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Rachelle Hope Saltzman

numbers, but the number of women remained the same. One day he came in to the hall – looked round and saw no men there. So he announced ‘since no one is here, I will not give my lecture today’. Whether this is true or not, I don’t know, but the story went round as a good joke. (Massey, Letter, 1986; see also Aunt Ambrosia, 1926b: 13) Gender switching for public performances, which was and is part and parcel of mummers’ plays, Carnival, and Mardi Gras performances, formed the basis for much of the type of humour found in Beyond the Fringe or Monty Python’s Flying Circus

in A lark for the sake of their country
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Experimental British television
Laura Mulvey

. The book closes with Brett Mills’s study of Chris Morris, whose career reflects some of the key trajectories of television itself. Morris’s origins in radio are a useful reminder of the long-standing history of the transfer of successful radio programmes to television, and his clashes with censorship lead back to those of the 1960s. As Mills points out, Morris’s use of the surreal and the fantastic reaches back to Monty Python’s Flying Circus (BBC1, 1969–74) and his political satire may again be traced back, for instance, to That Was The Week That Was (BBC1, 1962

in Experimental British television
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Internet meme culture, Chris Chibnall’s Doctor Who, and fan mockery
Brigid Cherry

signifier of jeopardy or pain, or when the Doctor was toying with an enemy, by some fans who are aggravated by it. One image was used to compare her performance to Monty Python ’s Upper Class Twit. A banner heading for the ‘Arachnids in the UK’ episode discussion thread on Gallifrey Base, which used a picture of the Doctor pulling a face with mouth wide open, nose wrinkled and top lip pulled up to expose her upper teeth, had a picture of Eric Idle making the same expression inserted alongside her. This is an ironic

in Doctor Who – New Dawn
Grassroots exceptionalism in humanitarian memoir
Emily Bauman

loans (though he does eventually direct Yunus to the higher-ups); like a Monty Python sketch he is having fun with Professor Yunus, who is made a fool of even as he has played the fool in order to expose and challenge the unfairness of the system. The power of the fool is not so much to reveal or elicit particular information: that is the role of the sleuth or the investigator. It is rather to reveal

in Global humanitarianism and media culture
From starving children to satirical saviours
Rachel Tavernor

from Monty Python’s Life of Brian (1979), that ironically asks, ‘What have the Romans ever done for us?’ with the conclusion being that they significantly developed society. Similarly, in the Enough Food IF video, British characters are on their way to an anti-aid rally, determined to campaign against aid even after their discussion on the bus about the many ‘successes’ of international aid. The

in Global humanitarianism and media culture
Robert Fine and Philip Spencer

(London: Atlantic Books, 2009). 21 In 1979 the Monty Python film Life of Brian was treated as blasphemous by various religious groups and local authorities in the UK and the US. It was condemned as such by Malcolm Muggeridge and Mervyn Stockwood, the Bishop of Southwark, in a BBC televised debate. 22 See Paul Berman's compelling reflections on this

in Antisemitism and the left
The satire boom and the demise of Britain’s world role
Stuart Ward

television series such as Monty Python’s Flying Circus, The Goodies, Ripping Yarns and the Blackadder series. But even more significantly, the satire boom played an important role in shaping popular attitudes towards an imperial nation in decline. The idea that the British race was ordained to spread British culture and civilisation around the globe had been one of the core ideological precepts

in British culture and the end of empire
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Peter Marks

. 11 Susan Stewart, ‘Nonsense: Aspects on Intertextuality in Folklore and Literature’, in Thompson (ed.), Monty Python: Complete and Utter History , pp. 31–2. 12 Gilliam, in McCabe, Dark Knights and Holy Fools , p. 69

in Terry Gilliam
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Performing the news as parody for the postmodern viewer
Gwendolyn Audrey Foster

from the Marx Brothers’ films, and plenty of ‘wink-wink, nod-nod’ from the playbook of Monty Python. Stewart and Colbert have elegantly tapped into the audience’s desire for meta-discourse in all things. They have respect for their audiences, and acknowledge their intellect and postmodern approach to knowledge and ‘fact’. The facts don’t matter at all; opinion, masquerading as reportage, is the key ingredient of their

in Genre and performance
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John Mundy and Glyn White

might be Monty Python’s Flying Circus, Till Death Us Do Part via All in the Family and The Office). While we recognise debates that argue for distinctive comic sensibilities across cultures and even within sub-cultures, and which discuss important determinants such as ethnicity, national identity and regionalism, we believe that there is sufficient Anglo-American interaction in our chosen media, whether it is direct or

in Laughing matters