Masaryk University Brno

Faculty of Education
Department of English Language and Literature

British TV Humour
Bachelor thesis

Brno 2006

Supervisor:

Written y:

Andrew Philip Oakland, M.A.

Petr Barto

e!laration" ! declare that ! have "ritten this achelor thesis myself and used only the sources listed in the enclosed i liography# ! agree "ith this achelor thesis eing deposited in the Li rary of the Faculty of Education at the $asary% &niversity and "ith its eing made availa le for academic purposes# ######################################## ######## 'etr Barto(

A!knowled#ements ! "ould li%e to than% to )ndre" 'hilip *a%land+ $#)# ! am grateful for his guidance and professional advice on "riting the thesis#

$ontents !ntroduction,,,,,,,,,,,#,,,#,,,,,#,,,,,,,###F!.S/ ')./ 0# 2# -# 6# 6#0 3# 3#0 What is 1umour2#####################################################################################################3 1umour and 4ulture,,,,,,,,,,,#,,,,,,,,,,,###, 6 What amuses Britain2,,,,,,,,,,,,#,,#,,,#,,,###,, 5 4omedy,,,,,,,,,,,,,,,,,,,,,,,,,,,,,7 British 4omedy,,,,,,,,,,,,,,,,,,##,,,,,,##,8 British /elevision 4omedy#,,,,,,,,,,,##,,,,,,,,###, 8 Sitcom 9 situational comedy,,,,,,,,,,,,,,,,,,,,# ###########################################################################################################################00 3#0#0 Britcom,,,,,,,,,,,,,,,,,,,,,,,,#,,#,, 00 SE4*:D ')./ 6# 6#0 6#2 What ma%es Britain laugh2##,,,,,,,,,,,,,,,,,##,,, 00 $adness ; Surrealism,,,,,,,,,,,,,,,,,,,,,,###02 'olitical Satire,,,,,,,,,,,,,,,,,,,##,,,,,#,# 06 6#2#0 <es+ $inister,,,,,,,,,,,,,,##,,,,,,,#,,##,,## 03 6#/he .ace,,,,,,,,,,,,,,,,,,,,,#,,,,,## ,# 05 6#-#0 Da )li = Sho",,,,,,,,,,,,,,,,,,,,,,,,##, 07 6#6# /he Family,,,,,,,,,,,,,,,,,,###,,,,,#,, , 20 6#6#0 *nly Fools and 1orses,,,,,,,,,##,,,,,##,,######################## 20 /1!.D ')./ 6.1.1 Monty Python's Flying Circus.......12

5# 7# 8# 00#

!t>s $onty 'ython?#,,,,,,,,,,,,,,,,,,### ###############,#, 26 $anipulation in 'olitical Life,,,,,,,,,,,,,,,###########,,# 26 @Boya%asha?A######################################################################################################## 25 B/his time neCt year+ "eDll e millionaires?B,,,,,,,,,##,##########,## -0 4onclusion,,,,,,,,,,,,,,,,,,,,,,#################### --

APPENDICES )ppendiC ),,,,,,,,,,,,,,,,,,,,,,,,##################### -3 )ppendiC B,,,,,,,,,,,,,,,,,,,,,,,,##################### -5 )ppendiC 4,,,,,,,,,,,,,,,,,,,,,,,,# ################### -7 )ppendiC D,,,,,,,,,,,,,,,,,,,,,,,, ################### 60 Bi liography,,,,,,,,,,,,,,,,,,,,,,,,################### 60 .esume,,,,,,,,,,,,,,,,,,,,,,,,,,################### 66

%&T'O U$T%O& Imagination was gi !n to man to com"!nsat! him #or what h! is not$ a s!ns! o# humour to consol! him #or what h! is. %Francis &acon % !n Britain during the 0830s electronic goods such as televisions+ small radios and record players ecame cheap and "idely availa le+ and y 0860 most homes contained at least one of these# 4ultural material "as increasingly created for mass audience in the form of television programmes+ popular music and film# /he sale of popular novels+ "omen>s magaEines+ sensational ne"spapers and comics also increased to meet demand for light entertainment# F4hristopher 0888:3G /his "as the time "hen British sitcom and comedy sho"s "ere orn# !n Britain comedy is one of the most popular genres# Slapstic%+ sitcoms+ stand9up+ satire+ surreal humour 9 the British have a long tradition of laughing particularly at themselves# !n this thesis ! study British television humour range from early 60>s to the end of the millennium+ particularly t"o comedy sho"s and t"o British situational comedies that are "ell9%no"n as ritcoms# From an ineChausti le Huantity of high Huality of British comedies and comedy sho"s ! have decided to ta%e a closer loo% on one ritcom and one comedy sho" that also appeared on 4Eech television+ namely <es+ $inister and $onty 'ython>s Flying 4ircus and situational comedy *nly Fools and 1orses+ and at Da )li = Sho" that "ere very famous in Britain ut has not een screened on any of 4Eech television channels# /he thesis is divided into three parts# !n the first part ! try to find the ans"er to the Huestion "hat a humour is+ "hat amuses Britain and descri e "hat a comedy itself is# ! also mention British comedy and define genres as a sitcom and ritcom# !n the second part ! analyse the content of all four comedy programs# /he second part is divided into four chapters according to relevance to the topics "hich are Ma'n!ss an' Surr!alism+ Political Satir!+ (h! )ac! and (h! Family#

!n the last part "hich is divided into four chapters 9 It*s Monty Python+, Mani"ulation in Political -i#!, &oya.asha+, /(his tim! n!0t y!ar, w!'ll 1! millionair!s+/ ! convey some ideas a out the humour in the comedies ! have analysed in the second part+ theories "hy they ecame so popular and reasons "hy *nly Fools and 1orses and Da )li = Sho" has not appeared on 4Eech television so far# /he thesis is supplemented "ith a 4D that contains samples of the analysed programs#

(%')T PA'T *. +hat is Humour, D!#ining an' analy2ing humour is a "astim! o# humourl!ss "!o"l!. %)o1!rt &!nchl!y % 1ave you ever try to find "hat a humour is2 1ave you ever as%ed anyone to define or to give an eCplanation of humour2 !t is curious that everyone %no"s it+ everyone eCperienced it ut almost no one %no"s ho" to define it# /here are philosophical studies of humour that focus on the development of a satisfactory definition of humour# )ccording to the standard analysis+ humour theories "ere classified into three groups: incongruity+ superiority+ and relief theories# !ncongruity theory is the leading approach and includes historical figures such as !mmanuel Iant and SJren Iier%egaard# /hey primarily focus on the o Kect of humour and see humour as a response to an incongruity+ a term theorist is /homas 1o roadly used to include am iguity+ logical impossi ility+ irrelevance+ and inappropriateness# /he Superiority es+ "ho said that humour arises from a Bsudden gloryB felt "hen "e recogniEe our supremacy over others# )mong superiority theorists elong also 'lato and )ristotle "ho emphasiEe the aggressive feelings that fuel humour# /he third group+ .elief theory+ is typically associated "ith Freud and 1er ert Spencer+ "ho sa" humour as fundamentally a "ay to release or save energy generated y repression# F"""#iep#utm#eduG *ne of the many definitions of humour says that @humour is something that ma%es a person laugh or smile#A /hat "ould mean that "henever "e laugh or smile "e eCperience something humorous# !s it really true2 Do "e really laugh or smile only "hen "e are encountered "ith something funny2 *f course not? Smiling and laughter is not evo%ed only y humour+ laughter can e among many others evo%ed y fear of em arrassment or y tic%ling# What is more+ "e rather laugh than to loo% stupid+ "e laugh out of politeness or even to cover our restlessness# /he other thing is that not every ody laughs or smiles at the same time+ to the same things# !t is possi le to claim that something is humorous+ even though no one laughed 7

at the time L and it can often happen that people laugh+ ut someone can claim+ @/hat>s not funny#A F.oss 0887:0G )s closer studies of humour revealed humour is ased on a complicated

multidimensional relation that arises in the interplay of the o server+ the o Kect that is o served+ and the situation# !t arises neither in the o Kect itself Fthings themselves are not comical L they ecome so only through the su Kective prism of human receptionG+ nor in the o server himself# /he relation et"een the o Kect and the o server is+ moreover+ neither constant+ nor regular L not all people consider the same thins to e funny# :ot even the same o server need consider the same o Kect funny under different circumstances# ) very important role is played y the momentary situation#A F'olMN%ovM 0880:70G Even though there are many studies and theoretical "or%s trying to define humour+ there has not actually een found a reasona le ans"er to the Huestion "hat humour is# We still do not %no"# @What "e %no"n a out humour today is not enough to form a relatively comprehensive theory+ it is rather a mosaic of o servations and partial vie"s of selected pro lems from various aspects#A F'olMN%ovM 0880:70G )s humour is a part of any nation>s culture the neCt chapter deals "ith humour and culture and features of British humour# -. Humour and $ulture 4ulture can e defined in many different "ays# *ne of the many definitions is: @4ulture refers to the cumulative deposit of %no"ledge+ eCperience+ eliefs+ values+ attitudes+ meanings+ hierarchies+ religion+ notions of time+ roles+ spatial relations+ concepts of the universe+ and material o Kects and possessions acHuired y a group of people in the course of generations through individual and group striving#A F"""#tamu#eduG 1umour is a universal human characteristic "hich all cultures posses# /he humour of a nation or individual is an integral part of that person or nationDs culture# /o try to define the @humourA of a nation is impossi le tas%+ as different people "ithin that nation are al"ays going to have their o"n individual sense of humour# <et understanding the sense of humour of people is a %ey element of understanding the culture and language 8

and perhaps even more importantly of developing relationships "ith people from that country# /he more "e %no"+ the more "e can share "ith another culture the closer "e can get to each other# F"""#teachingenglish#org#u%G /o understand the British sense of humour ta%es time# *nce you understand it you "ill love it or hate it+ there is nothing in et"een# British humour is nota le due to its intellectual depth+ usage of British slang+ "it+ sarcasm and Dplays on "ordsD# British humour can seem offensive or insulting until you get used to it and aspects+ such as slang terms or English personal references have a reputation for eing puEEling to non9British spea%ers of English# :onetheless+ many British comedy /O sho"s "hich use it as a asis have een internationally popular+ and have een a strong avenue for the eCport and representation of British culture to an international audience# Fen#"i%ipedia#orgG :o" "hen "e %no" the features of British humour "e should find out "hat British laugh at# .. +hat amuses Britain, !tDs not an easy Huestion to ans"er+ ut a hundred years and more of film and television do at least offer us a fe" clues# *f course+ the British have changed a great deal in that time# /hey have een through t"o "orld "ars+ seen their cities fill "ith cars+ "elcomed the arrival of universal suffrage and the "elfare state and "atched Britain evolve into a multicultural society# /he deep social+ political and technological changes of the past century or so have transformed Britain and changed its people+ leaving their mar% on their sense of humour# But many of the things "hich amused their parents+ grandparents and even great9grandparents can still ma%e them smile+ chuc%le+ titter+ chortle+ splutter or guffa" today+ and they are as %een on a good laugh as they ever "ere# )lthough Britain and British people have changed over time the comedy genres from stand9up to s%etches+ sitcom to satire+ "e %no" today in film and television have een around for decades+ sometimes centuries# Some of the su Kects may have changed L comedians in the 0780s didnDt tell too many Ko%es a out 'osh and Bec%s or the !nternet L ut others are much the same# /hey are still fascinated and infuriated y their "eather+ 00

their mysterious class system+ their politicians+ their cele rities# 'erhaps most of all+ they are endlessly amused y themselves and their iEarre ha its# F"""#screenonline#comG !f "e tal% a out amusement "e should ta%e a closer loo% at the comedy itself as the main genre that ma%e us laugh# /. $omedy Com!'y is sim"ly a #unny way o# 1!ing s!rious. %P!t!r 3stino % 4omedy is itself a varied phenomenon+ oth in the range of forms it encompasses L from the Ko%e to the sitcom 9 and in the range of defining conventions it can involve: from the generation of laughter+ to the presence of a happy ending to the representation of every day life# $oreover+ discussion of these various forms and conventions necessitates dra"ing on Huite distinct 9 and diverse L field of study+ from narrative theory to philosophy+ psychology+ and psychoanalysis# 'erhaps the most stri%ing thing a out comedy is the immense variety and range of its forms# 1istorically+ these forms have included narratives poems and plays+ novels and short stories+ comm!'ia !ru'ita and comm!'ia '!ll*art!+ slapstic% and the comedy of manners+ the Kig+ the droll+ and the afterpiece+ pantomime+ and farce# Even "ith the more restricted fields of cinema and television+ comedy is+ and al"ays has een+ mar%ed y its formal diversity# From the variety sho" to the short+ from the s%etch to the narrative feature+ from cartoons to sitcoms and from dou le9acts to stand9up routines+ the range of forms it can encompass is pro a ly greater than that of any other genre# =iven that this is the case+ any single definition of comedy+ or any definition of comedy ase on a single criterion+ is ound to e limited in application+ and therefore insufficient# F:eale 0880:00G From the general o servation of comedy itself in the neCt chapter "e move on and eCamine British comedy#

00

/.* British $omedy Land of oth the stiff upper lip and the ministry of silly "al%s+ England has long had oth a highly respecta le pu lic culture along "ith a disreputa le underground tradition of road comedy# British comedy+ %no"n for its consistently Huir%y characters+ settings and plots+ has produced some of the most famous and memora le comic actors and characters in the last fifty years# Fen#"i%ipedia#orgG !n Britain+ the chief conduit for lo"er class comedy for years "as the music hall+ ut the tradition has remained alive for many more years in the cinema Fin the 08-0s+ in the Carry 4n series of the 0860sG and on television F&!nny 5illG# )t the same time upper class England has a long tradition of satire and %een ver al "it+ apparent in the plays of =eorge Bernard Sha" and :oel 4o"ard in the early 20th century+ coming to the fore in the post9"ar comedies produced y Ealing Studio# /he coarse and fine threads of British comedy "ere at last firmly %nitted together in the radio and /O "or% of the 0830s and later in such productions as (h! 6oon Show, &!yon' th! Fring!+ Monty Python's Flying Circus and their filmic spin9offs# /hese different traditions continue to Kostle+ "ith often fine results+ today# F"""#greencine#comG Since the maKority of British comedies moved from ratio to television it in the neCt chapter "e focus on British /O comedy# 0. British Television $omedy /elevision comedy had a presence from the earliest days of roadcasting# /he range of television comedy is eCtremely road to the eCtent that anything under the heading comedy can e put efore an audience through the medium of television# 1o"ever+ it is true to say that certain genres of comedy transfer to the small screen more successfully than others# Fen#"i%ipedia#orgG 4urrently+ most British comedy is roadcast via /O "ith s%etch sho"s+ stand9up

comedy+ impressionists and sitcoms eing the four most popular formats# /he situation comedy has proved one of the defining and most enduring genres in British television+ despite its share of ric% ats and set ac%s# F"""#reference#comG *ver the last 60 or so years sitcoms have helped British society engage "ith itself 9 the promise of laughter 02

allo"ing audiences to cope "ith more difficult material than they might sit through in a drama or documentary# /he great British comic characters FCa"tain Mainwaring, &asil Fawlty, E'ina Monsoon, Da i' &r!nt and othersG tell us a out the "ay the Brits live+ and not al"ays things they "ould "ish to hear# )udiences have responded to these portrayals in millions and reruns of sho"s more than 23 years old still regularly get significant ratings# F"""#screenonline#org#u%G )s one of the most popular format of /O comedies is a sitcom+ the neCt chapters give us a hint "hat "e should eCpect from this genre# 0.* )it!om 1 situational !omedy Situational comedy FSitcomG is a deceptively simple concept 9 comedy arising from a consistent situation# !t has a distinctive relationship "ith its audience+ reHuiring time to develop an understanding of its protagonists+ its place and the humour that arises from them# !t is thus perfectly suited to television in its demands for time+ continuity and intimacy# Sitcom as a genre is demonstra ly successful in attracting vie"ers# !t is especially attractive to roadcasters since factors such as the FusuallyG small num er of characters+ limited mem er of settings and sets+ and committed production teams offer and economic use of resources and facilities over a period# Sitcoms have also consistently sho"n a capacity to transcend their immediate social and cultural frames of references# FBrandt 088-:67G /he form originated in radio+ ut prospered as television o"nership spread dramatically in the 0830s# Li%e radio+ television is a mass medium that "or%s on familiarity to uild an audience+ ut it also offered a "ealth of hilarious visual possi ilities# !nitially radio sitcoms of the time "ere simply transferred to television+ ut eventually the need for ne" material encouraged the development of sho"s and forms designed specially for the medium# /he first great British sitcom+ 5ancoc.'s 5al# 5our FBB4+ 0836960G 9 later 5ancoc. 9 "as a transfer from radio# British /O situation comedy "as 0-

orn here+ for 5ancoc.Ds persona of the pompous loser out of his depth in an uncomprehending society still informs many programmes today# /he Huality of )ay 6alton and Alan Sim"sonDs scripts laid do"n a enchmar% for authored sitcom "riting+ helping to steer Britain do"n a different path to the team "riting system in )merica# @=ood sitcoms are a %ind of virtual reality 9 they reflect the rhythms of everyday life+ the pain of the human condition and+ of course+ the Koy of laughter#A F"""#screenonline#org#u%G Sitcom is a general term for any situational comedy# !f "e tal% a out British situational comedy "e use a term @ ritcom#A 0.*.* Brit!om British sitcom FBrtitcomG is a situation comedy FsitcomG produced in =reat Britain# Li%e sitcoms in most other countries+ they tend to e ased around a family+ "or%place or other institution "here a group of contrasting characters can e rought together# ) common factor is the eCploration of social mores+ often "ith a healthy dollop of satire or athos+ in contrast to the sometimes uplifting sentiments of many )merican sitcoms# British comedies are typically produced in series of siC episodes each# $ore recently+ the portmanteau term BBritcomB has counterparts# Fen#"i%ipedia#orgG )2$O& PA'T 3. +hat makes Britain lau#h, 7hat soa" is to th! 1o'y, laught!r is to th! soul. %8i''ish Pro !r1 % What ma%es us laugh is often a mystery# But "hy "e laugh is o vious# Funny is funny# We %no" it "hen "e hear it or see it# )nd "hile much of comedy has a short shelf life+ there are certain comics and comedic moments that have stood the test of time# /hey are 06 een used y )merican commentators to distinguish the British idiom of situation comedy from its other Fparticularly )mericanG

em edded in our pop culture and loc%ed in our memories+ and they ma%e us laugh every time "e thin% of them# F=arner 2006:0G 3.* Madness 4 )urrealism Ma'n!ss is surr!alism, 1ut surr!alism is not ma'n!ss. % Charl!s 5!nri For' % /he British are famous for their eccentrics+ "hich might eCplain the stranger side of our sense of humour# Surrealism+ the art movement orn in the 08-0s+ may have een more associated "ith France or Spain+ ut in comedy+ the British have claimed surrealism as their o"n and eCported it to the "orld# Monty Python's Flying Circus com ined surreal s%its a out transvestite lum erKac%s and delinHuent grannies "ith the "eird imagination of animator /erry =illiam# /he teamDs four feature films included a characteristically daft ta%e on Iing )rthur and a controversial parody of the :e" /estament# /erry =illiam developed a surreal career of his o"n "ith films li%e &ra2il F0873G# F"""#screenonline#org#u%G 3.1.1 Monty Python's Flying Circus /he comedy of the Flying Circus+ although distinctive+ did not arise y spontaneous generation: it had important antecedents in the music all and in British cinema# /he series relied on eCisting forms of British comedy ut moulded these forms to its o"n ends# /he 'ythons "ere not polemic or partisan# For the most part+ they did not create and perform direct and topical political satire# /he targets of their humour came from all levels of society+ from different classes and different political positions+ though their su Kect matter and treatment "ere largely geared to"ard educated and middle9class audiences# /heir comedy addressed domestic life+ "or%+ leisure+ political practices+ education+ high and popular art forms+ religion+ seCuality+ social class+ gender+ and the cultural forms in "hich these institutions and practices "ere articulated and disseminated FLandy 2003:-0G

03

Ba!k#round !n 0868 a team of "riters merged to ecome the entity and persona %no"n as B$onty 'ythonB# =raham 4hapman+ Pohn 4leese+ /erry =illiam+ Eric !dle+ /erry Pones and $ichael 'alin had all "or%ed for BB4 FBritish Broadcasting 4orp#G efore in various capacities# Pohn 4leese had "or%ed on a sho" called B (h! Frost )!"ortB and "ith =raham 4hapman he co9"rote BAt -ast, th! 19:; ShowB# /erry Pones+ $ichael 'alin+ Eric !dle and /erry =illiam had een "or%ing on a sho" called B Do Not A'<ust 8our S!tB# With the help of the BB4Ds script editor and head of comedy the t"o groups merged and "ere thro"n straight into a series "ithout a pilot for a run of 0- sho"s# /he sho"Ds title BMonty Python's Flying CircusB "as derived from the BB4Ds initial idea of BPohn 4leeseDs Flying 4ircusB# Pohn did not "ant the sho" to revolve around him and as a result he suggested B'ythonB and Eric !dle suggested B$ontyB# The )hows !n total there "ere four series of BMonty PythonB containing forty9five sho"s# By the start of series four+ ho"ever+ Pohn 4leese had left the group to "or% on his o"n proKects "ith his "ife 4onnie Booth# /he sho"s Ffor anyone "ho has not seen themG "ere mainly a miC of Eany madcap humour+ satire and school oy pran%s and Ko%es# /he comic devices of the Flying 4ircus "ere an encyclopaedia of comedy L involving gags+ slapstic%+ the grotesHue+ "ordplay+ and anter L "ith the goal of producing a familiar "orld+ rendering it strange+ ut ultimately and paradoCically ma%ing it recogniEa le# $emora le s%etches include BS"am S.!tch/+ BNu'g!, Nu'g!/+ B(h! Ministry o# Silly 7al.sB and the unforgetta le BParrot S.!tchB# /he main BthemeB that the sho"s revolved around "as that there should e no eginning or end to the s%etches ut more of a stream of consciousness instead# +ritin# The )hows /he $' team soon had their o"n "riting styles and groups# Pohn 4leese "ould "rite "ith =raham 4hapman and often create surreal humour# /erry Pones and $ichael 'alin Fli%e Pohn and =rahamG %ept their old "riting partnership and Eric !dle "rote on his o"n+ normally a "itty ver al s%etch# 06

/erry =illiam "as not involved "ith "riting the sho"s as such+ ut instead provided animations for the sho"s# )ccording to Pohn 4leese there "ere a lot of B)rtistic FightsB "ithin the group over the sho"Ds content and no" and again furniture "ould e thro"n and people "ould storm out of the room# /his "as pro a ly the main disadvantage "ith having five "riters all attling for the iggest ego# The (ilms /here "ere three films made y the $onty 'ython team and they proved to e ig successes on oth sides of the )tlantic and at least one of the films created a huge uproar of complaint# /he first film "as called =Monty Python An' (h! 5oly 6rail> and "as a asic parody of Iing )rthur and his %nights of the round ta le# /(h! 5oly 6rail/ "as an instant success on oth sides of the )tlantic in 0853 despite the fact that the udget "as limited# /he second film "as called /Monty Python's -i#! 4# &rian/ and "as a out a character that lived in the same period as Pesus 4hrist# !t caused great uproar in the church and "as mar%ed as eing an attac% at religion# /he film "as anned in some southern states in )merica+ and for a time anned in the &I from eing sho"n on /O# /he final $onty 'ython film Falthough mem ers of the group did ma%e other films togetherG "as called /(h! M!aning o# -i#!/# /he asic idea ehind this film "as to follo" the stages of life from irth to death in a series of s%etches rather than a continuous flo"ing film "ith the same characters# )ppearances from Simon Pones F"ho played )rthur Dent in the 1itch 1i%er seriesG "ere featured as "ell as more appearances y /erry =illiam# F"""#galactic9guide#comG 3.- Politi!al )atire Politics is th! art o# loo.ing #or trou1l!, #in'ing it wh!th!r it !0ists or not, 'iagnosing it incorr!ctly, an' a""lying th! wrong r!m!'y. %6roucho Mar0%

05

/here is undou tedly a long historical association

et"een humour+ comedy and

politics# From the ancient =ree% comedies of )ristophanes+ to the medieval court Kester to 8!s Minist!r+ humour has played a vital role in offering political critiHue or advice# !n these and many other cases+ political humour and satire can eCpress "hat may e unpopular or su versive+ and possi ly influence pu lic and political opinion# F"""#adelaide#edu#auG Despite BritainDs long and no le tradition of ridiculing authority figures in literature+ theatre and political cartoons+ British television "as slo" to discover satire# For centuries+ the British have used humour to challenge political leaders and social or political attitudes# But strict censorship meant that satire in film and television "as rare efore the 0830s# First9class political satire+ admired not only y the pu lic ut also y politicians of all persuasions+ and reputedly 'rime $inister /hatcherDs favourite sho"# ) enchmar% for Huietly civilised yet scalpel9sharp political satire+ 8!s, Minist!r is deservedly regarded as one of British sitcomDs finest achievements# F"""#screenonline#org#u%G 3.-.* 5es, Minister !ncredi le as it might seem+ itDs 26 years since 8!s, Minist!r a British comedy series a out manipulations in political life "as first roadcasted on BB4 /O and it is still very up to date# /he <es $inister series started airing in 0870 on BB4 2# !t consisted of three series+ each "ith seven episodes# Each episode is a out -0 minutes long# /he first episode "as roadcasted on Fe ruary 23th 0870+ and the final episode "ent out in Panuary 0877 and almost every programme ended "ith the eponymous line+ B<es+ $inisterB /he story focuses around three main characters: Pames For PimG 1ac%er $'+ Sir 1umphrey )pple y and Bernard Woolley# F"""# The show !t all egins "hen Pames 1ac%er>s party "ins the elections and he gets appointed as the $inister for the Department of )dministrative )ffairs# c#co#u%G

07

8!s Minist!r depicted the career of a ne" minister 9 Pames 1ac%er FPaul E''ingtonG 9 as he negotiates the "or%ings of government office# 1ac%er represents an unspecified political party ut is clearly a moderate+ either centre9right Fmost li%elyG or centre9left# 1e enters office as $inister of )dministrative )ffairs "ith enthusiasm and am ition+ determined to ma%e his mar% upon pu lic life+ ut soon comes to realise that his hands are tied y compleC ureaucratic regulations that seem oth indeciphera le and insurmounta le# 1is 'rivate Secretary+ the pedantic Bernard Woolley F D!r!. Fowl'sG+ does his est to steer 1ac%er through the minefield+ ut "hatever progress the t"o of them ma%e is usually revealed as a dead9end# /his is ecause+ %eeping one or more steps ahead of 1ac%er+ is his 'ermanent Secretary+ Sir 1umphrey )pple yF Nig!l 5awthorn!G+ a sil%y9smooth senior civil servant "ith a treasure trove of affling phrases+ paradoCical reasoning and enigmatic eCplanations# F"""#nostalgiacentral#comG The 2pisodes !n every episode+ the hapless 1ac%er+ not eing the most intelligent of men+ attempts to carry through "hat he elieves to e a right+ ne" initiative or policy+ intended to cut costs or improve pu lic services Fand+ at the same time+ to promote his nameG+ only to find his plans re9routed or derailed y the usually impertur a le Sir 1umphrey# /o the civil servant+ one minister is Kust li%e the neCt+ irrespective of his political persuasion: an unavoida le irritant "ho must not+ at any cost+ e allo"ed to run the country# /hat is the Ko of the civil servants+ and it is his solemn duty to uphold the status Huo and+ at the same time+ feather the ed of his %ind y ensuring that fe" civil servants+ if any+ ever lose their Ko s as a result of government actions# /o Sir 1umphrey and his colleagues there is a right "ay of doing things 9 their "ay 9 and a "rong "ay+ and that is the end of the matter# But "hile+ in their initial encounters+ Sir 1umphrey "as easily a le to outmanoeuvre 1ac%er+ "ithout ever seeming insu ordinate+ the "riters permitted the minister to ecomes more confident as the series progressed+ giving him the occasional victory over his adversaries+ colleague# /hen Fin the Decem er 0876 specialG+ for reasons that he himself "as never fully a"are+ 1ac%er "as elevated to 'rime $inister,# F"""# c#co#u%G

08

The s!ript /he idea for the series "as developed y )ntony Pay and Ponathan Lynn# Pay "as the political insider+ a speech"riter+ documentary9ma%er and author+ "hile Lynn "as a comedy actor and "riter# /hey first colla orated in the mid90850s on training films for ?ohn Cl!!s!Ds @i'!o Arts company+ "hich gave them invalua le eCperience of turning real9life management situations into comedy# /he BB4 ought the rights to the pilot episode and "or% on a full series finally got under "ay in 0858# F"""#museum#tvG @/he script of 8!s, Minist!r "as oth perceptive and hugely funny+ and the casting of the main roles "as perfect# 'aul Eddington "as completely convincing as the gulli le and idealistic 1ac%er+ "hile :igel 1a"thorne "as masterly as the machiavellian Sir 1umphrey+ assisted y Dere% Fo"lds as the genial Bernard Woolley# /he sho" "as an immediate success and "as sho"ered "ith a"ards#A F"""#museum#tvG 3.. The 'a!e 4omedy can often e a "ay of coming to terms "ith change+ and one of the greatest changes of the past half9century has een the transformation of Britain into a multiracial society+ follo"ing a process of immigration eginning in the late 0860s# /O comedyDs attempts to deal "ith race in the 0860s and 50s can e uncomforta le vie"ing no"+ although they "erenDt necessarily seen as racist at the time# *ne of the first British sho"s to ta%e a serious and sustained interest in race themes "as (ill D!ath 3s Do Part+ originally roadcast in the mid90860s on BB40# !n the 0870s and 80s+ Blac% and )sian "riters and performers finally found space for their o"n comedy on television ridiculing racism as "ell as eCploring the Blac% eCperience of living in Britain F(h! A Forc! G and sharply challenged ingrained attitudes to )sians F6oo'n!ss 6racious M!A# F"""#screenonline#org#u%G )mong the most controversial @raceA figures of recent years is )li = and Da )li = Sho"# Da )li = sho" is the name for t"o related satirical /O programs staring British Pe"ish comedian+ a graduate of 4am ridge+ Sacha Baron 4ohen featuring the character )li =# /he first season "as made y 4hannel 6+ the second y 1B*# /he first "as not 20

sho"n in the &S+ the second "as %no"n as )li = in the &S)iii in countries "here the first had screened# F"""#ans"ers#comG 3...* a Ali 6 )how /he sho"+ entitled @Da )li = Sho"+A ecame and instant success on &I /O in 2000 and )li = not only ecame one of the country>s iggest /O stars+ ut also one of the nation>s most prominent icons+ "hether the prim and proper Brits li%ed it or not# )ppearing every "here from magaEine articles to a"ard sho" red carpets+ the only thing )li = hadn>t conHuered "as only a oat ride a"ay# F"""# ullE9eye#comG Ali 6 .ude+ internationally controversial and surprisingly riotous+ )li = is the last person you "ant around some of the country>s most important figures# 1e is a hip9hop Kournalist "ho has ecome one of the most entertaining personalities of this generation "ith a collection of unconventional intervie"s# )li is a "hite man playing a Blac% man to ridicule Blac% youth culture+ a "hite man playing a "hite man desperate to appear Blac% in order to loo% cool+ or even a "hite man playing an )sian man trying to appear lac%# )li = has divided commentators+ ut he continues to attract huge audiences+ many of them Blac%+ "ho Kust thin% he is funny# )li =>s comics appeal does not only rest on his linguistic representation# .ather+ his speciality is em arrassing pu lic figures y intervie"ing them and as%ing incredi ly stupid and rude Huestions "hich they fail to understand# ECamples of his style of intervie"ing include coaCing a ishop into saying that he elieved =od created the &niverse+ and then as%ing B)nd since then+ heDs Kust chilled2B )li = then as%ed the Bishop "hat =od loo%s li%e+ to "hich the Bishop replied BWell+ heDs sort of Pesus9shaped#B *ne particularly memora le intervie" "as "ith a fashion designer# )li = suggested that the Wonder ra should e anned as it misleads men into thin%ing that "omanDs reasts are larger than they areQ he retold a story of having een disappointed "hen a girl he had 20

BpulledB proved to have een "earing the Wonder ra# 1e also as%ed his intervie"ee if he "as pleased =ianni Oersace "as %illed+ ecause it meant less competition+ and he suggested that heDd heard a rumour that 4alvin Ilein did it# F"""#ans"ers#comG 7an#ua#e )li = impersonates an ur an youth "ho uses London Pamaican+ a variety "ith 4oc%ney and Pamaica elements Fcf# Se aG# /his variety and style of speech "as first created y lac% ur an youths L mainly second and third9generation West !ndians L and has een ta%en up also y "hite )sian adolescents as an in9group variety# Some of the features may e seen in the follo"ing eCcerpt from his @film diary#A F.eichl+ Stein 2003:2-8G ECample:
D)< 0: First day of filmin L heCpected to go to L)+ ut instead got ta%en Kust round da corner from me :an>s# 1as ig ro" "iv Director+ $i%e $arlod+ coE it don>R loo% nuffin% li%e Souf 4entral# 1im heCplain dat da film )int done in da same order as da script+ "hich iE "ell fic%# $eet some of da ovver actors# )int sure a out 4harles Dance L him %eeps %issin me every time "e meet and "al%in into "ardro e "hile i iE in me pants#

FIn'ahous! Pro'uction 'iary, """#iofilm#co#u%G For more a out )li =>s language see appendiC )# $hara!ters Sacha Baron 4ohen has not only propagated the hilarious characters of )li = ut also Borat+ the inept IaEa%h /O reporter+ and Bruno+ the over9the9top )ustrian fashion eCpert# Borat Sagdiyev travels around the &nited Iingdom and &nited States intervie"ing people and engaging in their activities# Borat often ma%es his guests feel uncomforta le y introducing them to @IaEa%hA customs+ or y ma%ing misogynistic and anti9Semitic comments ased on his unfamiliar culture# Borat has een the cause of some controversy+ mostly related to his freHuent displays of anti9Semitism ut also nota ly for his portrayal of IaEa%h culture# Fen#"i%ipedia#orgG

22

Bruno is the third and last used character of Da )li = Sho"# 1e claims to e the voice of )ustrian youth television+ and ma%es others uncomforta le y flaunting his apparent homoseCuality# Bruno+ is the arrogant+ flam oyant+ yet stylish reporter of )ustrian television "ho patrols the cat"al%s of :e" <or% and other cities to intervie" irreverent+ fashion9driven people# 1is outlandish facade topped "ith his repulsively colourful $oha"% ma%es you glad that you don>t loo% li%e that# F"""#ne"u#uci#eduG $ontroversy /he Huestions and methods used y Sacha Baron 4ohen through his characters do not come "ithout occasional controversy# Some guests vie"ers# /he pu lic "as also divided of "hether or not the humour in )li = "as racist and Huite a fe" of Britain>s leading lac% comedians claimed that his performance "as s orn insistence on eing caricature of lac%ness FBB4 :e"s+ 00 Pan# 2000G /he stu ecome upset "hen they learn theyDve een tric%ed+ and various comments made on the sho" have caused outrage "ith

lac% despite any physical evidence of an )frican or 4ari ean heritage has furthermore and element of self9parody and travesty L this relies on the dichotomy of ehaviour versus appearance L and leaves his intervie"ees and the audience confused a ut the ethnic signifiers he is paying "ith# F.eichl 2003:2-8G 3./ The (amily Despite the strong ties that ind us+ families can e a pain# 'erhaps ecause of this+ "e are fascinated y ho" other families "or%# We long to %no" "hat goes on in our friends and neigh oursD houses+ if only to see if our o"n eCperience is DnormalD# /he ups and do"ns of one family 9 the royals 9 are a national o session# Family conflicts are the source of much drama in film and television+ ut Kust as often they can e a source of humour# /he British sitcom+ in particular+ has long chosen the family 9 especially the FveryG dysfunctional family 9 as a favourite theme# F"""#screenonline#org#u%G

2-

*ne of the most favourite British families is that of the /rotter Brothers# /hey live "ith their =randad FLennard 'earceG in a flat in a to"er loc% in 'ec%ham+ London# )fter =randadDs death+ D&ncleD )l ert FBuster $erryfieldG comes to stay+ "ith endless tales that all seem to egin+ BDuring the "ar ####B /hese leads come from the sho" 4nly Fools an' 5ors!s selected as DBritainDs Best SitcomD in a 2006 BB4 poll FSee appendiC BG 3./.* Only (ools and Horses 4nly Fools an' 5ors!s "as one of the nation>s favourite sitcoms during the eighties# Seven series FsiCty9four episodesG "ere roadcasted from 0870 until 0886 and each programme has een repeated again and again y popular reHuest# .eflecting the capitalist fervour of /hatcherite Britain+ a time of contrasting economic fortunes+ the series cele rated the prover ial optimism of the archetypal coc%ney street trader+ "ith his dreams of a "ealthy future and aspirations for a etter life# /he series garnered historic ratings and has een one of the fe" programs in history to top the t"enty million vie"er mar%# /his program "as not merely loved in Britain+ it "as cherished# FBerman 0888:66G The )how /he programme egan as an idea y "riter Pohn Sullivan+ "ho constructed the first scripts under the title )!a'i!s and finally persuaded the BB4 to ris% ma%ing a "hole series ased on the du ious dealings of a persona le coc%ney Bfly9pitcher+B "ho made a precarious living selling shoddy goods and99Huite "ithout malice99duping customers Fincluding his o"n family and friendsG at every opportunity# .etitled 4nly Fools an' 5ors!s after the time honoured prover Bonly fools and horses "or%+B the first series failed to attract much attention+ ut the Huality of the scripts and the eCcellence of the actors gradually "on a huge devoted audience and y the mid90870s special festive episodes topped the BB4Ds 4hristmas ratings# F"""#museum#tvG

26

The $ast )s the series is eing uild mainly on the personalities of the main characters a close description of their temperament+ ha its and "ay of life help us etter understand the program# D!r!. /D!l &oy/ (rott!r Born after the "ar+ Del ecame his familyDs main money ma%er efore he left school# 1is gift of the ga made him a natural salesman+ no matter "hat the Huality+ safety+ legality or suita ility of the goods in his possession# Devoted to the memory of his mother and hateful of the "ay his father left after her death+ Del puts family high on his agenda+ refusing to put .odney into care as a child and loo%ing after =randad in his frailty until his death# Del "as never afraid to stitch up .odney to save his o"n s%in or pride# 'opular "ith the ladies+ Del "as engaged numerous times during the 60s and 50s ut never got close to marriage+ only finally settling do"n after re9meeting .aHuel and having a son "ith her# Del misuses French phrases as part of his "ish to appear cultured ut is ultimately found "anting in aesthetic situations# DelDs luc% changed in 0886 "hen an antiHue "atch hidden in his garage made him and his family overnight millionaires# 1e lived the high life for five years efore losing it all in 2000 due to a stoc% mar%et crash# )o'n!y (rott!r Born in the early 0860s after eing accidentally conceived+ .odney 4harlton /rotter F:i%olas LyndhurstG never got to %no" his parents# 1is mother died and his father a sconded efore he had arely started school+ so he "as rought up y his teenage rother Dere% and his declining =randad# .odney "as a right ut easily9influenced child+ attaining =4E passes in mathematics and art efore going to )rt 4ollege in Basingsto%e+ "here he "as thro"n out after three "ee%s for smo%ing mariKuana+ "hich also earned him a criminal conviction+ a fine and a suspended prison sentence# .odney su seHuently ecame DelDs apprentice+ suitcase9carrier and general "hipping oy+ and ecame the opposite to his rother cere rally 9 lessed "ith %no"ledge ut lac%ing entirely in street9"isdom or common sense+ hence DelDs freHuent la elling of him as a Bplon%erB#

23

.odney tried numerous times to ta%e more control of the usiness+ pursue ne" interests or go out on his o"n+ ut it "as only after meeting 4assandra at his evening school that Del finally decided not to interfere# .odney duly married 4assandra ut continued to stay to an eCtent under DelDs influence# !n the final episode of the sho"+ Sl!!"l!ss in P!c.ham+ it "as finally revealed to .odney that his iological father "as in fact local croo% BFreddie the FrogB+ and not .eg /rotter+ follo"ing much speculation in preceding episodes# !n the same episode he and 4assandra ecame the parents of a a y girl+ named Poan after his mother# 6ran'a' Born at the turn of the 20th century+ Ed"ard B=randadB /rotter FLennard 'earceG+ grandfather on DelDs fatherDs side FDel and .odneyDs a sent father .eginald "as his sonG served in the )rmy during the Second World War and "or%ed in a num er of semi9 s%illed Ko s# 1e "as "ido"ed early and spent much of his final years almost completely house ound+ although Del made him responsi le for the house%eeping and the coo%ing "hile he and .odney "ent out to "or%# =randad never removed his hat+ "atched at least t"o television sets at once and rarely failed to urn the meals he prepared# 1e died in 0876 FKust as filming for Series 6 "as getting under"ayG and "as uried in the episode BStrain!' )!lationsB# 3ncl! Al1!rt Born approCimately five years after his elder rother Ed"ard+ )l ert =ladstone /rotter FBuster $erryfieldG "as a seaman as man and oy+ initially in the .oyal :avy+ then the $erchant# 1e married )da ut the marriage did not "or% out for reasons un%no"n+ and )l ert "as a pensioner alone+ moving to the homes of distant relation after distant relation+ until attending =randadDs funeral and moving in "ith his great9nephe"s Del and .odney after"ards# 1e too% over the =randad roles of house%eeping and coo%ing+ doing a considera ly etter Ko of it+ and "as also in the :agDs 1ead "ith freHuency+ drin%ing rum and playing the piano# )l ert never stopped tal%ing a out his "ar days to anyone in earshot+ often issuing tedious anecdotes "hich allo"ed Del or .odney to moc% him# )l ertDs death 9 fifteen years after moving in "ith his great9nephe"s 9 "as mourned on as grand a scale as =randadDs# /his "as "ritten into the neCt episode made after the death of actor Buster $erryfield in 0888# !n his "ill he left Del and .odney S063+000 each+ "hich got them out of de t "ith the !nland .evenue# Fen#"i%ipedia#orgG

26

7an#ua#e /he *nly Fools characters spea% in a special language+ some of "hich is 4oc%ney .hyming slang and some of "hich are pure inventions sprung from the mind of Dere% /rotter# From time to time Del also employs some uniHue foreign lingo# FSee )ppendiC 4G F"""# c#co#u%G

TH%' PA'T 8. 9%t:s Monty Python;< /he $onty 'ython>s comedy is often identified as @stream of consciousness+A @surreal+A @nonsensical+A or @carnivalesHue#A /here "as no predecessor for "hat they "ere doing# /heir sho" is different from "hat could have een seen on /O during 086890856+ "hen their series first ran# ) ragged+ egrimed hermit emerges from the sea and struggles his eChausted "ay up the each efore falling in a spent heap and cueing the opening titles y croa%ing+ T!t>s,#> $oEart introduces a television programme dedicated to recreating famous historical deathsQ icycle race pitting 'icasso against BraHue+ Iandins%y+ $ondrian+ 4hagall and othersQ and a night school "here a language instructor is teaching asic !talian to a classroom full of !talians# FIington 200-:020G )ll of the a ove scenes appeared in the first edition to e screened of the pioneering hilarious $onty 'ython>s Flying 4ircus# But "hy are "e laughing at this2 /he fact that "e do not %no" eCactly "hy "e are laughing is all part of $onty 'ython>s game# For someone "ho "atches the sho" for the first time the comedy might seem iEarre# /he content fool of strange hy rid animated characters+ the use of cross9dressing+ the use and a use of language+ s%etches full of misunderstanding+ a"%"ard+ crude+ facetious humour and "itless songs# /he episodes have no closure+ and often seem to have no point# 1o"ever these are the things that ma%e the sho" so popular up to the present time# /he sho" allo"s its audience to laugh at nothing and something simultaneously#

25

Despite the fact that the sho"s have "ell aged it seems that $onty 'ython have the a ility to eCceed generations# What made 'ython so accessi le to people all over the "orld "as the topics that "ere covered "ere easily# $any of the famous s%its revolved around the satiriEation of society+ the government and politics+ finance+ and every day life# @!n the 'ythons> comedy+ nonsense ecomes a higher form of sense manifest through the language of the ody inversion of linguistic categories+ and distortions in visual perception of places and events# Specifically+ the miCing of high and lo" culture+ the interteCtual dimension of the comic material+ the daring treatment of the ody and of seCuality+ and the unrelenting critiHue of the television medium made the sho"s accessi le to "ide audiences despite the often erudite character of allusions to literature+ philosophy+ and history#A FLandy 2003:-G *ne of the most repeated comic devises employed y Flying 4ircus are s%its involving t"o persons+ one ehind the des% and one in front of the des%# $any of the s%etches portray commercial negotiations gone a"ry# !n one of the most memora le s%etch called =D!a' Parrot>+ a customer F4leeseG enters a parrot shop and complains to the o"ner F'alinG that he has een sold a dead parrot# /he o"ner denies that the parrot is dead# 1e insists that the ird is only resting+ offering eCplanation: @as a :or"egian parrot+ the ird is homesic% for the fKords#A ECasperated+ the customer ta%es the ird+ dashes it to the floor+ and shouts: @/his parrot is no more# !t has ceased to e# !t>s eCpired and gone to see its ma%er# /his is a late parrot# !t>s a stiff# Bereft of life+ it rests in peace# !f you hadn>t nailed it to the perch+ it "ould e pushing up the daisies# !t>s an eC9parrot#A But the pro lem of replacing the parrot ecomes complicated+ ecause the o"ner claims he is out of parrots and tries to sell the customer another @animalA that he can @design#A /his episode relies on the stu orn resistance of the o"ner to admit that the parrot is dead and the desperation of the customer to convince the salesman that the parrot is indeed dead and demanding compensation# $onty 'ython>s Flying 4ircus has many fans among 4Eech audience+ mainly among young generation# !n the 4Eech .epu lic the series ecame popular than%s to the 4Eech /elevision that first roadcasted the sho" in 2000 on U/2+ and 'etr 'alou( "ho provided the original teCts "ith rilliant 4Eech su titles# $onty 'ythons ecame even 27

more popular and addressed "ide audience than%s to their films+ especially -i#! o# &rian and (h! 5oly 6rail. $onty 'ythons is eing considered as a cult series full of British satirical humour# =. Manipulation in Politi!al 7i>e *ne can have a feeling that our country is full of political eCperts# Do you as% "hy2 Well+ everyone from "or%ers to university professors tal%s a out politics and politicians# What they did+ "hat they should do+ "hat they should have done+ "hat they should not have done# 'o%ing fun at politicians is as 4Eech as not eing othered to actually vote# 'olitic is an everyday issue in our conversations# !t seems that everyone understands the politics eCcept the politicians# /he itter true is that "e tal% a out it+ thin% a out it+ ut hardly anyone really understands it# 'eople are often tal%ing a out ho" nothing in our country "or%s properly+ ut you only have to "atch an episode of <es+ $inister to understand "hy,# <es $inister is rilliant eCample of firs9class political satire a out manipulation in political life# !t is highly accurate in its depiction of the corruption+ politics+ red tape+ and manipulation that forms an integral part of the administration of any government# $argaret /hatcher+ herself a fan of the series+ referred to it as eing a Bclosely o served portrayal of "hat goes on in the corridors of po"er#B Fne"s# c#co#u%G

/he main theme of most episodes of the programmes as "as mentioned a ove is the struggle et"een Pames @PimA 1ac%er+ the $inister in the FfictionalG Department of )dministrative )ffairs and his civil servants and ministerial colleagues# /he clever and "itty scripts po%e fun at politics and political system regardless any political party# )s the sho" is popular not only in &nited Iingdom it sho"s that there is no need to understand the British political system to enKoy the humour in this sitcom# !t success is mainly due to its "onderful dialogue and sarcastic portrayal of life in politic# /he characters and mainly the dialogues are so convincing that one cannot elieve they are fictional# /hey rather loo% li%e true representation of politicians> daily life#

28

1umphrey: Ma.! him som!thing im"ortant. 7hat's h! int!r!st!' inB (!l! isionB 1ac%er: 5asn't ! !n got a s!t. 1umphrey: Fin!, ma.! him a go !rnor o# th! &&C. Bernard: I thin. you shoul' "ut out a "r!ss stat!m!nt showing sym"athy #or th! un!m"loy!'. 1umphrey: 7hyB Bernard: 8ou may 1! <oining th!m any mom!nt# <es $inister is a "onderful "orld "here @under considerationA means @"e have lost the fileA and @under active considerationA means @"e are trying to find it+A "here $inisterDs language: @We have decided to e more fleCi le in our application of this principleA means @We are dropping this policy ut "e donDt "ant to admit it pu licly#A :o "onder that this %ind of comedy found its supporters in our country "here politics is an every day issue# )lthough+ performed in the 0870Ds and in Britain+ these portrayals and ideologies are also very true today as comedy enKoys re9runs on U/2 "ith eCcellent 4Eech du ing#

?. 9Boyakasha;< )li: BBoya%a9sha# 4hec% dis# /oday "e is tal%ing a out "omen# ! is "ith none other than 'rofessor Sue Leece# She e director of the 4entre for =ender .esearch and "e is going to tal%ing a out ladies# :o"+ one in t"o people in the country is a "omen+ so "e has got to %no" a out this### Women# /hey is important arenDt they2B Sue: B/hey indeed are+ very important+ as important as men#B )li: BWhich is etter2 $an or "oman2B Sue: BWell eHuality is not a out eing etter#B )li: BBut "hich one is etter2B Sue: B:either is etter#B )li: BBut one must e Kust a little it etter#B Sue: B!n "hat respect2B )li: BLi%e+ you %no"+ in the "ay that something is "orse and something is etter#B

-0

/his is Kust a short eCample from Da )li = sho"# When you see the sho" for the first time "ithout "arning you may y Huite surprised "hat is going on here# Weirdly dressed man+ "ith sunglasses on+ using peculiar English+ intervie"s mostly "ell9 educated people+ as%ing them really stupid Huestions+ receiving really polite ans"ers# For a "hile you may feel that the progress of the sho" has een arranged# Do not e mista%en+ everything in this sho" is @.E)LA as )li often stresses# )li = is so smart "ith his comedy+ yet silly and serious at the same time# /he fact that he is @acting seriouslyA is "hy he is so silly+ ecause it is o vious to the vie"er that he is Ko%ing# But the people in the intervie" try so hard to give serious responses+ "hich only add fuel to his comedic flare# When )li = started his career+ it "as not o vious "hether he is real or mere fictional character# Sasha Baron 4ohen invented )li = as a representative of a marginalised group of people in BritainQ young+ lac%+ su ur an+ uneducated if not illiterate street %ids# !n the guise of )li =+ a young /O Kournalist "or%ing for a programme called @/he Ooice of <outhA+ 4ohen intervie"ed several eminent British protagonists of the cultural+ political and academic ruling elite# Being confronted "ith )li+ they had no idea that his identity "as not real+ ut trusted the given frame of reference+ the setting of the /O intervie"+ and the given concept9 information a out the British esta lishment for the underprivileged young people# :o ody mistrusted 4ohen ecause he fitted so "ell into Britain>s late t"entieth L century construction of cultural identity# FInight+ Long 2006:6-G Why is )li = so funny2 !t is his pretty simple Ko%e+ "hich is "hy even some %ids get it# Essentially you have t"o people "ho loo% totally different 9 one man dressed in an a surd yello" Kumpsuit+ and the other man dressed in a suit# /hey are spea%ing in different "ays+ "ith different ody language and totally different levels of intelligence# For that time people are in the room "ith )li+ sometimes they seem they totally forget "ho they are+ and they come out "ith a completely different side of themselves# /hey are in the room "ith a total @idiot+A and yet they are see%ing his approval# 4ohen>s sho" reminds me a little of $r# $raEe%>s sho" called @/elefonnV WstXednaA from radio Evropa 2 or other "ell9%no"n radio sho" from Fre%vence 0 called @Inedlo+ Yelo+ OepX#A Both these sho"s "ere ased on calling up different people+ companies or -0

institutions pretending to e silly+ as%ing really army Huestions and po%ing fun at them# /he only difference et"een these sho"s and )li = is that )li does not hide ehind the phone+ he visits the people himself and intervie"s them impudently face to face# )li =>s guests cannot really "in# !f they calmly endure his dum Huestions and stu orn

incomprehension they may end up loo%ing silly+ and if they sho" their irritation they ris% coming across as morons# Still+ the "ays different people respond to the challenge can e revealing# Since Da Ali 6 Show hinges on attracting guests "ho have never heard of )li =+ it did not last long# 4ohen ecame so "ell9%no"n in Britain that he had to move his act to the &#S# /he more successful 4ohen ecame+ the sooner he had to stop# F"""#findarticles#comG /he "hole sho" is not only ased on )li = as "as mentioned a ove# 4ohen

additionally plays t"o other characters 9 fashion reporter Bruno and IaEa%hstan /elevision correspondent Borat# Wildly effeminate+ Bruno intervie"s a range of fashion and media types+ all of "hom are more than happy to say anything Kust to get some time on camera# Bruno is usually hit or miss and his its are getting a it tired# For me it is Borat+ "ho is the sho"Ds secret "eapon# Borat gives 4ohen a chance to sho" off his gifts as a physical comedian# 1is playing reminds me heavily of 'etr Sellers in the Pin. Panth!r series# 1is segments+ BBoratDs =uide to )merica+B send the English9impaired personality to visit Breal )mericaB: dating and etiHuette eCperts+ acting school+ nature colonies+ and to"n council meetings# )s%ing the most inappropriate Huestions possi le+ Borat pushes )merican hospitality to the limit# Fvideo# arnesandno le#comG 1o" come that despite the sho" eing so popular in Britain and &nited States it has not found the "ay to any of the 4Eech television channels2 !t remains unclear "hether $r# Baron 4ohen>s rand of humour "ould attract a road audience+ "hich is one of the most important things for any /O+ and "hether it "ould e accepted "ithout any protests# ! am sure that the young generation "ould love it ut as the sho" is full of inappropriate language and is alancing on the edge of racism+ anti9Semitism and misogyny it may receive an onslaught of criticism from all sorts of minority groups and organisations# /he other point is translation# !mportant point of translation is definitely finding the right eHuivalents and the right @styleA in target language# /his could e a -2

serious pro lem in case of Da )li = Sho" that uses much of slang+ colloHuial "ords+ or simply other version of so called standard# *@. AThis time neBt year, weCll De millionaires;A /his is one of the famous Huotes from the most eloved sitcom in Britain "hich

managed to attract t"enty million vie"ers# What is so funny a out *nly Fools and 1orses2 Why this sho" ecame so popular2 Why the 4Eech audience has not had a chance to see it on 4Eech /O2 )s Eddie Bra en once said+ @) good sitcom needs to have the right ingredients lended together so that the pu lic can related to# <ou need a strong story line and then the comedy "ill evolve from it+ conflict pro lems+ and characters ouncing of each other "ith some good visual comedy thro"n in#A F"""#onthe usesfanclu #co#u%G /his sounds li%e a recipe according to "hich Pohn Sullivan created the amaEing misadventures of mar%et trader Del Boy /rotter and his younger rother .odney# *ne old adage goes: you can choose your friends ut you canDt choose your family 9 although there have more than a fe" times "hen for Del and .odney /rotter they really "ished that it "as the other "ay round# F"""# c#co#u%G

*nly Fools and 1orses ecame popular than%s to the rilliant story line# /he funniest its in this comedy are arising from all sorts of situations# *ne time it is the sightseeing usiness "ith /rotters Ethnic /ours "hen Del "ants to sho" the tourists as he says+ @)ll those romantic places that you>ve heard a out in fairy tales# /he Lee Oalley Oiaduct+ the glo" of Lo"er Edmonton at dus%+ the eCcitement of a "al% a out in 4roydon#A :eCt time Del ecomes the o"ner of three tons of lead "hich turns out to e a do9it9yourself nuclear fallout shelter+ or Del falls in love and it loo%s li%e the lovely 1eather could soon ecome $rs /rotter that is until her hus and sho"s up# *ther reason of the huge popularity is the humour "hich is devilishly created so as not to reveal the Ko%es efore the punch lines#

--

Del: Maisi! (urn!r+ 7ho th! h!ll's Masi! (urn!rB =randad: Sh! marri!' &!rni!. )!m!m1!r &!rni!B 3s!' to "ull th! stall out 'own th! mar.!t. Del: 8!s y!s+ 7hat a1out '!mB =randad: 7!ll sh! ha' two sons. 4n! 1y &!rni!, th! s!con' 1y som! 1lo.! sh! m!t on a chara1anc tri" to th! lights+ &!rni! #oun' out an' 'i orc!' h!r. Del: 5ow'' h! #in' outB &loo' t!stsB =randad: No, th! young!st 1oy was hal#Ccast!+ D/hic%er /han WaterA =randad: Scotch 1lo.! ga ! m! this 'uring th! war. I r!m!m1!r it li.! it was y!st!r'ay. 5is han's w!r! tr!m1ling an' his oic! <ust a whis"!r. 5! sai' /I want you to ha ! som!thing to r!m!m1!r m! 1y, (rott!r. (a.! m! luc.y coin./ (h!n h! . . . h! w!nt+ Del: 7hat C h! 'i!'B =randad: D!s!rt!'+ F) Losing Strea%G )nother reason of their success is the family mischance# /rotters are losers and people love to "atch losers trying their fortune# 'eople love to share their ups and do"ns# /he /rotters uy and try to sell almost anything and many episodes are ased around some faulty or stolen stoc% ought y Del# Del has al"ays een a le to manipulate .odney into helping him "ith his enterprises and ho"ever reluctant .odney "as+ he never Huite# Last ut not least that ma%es the sho" is the relationship of the main characters# Even though the /rotters are mostly useless in their everyday usiness+ they are unfailingly loyal# Del and .odney most of the time fight li%e cats and dogs ut there is a very strong ond "ith them and .odney "ould die for Del# /he sho" "or%ed ecause of the o vious love et"een the characters+ and that they s%irted around this even through the tough times# !t is difficult to say "hy *nly Fools and 1orses series have not appeared on 4Eech television despite its popularity in =reat Britain# )s BB4 provides ineChausti le amount of high Huality of situational comedies and oth pu lic television and commercial stations in the 4Eech .epu lic do not provide enough space for this genre it

-6

is presuma ly hard to choose the right one 9 "hich "ould attract the 4Eech audience 9 as all of them deserve to e screened# *ne of the reasons for not appearing on 4Eech television yet might e the difficulty "ith translation# 'ro a ly one of the most trou ling features of translation a film into another language is finding suita le eHuivalents in the target language# Such eHuivalents should fulfil eCactly the same aesthetic function as in the original and the atmosphere should me maintained# )s the characters in the sitcom spea% "ith 4oc%ney .hyming slang and especially Del employs some uniHue foreign lingo it might e difficult to find the right eHuivalents and this "ould reHuire a ig amount of creativity#

-3

$O&$7U)%O& )s ! am utmost fan of humour and the British one elongs to my most favourite ! have decided to dedicate my thesis to the British television humour# Since most of the people recollect only $r# Bean or Benny 1ill Sho" "hen you as% them to name any representatives of British humour they %no"# ! have decided to eCtend their %no"ledge and so in this thesis ! introduce and analyse t"o British situational comedy and t"o comedy sho"s# /he thesis is divided into three parts# !n the first part the theory and definition of humour and comedy is discussed# !n this part ! also descri e features of situational comedy and eCplain concept of ritcom# /he second part focuses on t"o ritcoms and t"o comedy sho"s ! study the script+ cast+ language and the sho" itself# /he third part of my thesis is focused on humour and Huest of "hat is so funny a out the comedies and "hy some of them have not appeared on any of 4Eech television stations# 'eople "atch a comedy+ laugh they guts out and then say: @What ru ish#A 1umour

compared "ith serious matters is al"ays considered for something su tle# 5aml!t "ill al"ays e considered Sha%espeare>s est play ut never (aming o# th! Shr!w even though oth this plays are great# !t is peculiar that things that ma%e us laugh are al"ays considered for some reason less significant than the serious one# ! thin% that the art of entertainment is one of the hardest disciplines and the most ungrateful# !t is said that humour is a seasoning of life# Scientists "ho study humour and laughter and its impact on human life say that one minute of pure laughter eCtent life eCpectance a out an hour# /he more you laugh the longer you stay alive# 1opefully this thesis and the sample on the enclosed 4D steers you to the British comedy that definitely eCtents life#

-6

APPENDICES

-5

AppendiB A @1ere diE+ me aint doin> nufin% ut chillin# )iiii??? Booya%asha???A Sound famliar2 <eah it>s the entertaining yet complicated language of non other than )li =# But can anyone honestly says that they can understand a full paragraph let alone a sentence of "hat he says2 1ere is a glossary of terms to help you out "ith )li = translations? Aiii 9 )greementZapproval F)n eCpression of @)iii??A G Batty Boy 9 ) homoseCual man F@Shut it+ ! ain>t no atty oy?AG Beast 9 $ale genitalia F@$e Pulie tic%les me east#AG Bi#upyasel> 9 .espect to you F@Bigupyaself P9Lo#AG Bit!hEme Dit!h 9 Lovely Lady F@Where>s me itch2AG Bonin 9 SeCual !ntercourse F @! has een onin $e Pulie#AG Booyakasha 9 =reeting F@Booya%asha? !>m )li =#AG $hillin: 9 .elaCing F@ain>t doin> nufin% ut chillin>AG a 9 /he F@)li = !ndahouse#AG a erD 9 /he 1er [ $ariKuana F@! iE dealin> da er #AG at 9 /hat F@!E dat right2AG 2ast )taines Massive 9 S"orn enemies of the WS$ F@ Da ES$ is shite?AG Fsee elo"G 2asynown 9 1ello F@ Easyno"+ rude oy?AG (ink 9 /hin% F@! fin% she is a right mingaAG (it 9 )n attractive person F @$ariah 4arey iE so fit#AG Here is 9 Listen to this F@1ere diE+ calling out#AG Ho 9 WhoreZprostitute F @She iE a ho#AG Hood 9 1ome to"nZterritory F@ $e posse iE hangin> in da hood#AG %nnit 9 !s it not2 F @! iE avin> a "ic%id day innit2AG %F 9 !sZare F@ ! iE )li =#AG Geepin: it real 9 Being true to ones self F@ Ieep it real?AG -7

Mashed 9 Stoned F@Dis iE good stuff+ ! iE totally mashed#AG MaBium 'espe!k 9 )n eCpression of utmost appreciation F@$aCium respec%?AG Me 9 $y F@me Pulie#AG Me Hulie 9 )li =>s girlfriend F@ Dey iE callin> $e Pulie a slag?AG Me &an 9 =randmother F@Dis iE me :an#AG Min#a 9 )n ugly person F@She iE a minga?AG Posse 9 FriendsZhomies F@! iE chillin "iv me posse#AG Punani 9 Female genitalia F @=ot a nice punani#AG )treet 9 )round L a hip+ cool eCpression F @Word on the street#AG )win#aFEBaDylons 9 Female Breasts F@Dat itch aE "ic%id a ylons#AG +esside 9 WS$ gang greeting F@Wesside# Booya%asha?AG +est )taines Massive 9 ) gang from West Staines headed up y )li = F@Shout out WS$?AG +i!kid 9 =reatZgood F @"ic%id?AG 5a 9 <ouZyour F@=et ya face outta mine#AG

-8

AppendiB B /he top 30 British sitcoms of all time (h! oting start!' in th! summ!r 2EEF to #in' th! (o" (!n #rom a list o# 1EE &ritish sitcoms. Sinc! th! start o# 2EE: th! "u1lic ha ! 1!!n oting 1y t!0t, "hon! an' onlin!, to '!ci'! which "rogramm! will r!c!i ! th! ultimat! com!'y accola'! o# &ritain's &!st Sitcom. (h! t!n #a ourit!s w!r! r! !al!' in a li ! #inal on th! 2Gth o# March 2EE:. 5!r! is th! to" HEI 0# 4nly Fools an' 5ors!s 9 -62+626 votes 2# &lac.a''!r 9 272+006 votes -# (h! @icar o# Di1l!y 9 202+825 votes 6# Da''s Army 9 056+0-7 votes 3# Fawlty (ow!rs 9 052+066 votes 6# 8!s, Minist!r 9 02-+302 votes 5# Porri'g! 9 8-+802 votes 7# 4"!n All 5ours C 65+2-5 votes 8# (h! 6oo' -i#! 9 60+70- votes 00# 4n! Foot in th! 6ra ! 9 -0+600 votes 11. Fath!r (!' 12. J!!"ing 3" A""!aranc!s 1F. 'Allo 'Allo+ 1:. -ast o# th! Summ!r 7in! 1H. St!"to! an' Son 1K. M!n &!ha ing &a'ly 1G. A1solut!ly Fa1ulous 1;. )!' Dwar# 19. (h! )oyl! Family 2E. Ar! 8ou &!ing S!r !'B 21. (o th! Manor &orn 22. Som! Moth!rs Do 'A ! 'Em 2F. (h! -i.!ly -a's 2:. My Family 2H. (h! 4##ic! 2K. Dro" th! D!a' Don.!y 2G. )ising Dam" 2;. Dinn!rla'i!s 29. As (im! 6o!s &y FE. 5ancoc.'s 5al# 5our F1. (h! 8oung 4n!s F2. (ill D!ath 3s Do Part FF. &utt!r#li!s F:. (h! (hin &lu! -in! FH. (h! Fall an' )is! o# )!ginal' P!rrin FK. P!t!r Jay's Pho!ni0 Nights FG. 7aiting #or 6o' F;. &ir's o# a F!ath!r F9. &r!a' :E. 5iCD!C5i+ :1. (h! -!agu! o# 6!ntl!m!n :2. I'm Alan Partri'g! :F. ?ust 6oo' Fri!n's ::. 2"oint: chil'r!n :H. &ottom :K. It Ain't 5al# 5ot Mum :G. (h! &rittas Em"ir! :;. 6imm! 6imm! 6imm! :9. )a1 C. N!s1itt 30# 6oo'night Sw!!th!art

60

AppendiB $ ) guide to the colourful lingo Del uses in *nly Fools and 1orses series# Basic Lingo !op 9 to receive something+ or a police officer# !osmi! 9outstandingQ eCceptional !ushty 9 greatQ rilliant dipsti!k 9 a fool el1Dow 9 also Dthe Spanish fiddlerD+ to end a relationship enemy 9 "ife+ missus 6andhiCs reven#e 9 a dodgy stomach heave1ho 9 another "ay of saying Del9 o"D hump 9 to e annoyed humpty1dumpty 9 to perform seCual relations Ia!ksie 9 the posterior Ia>>a 9 to e DseedlessD as in infertile+ one "ho Dfires lan%sD lovely IuDDly 9 rilliant+ great+ cushty mutton 9 deaf+ hard of hearing noo>ter 9 a gay man plonker 9 an idiot pukka 9 great+ perfect ruDy 9 !ndian ta%ea"ay cuisine s!htum 9 to %eep Huiet+ %eep a secret sort 9 a "oman+ or ird stoke on trent 9 a gay man stone me 9 an eCclamation of anguish stuke 9 a difficult situation this immortal !url 9 the "orld tri>>i! 9 great+ "onderful twonk 9 a plon%er or dipstic% wally 9 a t"on%+ a plon%er+ or a dipstic%

Money 7in#o
60

Dora!i! or Drassi! 9 lac%ing in funds+ s%int !entury 9 S000 dou!e in Dun!e 9 S200 earner 9 as in a Bnice little ###B+ a profita le usiness transaction #rand 9 S0000 kosher readies 9 unlaundered money monkey 9 S300 pony 9 S23 potless 9 to e s%int s!ore 9 S20

AppendiB 62

/he enclosed 4D contains samples of the programmes discussed in this thesis# :amely:

a Ali 6 )how
Fin EnglishG )li = L Feminism Int!r i!w with Pro#!ssor Su! -!!c!, 'ir!ctor o# th! C!ntr! #or 6!n'!r )!s!arch Da )li = Sho" Law Season: 0 Episode: 0 Sacha &aron Coh!n intro'uc!s Am!rican au'i!nc!s to his thr!! charact!rs in this, th! #irst !"iso'! o# 5&4's !rsion o# Da Ali 6 Show. Ali 6 ta.!s us to th! Phila'!l"hia Polic! Aca'!my, wh!r! h! un'!rgo!s an a11r! iat!' "olic! training cours!. 4n /&orat's 6ui'! to Am!rica,/ Ja2a.hstan (@'s &orat gi !s us a crash cours! on Am!rican 'ating. N!0t u", &runo #rom Austria isits with P) guru Paul 7ilmot an' ta.!s a sur"rising turn on th! runway at a -loy' Jl!in #ashion show. Ali 6 th!n int!r i!ws #orm!r Attorn!y 6!n!ral )ichar' (horn1urgh, who h! as.s to !0"lain th! 'istinction 1!tw!!n /l!gal,/ /ill!gal,/ an' /1ar!ly l!gal./ Form!r Attorn!y 6!n!ral E'win M!!s! also ma.!s a 1ri!# a""!aranc!.

Monty Python:s (lyin# $ir!us

Only (ools and Horses

5es, Minister
Fin 4EechG Dana"s#$ %ar&'he (e% o) Nails Season: - Episode: 08 5ac.!r must #ormulat! an Int!grat!' (rans"ort Policy. &ut th! titl! o# (rans"ort Su"r!mo turns out not to 1! worth ha ing. B%B7%O6'APH5 6-

Berman+ =# &!st o# th! &ritcoms. /aylor 'u lishing 4ompany 0888 Brandt+ =# W# &ritish (!l! ision Drama in th! 19;Es# 4&' 0884hristopher+ D# &ritish Cultur!I An Intro'uction# .outledge 0888 =arner+ P# Ma'! 8ou -augh+I (h! Funni!st Mom!nts in )a'io,(!l! ision, Stan'Cu",an' Mo i! Com!'y# )ndre"s $c$eel 'u lishing 2006 Iington+ $# &ritish Com!'y 6r!at# 4assell !llustrated 200Inight '# and Long+ P# Fa.!s an' Forg!ri!s# 4am ridge Scholars 'ress 2006 Landy+ $# Monty Python*s Flying Circus# Wayne State &niversity 'ress 2003 $orreall+ P# 5umor 7or.s. 1uman .esource Development 'ress 0885 :eale+ S# Po"ular Film an' (!l! ision Com!'y# .outledge 0880 'olMN%ovM+ $#: 4n Som! Pro1l!ms o# 5umour in -anguag! Dwith )!gar' to (ranslation #rom English into C2!chA. Philologica Prag!nsia --+ 0880 .eichl+ S# and Stein+ $# Ch!!.y FictionsI -aught!r an' th! Postcolonial# Editions .odopy B#O# 2003 .oss+ )# (h! -anguag! o# 5umour# .outledge 0887 Wic% erg+ D# (h! S!ns!s o# 5umorI S!l# an' -aught!r in Mo'!rn Am!rica# 4ornell &niversity 'ress 0887 %&T2'&2T )OU'$2) 5umour, Multiculturalism an' LPolitical Corr!ctn!ss*+ $ar% .ain ird Department of 'olitics+ &niversity of )delaide \http:ZZ"""#adelaide#edu#auZapsaZdocs]papersZ*thersZ.ain ird#pdf^ Da Ali 6 Show+ encyclopedia )ns"ers#com \http:ZZ"""#ans"ers#comZtopicZda9ali9g9sho"^ Da Ali 6 Show C (h! Com"l!t! First S!ason \http:ZZvideo# arnesandno le#comZsearchZproduct#asp2ean[26-382-2523;E[y^ Sacha &aron Coh!n+ /he Scores .eport \htt"IMMwww.1ull2C!y!.comM!nt!rtain!rsMaliNg.htm^ 8!s Minist!r+ $ar% Le"isohn+ BB4 =uide to 4omedy \http:ZZ"""# \http:ZZne"s# c#co#u%ZcomedyZguideZarticlesZyZyesminister]5555063#shtml^ c#co#u%Z2ZhiZentertainmentZ0286-82#stm^ 5in'i ma.!o !r #or 8!s Minist!r, BB4 :e"s 4nly Fools an' 5ors!s O -ingo+ BB4 4omedy 66

\http:ZZ"""# \http:ZZ"""#

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4nly Fools an' 5ors!s+ BB4 4omedy Stu'i!' stu"i'ityI r!s"!ct to 'o ali 6 show C Cultur! P )! i!w C Pro'uctMS!r ic! E aluation, Paco Sullum \http:ZZ"""#findarticles#comZpZarticlesZmi]m0367Zis]2]-3Zai]00005656-Zpg]2^ Monty Python+ Pames 4roo% \http:ZZ"""#galactic9guide#comZarticlesZ6.76#html^ (h! &ritish S!ns! o# 5umour+ $ar% Duguid \http:ZZ"""#screenonline#org#u%ZtoursZhumourZtourBrit1umour0#html^ 8!s, Minist!r+ /he $useum of Broadcast 4ommunications \http:ZZ"""#museum#tvZarchivesZetvZ<Zhtml<ZyesministerZyesminister#htm^ Sitcom+ British film institute \http:ZZ"""#screenonline#org#u%ZtvZidZ663-67ZindeC#html^ (h! Family, /he British Sense of 1umour y $ar% Duguid \http:ZZ"""#screenonline#org#u%ZtoursZhumourZtourBrit1umour6#html^ Politics an' Soci!ty+ /he British Sense of 1umour y $ar% Duguid \http:ZZ"""#screenonline#org#u%ZtoursZhumourZtourBrit1umour5#html^ Ma'n!ss P Surr!alism+ /he British Sense of 1umour y $ar% Duguid \http:ZZ"""#screenonline#org#u%ZtoursZhumourZtourBrit1umour8#html^ )ac!+ /he British Sense of 1umour y $ar% Duguid \http:ZZ"""#screenonline#org#u%ZtoursZhumourZtourBrit1umour00#html^ S!ns! o# humour, /eaching English \http:ZZ"""#teachingenglish#org#u%Zthin%ZmethodologyZhumour#shtml ^ &ritish com!'y+ .eference \http:ZZ"""#reference#comZ ro"seZ"i%iZBritish]comedy^ &ritish Com!'y, =reen4ine \http:ZZ"""#greencine#comZstaticZprimersZ ritcom2#Ksp^ D!#inition o# cultur! \http:ZZ"""#tamu#eduZclassesZcoscZchoudhuryZculture#html^ 4nly Fools an' 5ors!s+ Wi%ipedia \http:ZZen#"i%ipedia#orgZ"i%iZ*nly]Fools]and]1orses^ 7hy is th!r! a shortag! o# goo' sitCcoms on (@2+ Eddie Bra en \http:ZZ"""#onthe usesfanclu #co#u%Zne"page30#html ^ &ritish sitcom, Wi%ipedia 63

\http:ZZen#"i%ipedia#orgZ"i%iZBritish]sitcom^ 5ow -ong 7ill Ali 6 Stay In Da 5ous!B, Ponathan Shalom \http:ZZ"""#ne"u#uci#eduZarticle#php2id[-205^ Da Ali 6 Show, Wi%ipedia \http:ZZen#"i%ipedia#orgZ"i%iZDa])li]=]Sho"^ 5umour, /he !nternet Encyclopedia of 'hilosophy \http:ZZ"""#iep#utm#eduZhZhumor#htm^ 8!s, Ministr+ :ostalgiacentral \http:ZZ"""#nostalgiacentral#comZtvZcomedyZyesminister#htm^

'2)UMJ 66

/ato a%alMXs%M prMce Ke studie rits%_ho televiEnVho humoru pohy uKVcV se v roEmeEV od poNMt%u (edesMt`ch let do %once mil_nia+ %terM naEnaNuKe ae humor a %omedie mM neKednu podo u a lid_ se smbKV mnoha rcEn`m vbcem# 'rvnV NMst prMce se t`%M definicV humoru+ %omedie+ situaNnV %omedie a rits%_ situaNnV %omedie# DruhM NMst Ee Ea `vM roE orem dvou rits%`ch situaNnVch %omediV+ Kmenovitb 4nly Fools an' 5ors!s a 8!s, Minist!r a dvou %omediMlnVch poXadc Da Ali 6 Show a Monty Python's Flying Circus# O poslednV NMsti 1a.alQRs.S "rQc! s! snaTUm o1<asnit "roV <sou tyto humornS "oRa'y ta. "o"ulQrnU, co <! na nich ta. 2Q1a nSho a "roV s! nW.t!rS 2 nich <!XtW n!o1<! ili t!l! i2! u nQs. '2)UM2 /his thesis+ a study of British /O humour range from early 60>s to the end of the millennium+ implies that humour and comedy has many variations and people laugh at many different matters# /he first part of the thesis deals "ith definitions of humour+ comedy+ situation comedy and ritcom# /he second part analysis t"o British situational comedies namely: 4nly Fools an' 5ors!s and 8!s, Minist!r and t"o comedy programs: Da Ali 6 Show and Monty Python*s Flying Circus# !n the last part of the thesis ! try to clarify "hy are these humorous programs so popular+ "hat is so funny a out them+ and "hy some of them have not een screened on any of 4Eech television channels# "rogramo S na1U'c! aY uT .om!rVnU Vi !R!<no"rQ nU

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