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In the autumn of 2000 the original cast of Carla Lane’s Butterflies (BBC 1978–83), Wendy Craig (Ria Parkinson), Geoffrey Palmer (Ben Parkinson), Nicholas Lyndhust (Adam Parkinson) and Andrew Hall (Russell Parkinson), reassembled to celebrate Ria’s sixtieth birthday as part of the BBC’s annual charity appeal Comic Relief . Butterflies was a domestic situation comedy centred on the boredom and frustration of a ‘typical’ 1970s suburban housewife (white, middle-class and southern English) who teeters on the brink of having an affair but, overcome by guilt
2 Butterfly women, ‘Chinamen’, dope fiends and metropolitan allure The susceptible modern woman I n June 1919 the Illustrated Sunday Herald published an article entitled ‘Is the Modern Woman a Hussy?’ The writer claimed that the country was being subjected to ‘a virulent epidemic of Retrospective Morality … that exasperating form of moral criticism which compares the faults of the present with the morals of the past’. He quoted a recent assertion of Judge Darling’s as one example: ‘“between the women of today and their mothers there is the whole width of
This book aims to provide resources for critical thinking on key aspects of television drama in Britain since 1960, including institutional, textual, cultural and audience-centred modes of study. It explores the continuing popularity of the situation comedy, and makes a convincing case for considering sitcom as a key popular genre. By offering a sense of how 'real' audiences respond to, and engage with, actual programmes in specific social situations, dominant conceptions of the social meanings of Carla Lane's Butterflies and Jimmy Perry and David Croft's Dad's Army are challenged and renegotiated. The book takes up Queer As Folk to focus on its status as an authored intervention in debates about the representation of homosexuality. It demonstrates that The Prisoner series inhabits contradictions by unpacking the complex question of the series's authorship, and the inadequacy of attributing its meanings to its creator, star performer or production team, for example. The book argues that The Demon Headmaster makes a significant contribution to the project of exploring and defining questions of ethics and justice in social organisation, in part, by claiming children's culture as a space of experimentation, resistance and subversion. It looks at the ways in which television drama embodies assumptions about its audience, and pursues this in a sophisticated way in relation to late twentieth-century television adaptations of 'the female Gothic'. The struggle between the BBC power-base in London and its satellite Departments in Northern Ireland, Scotland, and Wales is also dealt with.
escape route. Hugo Delgado, a glaciologist who has spent his career studying Mexico’s glaciers, estimates all five will be extinct by 2050. Empty volcanic slopes and stones ‘scattered like bones’ will be all that’s left. ~ On this trip to Mexico – my first as an adult – I didn’t journey to see glaciers, but to visit different migrants, the eastern monarch butterflies in their winter home. Around 20,000 years ago, the Laurentide reached its maximum southern point. As it retreated, the
crossed with amour fou in Butterfly Kiss , for instance). It may also be that intertextual references to European filmmakers such as Wim Wenders, Jean-Luc Godard and others, as well as to some US directors, will contribute to the understanding of genre in Winterbottom’s films. For, more than most British directors, Winterbottom seems as much a European filmmaker as a British – let alone English – one
budgets for it to not be too high a risk. That’s especially true of In This World and The Road to Guantánamo , which were made from such low budgets that people made money from them. 1 As the preceding chapters have indicated, the reviews, since the days of Butterfly Kiss and Jude , have tended to praise Winterbottom and the Revolution
ZNIEFF inventory the army had unintentionally overseen the creation of an ecological treasure trove. The inventory for the 13,700 ha ZNIEFF at Suippes Camp described how the militarized environment provided habitat for regionally rare and endangered plants, such as knapweed broomrape and grass vetchling. Its woodlands, meanwhile, constituted a ‘remarkable biological milieu’ that had largely given way to fields elsewhere in the region.35 The camp’s grasslands and woodlands played host to sixty-seven species of butterflies (including the nationally protected large blue
exploring Etsuko's ongoing narrative insecurity; and, lastly, intertextuality, which through repeated engagements with Puccini's Madama Butterfly , brings to light the novel's central organising concern with guilt and abandonment, while at the same time invoking a world literary critique of Orientalist thinking. 1 Each of these techniques functions to shape the text's diasporic depiction of Etsuko's story, but also to complicate the ‘third space’ narrative she seeks to offer, again foregrounding her and her father
comporting themselves before listed buildings. However they start out, they end up as Winterbottom films. Those who admired his first cinema feature, Butterfly Kiss or the subsequent telemovie Go Now , a wracking study in degenerative illness, would not have been likely to expect him next to turn his interests and talents to adapting Thomas Hardy’s late Victorian tragic novel, Jude the Obscure . Since then, of course, one has