The satire boom and the demise of Britain’s world role
aspirations and the encroaching external realities of the post-war world
provided new avenues for comic exploration of the imperial ethos and the
myth of Britain’s ‘world role’.
This tendency became particularly marked with the emergence
of the so-called British ‘satire boom’ in the early 1960s.
From the late 1950s, changing tastes in popular British comedy had begun
to generate an unprecedented appetite for
events of the ‘bloody year’ (1882) as ‘a comedy to
those who think, a tragedy to those who feel’. 3 The comedy
was that the idea of Britain's ‘civilising mission’
had become justification for the repression of Egypt's liberty.
The tragedy was that in 1882 Britain made a ‘mockery of
self-government’ by using military force to restore an Egyptian
regime that had been the object of liberal critiques over
relative lack of seriousness in analysing the international situation were most often dictated by the desire to affirm that the conflicts being waged were not working-class conflicts and that the diplomatic comedies only concerned governments. During this same Moroccan crisis, a poet exclaimed: Was kümmert uns der Herrscher Zwist? [What concern is this squabble of the rulers to us?].
In Thailand, no other TV soap series has been as popular as the historical love story Bupphesanniwat (‘Love Destiny’), aired twice a week from 21 February to 11 April 2018. 1 Combining elements of romance, historical drama, ghost story and comedy, the series – situated in the seventeenth-century Ayutthaya of Siam 2 – became a cultural phenomenon. Its main protagonists instantly acquired the status of national celebrities, participating in high society events, advertisements and talk shows. 3 The series gave a boost to ‘nobility style traditional’ Thai
regular inspection proved difficult in the early years of the service, numerous observers and assistants were sacked ‘in circumstances which in all probability would never have arisen, had proper inspection been possible’. 59 Assistants were fined and sanctioned for returning incomplete records to headquarters, or if their station was found to be untidy or, worse, unmanned. However, it was not simply non-European staff who attracted the distrust of their seniors. Mr Riley appears in Walter’s writings as an almost comedic figure, introduced somewhat derogatorily as
his ability to do as he pleases is barred by another sort of ‘master’ – a ‘manager, overseer, etc., of a shop, factory, or other business’ – who also happens to be a ‘person who is stronger than or who overcomes another’, in this case with a swift kick to the backside. In these comedic images, the senses of mastery as both the capacity for self-possession and the regulating hierarchy of labour and production paradigmatically mobilise the image of another, far more serious form of master, the slave-master, who retained his power in both Cuba and the American South
The importance of cartoons, caricature, and satirical art in imperial
Richard Scully and Andrekos Varnava
University Press, 2003; Stephen Clark, Travel Writing and Empire: Postcolonial Theory in Transit , London: Zed, 1999; Mary Louise Pratt, Imperial Eyes: Travel Writing and Transculturation , second edition, London: Routledge, 2007; James Burns, Cinema and Society in the British Empire, 1895–1940 , Basingstoke: Palgrave Macmillan, 2013.
Brian Maidment, Comedy, Caricature and the Social Order, 1820–50 , Manchester and New York
growth of its desires with the rich blood of men.
Sambourne's cartoon, it might be argued – while happy to emphasise ‘the splendours that have been given to women’ – seeks largely to pre-empt Cleopatra's capacity for reducing her male admirers to quivering submission by making over the courtship scene as comedy and portraying her, for all her Venus-like curves, as winsomely girlish. But, as
the musical comedies in exotic settings of the late Victorian and
Edwardian periods. None of these has ever been adequately analysed for
imperial, military, and racial content. In this chapter, the music hall
will be placed in that wider setting in an attempt to find a more
convincing explanation for its popularity among the working, and indeed
all other, classes.
Many writers have been concerned to
Town Again (8 May 1899), ran for seventy weeks. This time it
reproduced scenes from Bond Street and Hyde Park, and a masked ball at
Covent Garden, but opened at Charing Cross station with the return of
victorious troops from the Sudan. Wenzel arranged a score from
selections of musical comedies by popular composers such as Sidney
Jones, Ivan Caryll, Lionel Monckton and Gustave Kerker. To add to the