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Three walking artists in Iceland
Patti Lean

perilous journey. Following a call for photographs of cars stranded in rivers, the artist received more than a hundred images from members of the public, from which a final piece was curated. My favourite image is pure Monty Python: a floppy-haired 1970s dude squares up to the deluge from the bonnet of his semi-submerged red Land-Rover. If tölt seems a perfect example of interplay between human, nonhuman and environment, there are times on our walking journey when I sincerely wish we could tölt our way through this landscape. On long hikes this leads me to muse on

in Extending ecocriticism
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The biopic and the composed film in British art cinema
Brian Hoyle

they are often difficult to unpack critically, so a single example must suffice. Take, for instance, the often-derided ‘1812 Overture’ sequence in Russell’s Tchaikovsky biopic, The Music Lovers (1970). Dismissed by critics such as Time Out ’s Paul Taylor as ‘pure Monty Python’, 21 it is, in fact, one of the key scenes in the film, and a prime example of the complexity of Russell’s work. Indeed, as Jack Fisher rightly asserts, Russell’s detractors rarely give his films the full consideration they require; but for ‘anyone who has been paying attention to the sexual

in British art cinema
Mark Pitchford

literature, and blockbuster films, as evidence that showed that the 1970s were a ‘Brilliant Decade’.8 Turner argued similarly that rather than being the decade ‘that could scarcely be mentioned without condemnation, conjuring up images of social breakdown, power cuts, the three-day week, rampant bureaucracy and all powerful trade unions’, the 1970s were ‘a golden age of TV, popular fiction, low-tech toys and club football’.9 Yet, cultural manifestations cannot hide the serious problems of the 1970s. Glam Rock, Space-Hoppers, and Monty Python’s Flying Circus were simply

in The Conservative Party and the extreme right 1945–75
Peter Marks

(1971). 2 Gilliam suffering the fatal heart attack that saves the Knights of the Round Table from the Black Beast of Arrrghhh in Monty Python and the Holy Grail (1974

in Terry Gilliam
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Shakespeare’s brute part
Richard Wilson

material of Welsh prophecy’ as ‘an anxious negotiation at an anxious time’. 113 But Will’s urinating on the Tudor myth also initiates the equally ‘British’ anti-imperialism of Dad’s Army , of empire’s answering-back in Monty Python. ‘He cut our roots in characters’: as research helps us see, the alphabet soup Innogen cooks up from ‘British’ roots in Cymbeline [ 4

in Free Will
An introduction
Neil Cornwell

the local village idiot, culminates for us in the theatre of the absurd, Milligan and the Goons and Monty Python’s Flying Circus, and it represents the depth and breadth of this strain of humour wherein the bitter surface froth of satiric humour is replaced by a deep and rich visceral laughter with which in fact Bergson has not the apparatus to deal. (Parkin, 32) Stewart comments on slapstick as ‘an infinite action that never arrives, never gets anywhere’ as a part of her discussion on the quality of ‘circularity’ frequently to be found in nonsense (Stewart, 129

in The absurd in literature
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Neil Cornwell

another Oxbridge grouping who, in the late 1960s, formed Monty Python’s Flying Circus, which enjoyed a cult following among the younger generation with its four television series (from 1969 to 1974) and films (especially the Gospel burlesque, The Life of Brian, 1979). Many of these figures (including Miller, Cook and John Cleese) had come through Cambridge ‘Footlights’ reviews; most of them, along with representatives of a younger comic generation and pop musicians, came together in the Amnesty International shows, The Secret Policeman’s Ball (1979–89). From the Python

in The absurd in literature
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Or, How do you know s/he’s a Roman?
Carey Fleiner

the army): effectively the list of benefits grudgingly compiled by the People’s Front of Judaea in the famous ‘What have the Romans ever done for us?’ scene in the film Monty Python’s Life of Brian . Romanisation wasn’t always welcome, and there was resistance in places (usually met violently) but ambitious local leaders soon saw advantages – and, since most people just wanted to get on with their lives, they adapted. Roman culture was spread by conquest and settlement: those who resisted or did not keep up with their obligations might find their city

in A writer’s guide to Ancient Rome
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Writing sex and nation
Emer Nolan

Monty Python film Life of Brian. Confronting a huge crowd of followers, the unfortunate Brian, who has been mistaken for the Messiah, tries to persuade the crowd that has gathered around his house to abandon the belief that he is a special person. ‘You’ve got to think for yourselves,’ he roars. ‘You’re all individuals.’ ‘Yes, we’re all individuals,’ comes the response in perfect unison. ‘You’re all different,’ Brian tells them. ‘Yes, we are all different,’ they answer. After a pause, one small voice is heard from the crowd reflecting sadly: ‘I’m not.’ The joke hinges

in Five Irish women
Alexandra Kelso

, Cook was sure that the Lords debate in particular had proved fatal for the government’s approach: By the end of the debate the White Paper was firmly skewered to the floor with the printer’s ink fading from every page. There is simply nobody left who can believe that a bill based on this White Paper will get through the House. It is as dead as Monty Python’s famous parrot. (Cook 2003b: 78) By the middle of January 2002, then, a clear window of opportunity for a different approach to Lords reform had emerged as a result of extensive dissatisfaction with the

in Parliamentary reform at Westminster