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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
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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
Victoria Coldham-Fussell

. 457). 8 Richard A. McCabe , Spenser’s Monstrous Regiment: Elizabethan Ireland and the Poetics of Difference ( Oxford : Oxford University Press , 2002 ), p. 8 . 9 Mary Beard , ‘ Ha Ha: What Made the Greeks Laugh? The Funny, the Peculiar, and a Possible Ancestor of Monty Python’s Parrot ’, TLS (February 2009 ), 3 – 5 (p. 5). 10 Church, Spenser , p. 179. 11 While Spenser is still sometimes regarded as an unequivocal spokesman for monarch and empire (for example, Kent R. Lehnhof , ‘ Incest and Empire in The Faerie Queene ’, ELH , 73 ( 2006

in Comic Spenser