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National identity in The Transporter trilogy
Jennie Lewis-Vidler

ambience that appealed to the British sense of humour. This detail, coupled with setting the film locations around the streets of London, embodied ‘Britishness’. Indeed, both Statham/Bacon’s ( Lock Stock and Two Smoking Barrels ) and Turkish’s ( Snatch , 2000) wit – along with Statham’s own sense of humour – created scenes that epitomised and indulged the British Monty Python

in Crank it up
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From music hall to celluloid
Philip Gillett

discussed hark back to the music hall, while presaging new forms of comedy. Their surreal humour was carried into the 1950s by the Goons, brought to television in the 1960s by former Goons Michael Bentine and Spike Milligan, and achieved cult status in the 1970s with Monty Python. The homely settings were equally influential, with Richards claiming Over the Garden Wall as a prototype sitcom. 33 Some variety performers made the

in The British working class in postwar film
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Oh! What a Lovely War (1969)
Sally Dux

1964 marked a significant change in the way satire was perceived. Humphrey Carpenter observes that ‘[t]he style of humour was now moving away from the would-be-satirical towards the surrealism that would eventually come to boil in Monty Python’s Flying Circus’, a television show which was launched in October 1969.20 The changing face of satire had a significant effect on Oh! What a Lovely War. In the late 1960s, war and religion were still deemed sensitive subjects. Even as late as 1979, the film Monty Python’s Life of Brian (Terry Jones) received many complaints due

in Richard Attenborough
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Paul Newland

-offs, such as film versions of situation comedies, but also the Monty Python films: Monty Python and the Holy Grail (Terry Jones and Terry Gilliam, 1974) and Life of Brian (Terry Jones, 1979), as well as And Now for Something Completely Different (Ian MacNaughton, 1971).80 While this book offers an examination of a range of British films of the 1970s which places them within their historical contexts, I remain mindful of the fact that almost all of these films are dealing with representations of England and, as such, with aspects of (or ideas of) Englishness. I have

in British films of the 1970s
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British journeys
Paul Newland

for the 65 056-084_BritFilm70s_Ch 2.indd 65 19/11/2012 12:58 British films of the 1970s camera, and the ensuing joy of the party that closes the film, offer a ray of hope in an otherwise grim depiction of a nation. There is fun to be had. As a satire, O Lucky Man! draws on the ‘comic mode’.33 In its wildest and most surreal moments the film also echoes the work of the Monty Python team. But, despite the traces of hope and humour in the film, at distinct moments in O Lucky Man! the narrative moves towards the territory of the disaster movie genre, such as during

in British films of the 1970s
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It nearly took my arm off! British comedy and the ‘new offensiveness’
Leon Hunt

in the repertoires of popular stand-ups – but a more particular moment (the aftermath of ‘Sachsgate’) where ‘offence’ had drawn battle lines of a different kind. Television comedy has rarely generated the kind of offence that greeted, say, Monty Python’s Life of Brian (1979), while a lot of live comedy would never be considered fit to broadcast (see Davies 1996) – later in this chapter, I discuss two stand-ups who have found it particularly difficult to get onto television, Roy ‘Chubby’ Brown and Jerry Sadowitz. Monty Python’s most 3885 Cult British TV Comedy

in Cult British TV comedy
Jane Roscoe and Craig Hight

make a problem disappear by relabelling it. (All of the cast use their real names, a transparency of characterisation which is also typical of Clarke.) The style of the series is related to that of the Monty Python tradition – the treating of an absurd notion in a logical way – although this series is considerably more subtle. Each episode begins with an improbable premise (for example, the administrators discover that the

in Faking it
The abjection of the Middle Ages
Thomas A. Prendergast and Stephanie Trigg

not hard to identify: its untreatable diseases, its rudimentary dentistry, the brutality of its warfare, its ruthless patriarchal and compulsive heterosexuality, and the repressive enforcement of its religious practices. But perhaps the most enduring conception of medieval alterity is the superstitious and brutal nature of its judicial system. From ducking (mercilessly mocked in Monty Python and

in Affective medievalism
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John Mundy and Glyn White

169-82), Monty Python’s Flying Circus 1970-74), Morecambe and Wise (1961-76), The Two Ronnies (1971- 86), Little and Large (1978-91), Three of a Kind (1981-83), A Bit of Fry and Laurie (1989-95), Not the Nine O’Clock News (1979-82), Who Dares Wins (1983-88), Alas Smith and Jones (1984-88), French and Saunders (1987-96 and subsequent specials), The Smell of Reeves and Mortimer

in Laughing matters
Peter Marks

come to recognise this ghastly vision as Jeliza-Rose’s mother, and the setting as the family apartment, a dingy riot of druggy icons and brica-brac (including, in a self-referential joke, ‘Monty Python’s Contractual Obligation’ LP). Gilliam’s use of wide-angle lenses, canted frames and odd camera angles creates a twisted and oppressive environment that mixes Gothic elements of heavy shadow, decay

in Terry Gilliam