Search results

You are looking at 81 - 90 of 103 items for :

  • "Monty Python" x
  • Refine by access: All content x
Clear All
Abstract only
Trish Winter and Simon Keegan-Phipps

the amount of research into contemporary Irish traditional music and dance culture or non-Western diaspora in Western contexts (e.g. Hast and Scott, 2004; Slobin, 1993).   4 It could reasonably be argued that the appearance of morris dancing in the closing ceremony of the 2012 Olympic Games did much to reaffirm its status as deserving of ridicule: here it featured for a few seconds as an accompaniment to an anarchic rendition of the Monty Python song ‘Always Look On the Bright Side of Life’, performed by Eric Idle (posing as a failed human cannonball), and

in Performing Englishness
Abstract only
Dominic Johnson

the face and fingers. Dazed-looking and cross-eyed, with a gurning facial expression and jutting, prognathous jaw, they present as at once both baffled and mischievous. Their vocal style is comedic and aphasic, part Monty Python, part Goon Show – their singing often resembles the oddities of voice and content in the Goons’ garbled, nonsensical Ying Tong Song (1956), for example. Harry Kipper speaks in a peculiar, self-invented idiolect, which is at times incomprehensible or otherwise consists of one-liners and inane chatter, interrupted by guffaws, squeaks, fart

in Unlimited action
Thomas Docherty

, debating issues that must remain simple and not complex. 47 Many will recognize this as a rhetorical tactic deployed when one side senses it is losing an argument and makes an appeal to a vote to resolve matters. This quickly becomes a vote about whether we should indeed move to resolve the conflict by a vote, which, in turn, will require a vote about a vote about a vote, and so on. The idea was satirized in Monty Python’s 1979 Life of Brian. DOCHERTY 9781526132741 PRINT.indd 174 23/04/2018 10:06 Inflation, democracy, and populism175 good thing. Bobbio writes that

in The new treason of the intellectuals
Open Access (free)
Bridget Byrne and Carla De Tona

). Cheadle Heath, as well as other areas associated with ‘council houses and people on benefits’, was a common reference point as an area to avoid. Thus Cheadle Hulme for Melanie and Steve stood 54 Imagining places somewhere in the middle of a social order. This is the Monty Python version of the class system, where there is a clear order of looking down on others and being looked down upon. Whilst they describe Cheadle Hulme as somewhere that they are ‘comfortable’, they also remembered how, by having children at a younger age than was the norm for the area, they had

in All in the mix
Moving beyond agency
Saskia Huc-Hepher

recounts a pre-reflexive attraction to the culturally nuanced humour of English comedy acts, such as Benny Hill and Monty Python. ‘I’ve always been fascinated by England’, Séverine explains, ‘beginning when I was a teenager through “cheap comedy” programmes; I soon became interested in English humour which I found endearing, so … I was drawn to English very early on.’ In a space-culture-language conflation, and a progression from curiosity to attraction, Séverine bears witness to the multidimensionality of habituation. The German language of her schooling and her

in French London
The TV films
Tony Whitehead

unproductive one for the British cinema. The (partly tongue-in-cheek) contention that ‘while America has come up with Apocalypse Now and Star Wars we’ve been busy making Confessions of a Plumber’s Mate and Holiday on the Buses’4 is more than a little unfair to Ken Russell, Nicolas Roeg, Mike Hodges, Alan Parker, Derek Jarman and the Monty Python team, among others, but it was certainly a period during which a lot of aspiring British film-makers struggled to get a break. ‘The truth is’, Leigh has said, ‘had it not been for the BBC, and I’m not just talking about me here but a

in Mike Leigh
Abstract only
Sexual politics
Paul Newland

the Monty Python team and Spike Milligan. Indeed, writing about Eskimo Nell in Monthly Film Bulletin, Clyde Jeavons put it that ‘the film’s infectious air of gleeful vengeance and genuine satirical bite give it, against all the odds, a rare claim as a British comedy of the Seventies that is both funny and relevant’.6 Eskimo Nell, like Nobody Ordered Love and Long Shot, also acknowledges its own position as a successfully produced British film in a difficult period, and, as such, as a minor miracle in a time of crisis for the British film industry. So, while Eskimo

in British films of the 1970s
Abstract only
Graham Linehan – a case study in post-alternative sitcom
Leon Hunt

lack of obvious punchlines, a semi-naturalistic acting style. Big Train is stranger, more oblique and sometimes darker than Linehan’s sitcom work, albeit with the populist addition of recorded laughter.3 Big Train’s style – a mix of surrealism and naturalism – is eccentric and potentially alienating in the same way that Monty Python was. But Linehan’s conception of sitcom is clearly very different – it is a form of ‘entertainment’ with some quirky touches that show the influence of alternative comedy. With the exception of some of Father Ted’s (relatively mild) digs

in Cult British TV comedy
Praxis, protest and performance
Lucy Robinson

which it was unclear which side the activists were on. The demonstration was launched by a relatively low key but effectively unnerving gesture. A group of demonstrators began by applauding long after the rest of the crowd had finished and maintained a loud and slow rhythm. This was followed by groups of demonstrators dressed in a wide variety of costumes, some provided by Monty Python’s Graham Chapman who had ‘borrowed’ them from the BBC. Some were dressed as nuns and it was sometimes difficult to tell the difference between these protestors and real nuns, although

in Gay men and the Left in post-war Britain
Marcia Landy

in another, later, television comedy set in the Middle Ages, Monty Python and the Holy Grail (1975). Tiburzia is ‘rescued’ by Brancaleone, and witchcraft and magic become central to the events that follow. This film is more attentive than L’armata Brancaleone to the outcast and diseased creatures of God and to physical, status and social difference. According to Monicelli, who not only

in Medieval film