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A paradox
Sarah Salih

), uses it to construct a nonmimetic aesthetic. 21 The uncertain visual identity of the Middle Ages means that the period is resistant to many forms of realism. The anti-mimetic Monty Python and the Holy Grail (1975), in which various modes of the illusory medieval – chivalric glamour, earthy squalor, quotations of medieval forms – jostle with the rude interruptions of modernity, may be the paradigmatic

in Medieval film
Linguistic difference and cinematic medievalism
Carol O’Sullivan

translated (or improvised) in the foreign language, mirroring the fact that the preoccupations of medieval film – as with historical film in general – tend to be not the historical vicissitudes of the past but the narrative, representational and/or political concerns of the present. 28 ‘This outrageous accent’: Monty Python and the abusive subtitles Perhaps one of the most

in Medieval film
Andrew Higson

Heaven , the postmodern anachronisms of Derek Jarman’s Edward II or A Knight’s Tale (2001), or the full Mel Brooks treatment of Robin Hood: Men in Tights . Each of these modes of expression, and especially the frequent confusion or tension between them, owes much to the Monty Python brand of medievalism in Monty Python and the Holy Grail (1975) and Jabberwocky (1977

in Medieval film
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
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
Abstract only
The minor films
Andrew James Hartley

made the shift into colour and had become a genuinely mass medium. In Britain, which would generate the single most important Shakespeare series, the stuffy news and light entertainment programming which the BBC had first offered was undergoing a shift, introducing postmodern comedy like Monty Python’s Flying Circus (1969–74). Homey crime shows like Dixon of Dock Green (1955–76) were gradually

in Julius Caesar
Susan Manning

form a kind of anti-masque or ‘internal commentary’, as the narrator puts it.55 Both thematically and formally, then, Ivanhoe is proleptic of its own parodies, from Crotchet Castle and Rebecca and Rowena to Monty Python and the Holy Grail: Coeur de Lion fights under the banner of ‘The Black Sluggard’; Athelstane the Saxon Pretender is a lazy, good-natured glutton. This inconvenient strain of levity was noted by the novel’s earliest reviewers: ‘Instead of the grave and somewhat dignified style in which it behooved the celebrator of ancient deeds of chivalry to describe

in Special relationships
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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
Abstract only
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