necromancy in the UK: Witchcraft and the Occult in British Horror’, p. 93.   7 Other horror films set in a British past include Cry of the Banshee (Gordon Hessler, 1970), an American International film, featuring titles by Terry Gilliam of Monty Python fame; Tigon’s The Creeping Flesh (Freddie Francis, 1973); Tyburn’s The Ghoul (Freddie Francis, 1975); and the Amicus produced I, Monster (Stephen Weeks, 1971).  8 Brown, ‘Kevin Brownlow’; available at: www

in British films of the 1970s
Leon Hunt

storytelling have ‘old media’ precedents – Jenkins gives the example of how in the Middle Ages Jesus’s story would have been told through stained-glass windows, tapestries and psalms, amongst other things (2006: 125). Comedy series have been generating spinoff books of varying quality since Monty Python’s Big Red Book (1971). A more recent example is The League of Gentlemen’s A Local Book for Local People (2000), which in some respects features similar kinds of material to that offered in ‘The Psychoville Experience’ – letters, diaries, flyers, ads and newspaper cuttings

in Cult British TV comedy
Narrative and televisual analysis via Firefly
Matthew Pateman

theoretical set of questions first, and then discuss Firefly as an exemplary text that illustrates the limits of televisual narrative analysis. As with much theory, the questions I am posing can seem to fall in to Monty Python's ‘bleeding obvious’ category, but from the seemingly obvious questions can arise very complex answers. The first, and most important, question about narrative

in Joss Whedon
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Don Fairservice

suggestion of sexual explicitness in the relationship between Frank Farmer (Costner) and Rachel Marron, played by black singer Whitney Houston, could have had adverse affect on box-office returns in certain American states. It seems that few films are free from interference if there are concerns that some aspects of their form or content might affect their commercial prospects. Even Monty Python’s Life of Brian (1979

in Film editing: history, theory and practice
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High epic style and politicising camp
Susan Hayward

Gilles de Rais discuss, in the foreground, the failing fortunes of her campaign (and he urges her to stop), background action is unconvincingly staged – indeed, it has vague resonances with a Monty Python farce (as in Life of Brian , Terry Jones, UK, 1979). And yet this is a crucial moment in the narrative, since it marks the beginning of Jeanne’s fall from grace (with the king and his mother

in The films of Luc Besson