Notes

2 A Quotation of Normality – The Family Myth

1 . A less obvious antecedent that The Simpsons benefitted directly and indirectly from was Hanna-Barbera’s Wait ‘til Your Father Gets Home (NBC 1972–1974). This was an attempt to exploit the ratings successes of Norman Lear’s stable of grittier 1970s’ US sitcoms, but as a stepping stone it is entirely noteworthy through its prioritisation of the suburban narrative over the fantastical (i.e., shows like The Flintstones , The Jetsons et al.). 2 . Nelvana was renowned for producing well-regarded production-line chil- dren’s animation throughout the 1980s. It was extended from the 1960s studio Laff-Arts, and formed in 1971 by Michael Hirsh, Patrick Loubert and Clive Smith. Its success was built on a portfolio of highly commercial TV animated work that did not conform to a ‘house-style’ and allowed for more creative practice in television and feature projects (Mazurkewich, 1999, pp. 104–115). 3 . The NBC US version recast Feeble with the voice of The Simpsons regular Hank Azaria, and the emphasis shifted to an American living in England. The show was pulled off the schedules after only three episodes for failing to connect with audiences (Bermam, 1999, para 3). 4 . Aardman’s Lab Animals (2002), planned originally for ITV, sought to make an ironic juxtaposition between the mistreatment of animals as material for scientific experiment and the direct commentary from the animals them- selves, which defines the show. It was quickly assessed as unsuitable for the family slot that it was intended for (Lane, 2003 p. 175). 5 . Baynham says: ‘The BUAV is unhappy because it thinks we’re suggesting that all lab animals have soft furnishings, Manolo Blahniks and nice wine, but these animals are unique and very stupid. They’re also fictional.’ (cited by Rampton, 2004, para 15). 6 . Notes Using the same animation software, this process had been initiated on Searle’s work on the Comedy Lab pilot, Rolf’s Animal Hairdressers (C4 2000).

3 ‘C’mon Mum, Monday Night Is Jihad Night’ – Race and Nostalgia

1 . Alongside Monkey Dust , the animation short was also momentarily resurrected in the form of Angry Kid (2003), which was a sporadic series of post-water- shed, extremely violent clay-motion sketches from Aardman’s Darren Walsh that detailed an archetypal teenage brat. To further complement the BBC’s revitalised interest in animation during this time, which included I Am Not an Animal (2004) and Popetown (2005), sister channel BBC 4 commissioned

185 186 Notes

several archival narratives in the form of the three-part documentary series on UK animation, Animation Nation , in 2005. 2 . The British sketch show has traversed a rich and varied lineage from ITMA (1939–1948) through to The Dick Emery Show (BBC 1963–1981) and Monty Python’s Flying Circus (BBC 1969–1973), and it has maintained a steady line through the Alternative Comedy of 1980s with shows like Friday/Saturday Live (C4 1985–1987) and Absolutely (C4 1989–1993), before undergoing a postmodern, post-Alternative Comedy mainstream reclamation in Harry Enfield, Paul Whitehouse and Charlie Higson’s The Harry Enfield Television Programme (BBC 1990–92) and latterly The Fast Show (BBC 1994–2001). Today, the form thrives in multi-strand, narrative-based shows like BBC 3’s Tittybangbang (2005–to date) and BBC 2’s impersonation vehicle, The Peter Serafanowicz Show (2007), to the 2008 animation/live-action hybrid, The Wrong Door . 3 . It is really only the creator of Two Pints of Lager ... , Susan Nickson that could be described as young untried talent at work during this time at BBC 3. By 2007, the likes of Adam and Shelley (2007) and Gavin and Stacey (2007–to date) had shown how that the channel had later more explicitly prioritised a more youthful emphasis. 4 . Thompson insisted that the progress of the show was continually monitored and then obstructed by nervous management, as he stated that, ‘very senior people started coming out of the woodwork, most of whom I’d never heard of. One actually said: “this is not the view of British society the BBC should be seeking to depict”’ (cited by Armstrong, 2003, para 3). But he felt what had ultimately undermined Monkey Dust was a basic misunderstanding about its place within the BBC itself.

4 ‘Unpack That…’ – Animating the Male

1 . Allen commissioned Modern Toss after viewing the 15-minute show reel supplied by animation company 12foot6. This led directly to the half-hour pilot and then to the first series of six episodes, broadcast the following summer on 11 July 2005 at an 11pm slot (T. Mortimer, personal communica- tion, 8 January 2007). 2 . Viz ’s animation output included three short-lived animated series shown on Channel Four at the height of its popularity. Billy the Fish was released in 1990 (directed by Steve Roberts) and Roger Mellie – The Man on the Telly (directed by Tony Barnes) and The Fat Slags (directed by Gary Kachelhoffer and Martin Pullen), both for Wizard Animation in 1991. Their lack of ratings prominence saw them demoted to the sell-through VHS market almost immediately. 3 . Shrigley’s work was animated in a one-off specially commissioned Animate ! short called Who I Am and What I Want (2005) that highlighted similarities between his work and Modern Toss. Shrigley also uses a multimedia platform to promote his work and appears to address similar themes to Link and Bunnage, yet his critically his work resides more within the artistic sphere (Gatti, 2009, paras 12–20). Notes 187

5 Sacred Territory – Faith, Satire and the Third Wave

1 . From this point on Popetown signalled BBC 3’s disillusionment with expen- sive, time-consuming animated shows. This promoted a shift towards cheaper reality and lifestyle television, and more youth issue-based documentaries and comedies instead. 2 . In the UK, Gledhill points out that the show had been drawn into the ambi- tions of the traditionalist Archbishop of Birmingham, The Most Rev Vincent Nichols, an ardent supporter of Pope Benedict XVI. His efforts to put pressure on the BBC to withdraw Popetown cemented a conservative reformist agenda within the Catholic Church of the period towards the way Catholicism was being covered by the media, pointedly to impress the hierarchies at Rome. In itself, this was a massive irony considering the show’s narratives concerning political expediency (Gledhill, 2007, para 11). Popetown ’s withdrawal was welcomed in a statement by The Catholic Bishops’ Conference of England and Wales, whose spokesman, The Right Reverend Crispian Hollis, Bishop of Portsmouth, stated: ‘I am delighted ... It was obviously going to be a contro- versial programme which would have caused offence, not least among the Catholic community who hold the person of the Holy Father in the highest regard and affection. Any attempt to belittle or diminish his status as the leader of the Catholic Church is totally unacceptable, and not only to Catholics’ (‘BBC Pulls Controversial Popetown’, 2004, paras 10–12). This was an inter- esting comment as no one from the Church had actually seen the programme itself at this point. 3 . Linehan and Matthews insisted that through the deployment of, often tangen- tial, narrative diversions, Father Ted forged intentional links with animated traditions. For as much as the show was an attempt to replicate the multiple parallel narratives and fast-paced humour of NBC’s Seinfeld (1989–1999), the writers also stressed the role of The Simpsons as a major influence on their crea- tive sensibilities, as Linehan and Matthews inserted regular plot diversions and cutaways – which were also a feature of Ben Elton, Rik Mayall and Lise Mayer’s BBC The Young Ones from 1982 – that often bore little relevance to the central story and fulfilled an agenda to abolish the linear, theatrical-bound traditions of sitcom. This formal breach was made explicit through the digres- sion offered by one of the principle players in the first episode of the series, ‘Good Luck, Father Ted’ (C4 1995). Ardal O’Hanlon’s Father Dougall charac- ter’s naivety and deluded nature was highlighted via a slow close-up into what was implied to be his interior thought process, which in turn was summated as a simplistic cycle of animated jumping rabbits. This emphasised the child- like pitch and landscape of that character’s mind. However, in doing so, this gesture also broke with the supposedly fixed disposition of exterior ‘reality’ adhered to rigorously within traditional sitcom. This gesture also simultane- ously freed up Father Ted from the theatrical expectations associated with the form and indicated an alliance to the self-reflexive lineage located within American television comedy alongside familiar animation conventions. Father Ted proffered a willingness to cross the boundaries of an on-screen continuum in a manner that is commonplace within animated forms (Thompson, 2004, pp. 193–210). 188 Notes

4 . The manner by which religion has been investigated within contemporary animated comedy has also transmitted to other areas of social authority. But religion became a very fashionable topic for animators to lampoon in this more accepting climate, as Groening’s other Fox animated sitcom, Futurama (1999–2009), had been afforded a liberty to attack rituals associated with Christianity and Scientology. This in turn has led to the ground being freed up for deliberately contentious US network shows like God, The Devil and Bob (2000), Family Guy (1999–to date) and Moral Orel (2005–2008).

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12foot6, 120, 180, 186 ‘Accident and Emergency’, 138 15 Storeys High, 91, 118, 129 Adam and Joe Show, The, 116 2004: The Stupid Version, 117 Adam and Shelley, 186 20th century, 1, 10–12, 15, 23, 61, adaptation, 147–149 75, 101, 110, 123, 129, 148, adult animation, 16–17, 48–52, 171, 153–154, 182 174 21st century, 2, 13, 22, 53, 86, 97, Adult Swim, 170 101, 107, 113, 115, 132, 135, adulthood, 106 139, 159, 173, 179, 182 Adventures of Captain Pugwash, The, 27 2D-TV, 39, 47, 154 Adventures of Flutterguy, The, 30 3 Non-Blondes, 91 Adventures of Ozzie and Harriet, The, 57 3-D animation, 47, 125, 159, 180 Adventures of Rocky and Bullwinkle, 4mations.tv, 182 The, 50 9/11, 85, 102, 106, 164 advertising film, 8, 22–24, 26, 31, 33, 40, 51, Aaa! Real Monsters!, 72 59, 62, 141, 170, 171 Aaagh It’s the Mister Hell Show, 51, 90, medium, 23–24, 26, 31, 35–36, 40, 101, 169 51, 62, 79, 118, 178, 182 Aardman, 8, 31, 33, 45, 67, 128, 172, aesthetics, 11, 22, 117, 120, 180 175, 185 agency, 3, 19, 21, 26, 38, 84, 86, 97, ABC (network), 5, 10, 25, 36, 50, 57, 108, 116, 134, 139 58 agit-prop, 15 ‘Abdul’, 87, 102–103, 105, 108–109 Aherne, Caroline, 61, 127 ‘Abu’, 87, 100–103, 105 AKOM, 45 absence, 1, 3, 19, 84, 89, 111, 124, ‘Alan’, 136, 138 128, 131, 133–134, 168 Alan Partridge, 81, 129 Absolutely, 72, 178 Alas Smith and Jones Show, The, 128 abstraction, 115, 130 Alim, Rashad, 149 absurd, 71, 96, 121, 125, 127, 129, ‘Alison Scrapeit’, 73 148, 150 ‘All About the Mormons’, 155 abuse, 15, 35, 52, 124, 126, 130–133, All Gas and Gaiters, 148 136–138, 149, 176, 182 All in the Family (UK), 26 academic, 11, 20, 32, 39, 98, 174 All in the Family (US), 57 acceptability, 51, 63–64, 83, 96, 129, Allen, Dave, 148 141, 164 Allen, Keith, 95 acceptance, 15, 20, 29, 32–33, 39, 40, Allen, Shane, 116 42, 43, 45, 53, 56, 59, 61, 63–64, Allen, Tony, 95 66, 71, 83, 88, 95–96, 98, 103, alternative (agenda), 13, 59, 93, 159, 107–108, 112, 118, 127–129, 131, 176 133, 138, 140, 141, 146, 154, Alternative Comedy, 9, 34, 36, 52, 158, 164, 168, 170, 172–173, 55, 59, 65, 76, 95–96, 153, 168, 179, 181, 187, 188 173, 186 accession, 5, 7, 21, 58, 90 Alternative Fringe, 35

209 210 Index

Amateur Night, 30 computer, 47, 121, 180, 202 ambiguity, 2, 10, 18, 43, 46, 49, 74, contemporary, 2, 6, 9, 13, 17, 18, 85–86, 96, 121, 135, 138, 144, 169 28, 29, 33, 43, 46–47, 56, 81, 83, American cinema, 37, 48, 62, 80, 176 85–86, 95, 103, 110, 115–116, American Dad, 90, 170 119, 135, 151 American television, 157, 187 cult 119, 120 ‘Amlet, 149 cut-out animation, 24, 50, 80, 159 Analysis Films, 24 developmental, 3 Anderson, Clive, 36 European (influence, markets and Andrews, Maggie, 110 production), 7, 23–24, 27–28, 32, Andy Pandy, 60 38, 48, 143, 145–146, 159, 164, 175 Angry Kid, 47, 140, 185 experimental, 3, 7–8, 23–24, 33, 71, ani-com, 44 177, 182 Animal Farm, 79 feature, 11, 12, 25, 49, 80 animal testing, 79 figurative, 24, 30, 70, 115, 121, 130, animals, 67, 74, 78–82, 124, 185, 189 131, 159 Animate!, 182–186 ‘filler’, 9, 10, 27, 33, 34, 90 animated comedy, 10, 17, 22, 51, 115, First Wave, 22, 29, 33, 49, 59, 89, 175 151, 188 gender, 35, 41, 49, 77, 85, 88, 125, Animated Conversations, 33–34, 181 116, 125, 130, 131, 134, 137, 171 animated sitcom, 6, 8, 10, 18, 42, 51, glass, 24 154–155, 188 history, 1, 3–4, 7, 8–10, 12, 15, animated sketch series, 85, 97, 180 19–20, 33, 51, 56, 58–59, 63, 72, animation 86–87, 125, 129, 131, 133, 148, 3-D animation, 47, 125, 159, 180 150, 152, 165, 171, 183 abstract, 23, 30, 60, 62, 70, 115, hyper-realistic, 121 121, 124, 130, 181 industry, 7, 22, 23, 30, 45, 53, 59, aesthetics, 117, 120, 180 148, 175 American, 7, 9, 11, 23, 27, 32, 48, ironic, 12, 13, 18, 19, 53, 55, 64, 50, 64, 87 72, 174 British, 1, 8, 21, 22, 23, 28, 32, 33, live-action, 30 70, 72, 79, 136, 148, 149, 153, medium, 1–3, 4–9, 10–19, 21–25, 181 27–36, 38–45, 47–51, 53, 56, 58, cartoon, 10, 12, 23–25, 27, 40, 59, 60, 62–63, 66–67, 70, 72–73, 45, 48, 50–51, 70, 93, 117–118, 78, 81, 83, 85–87, 89–93, 98, 101, 120–122, 125, 129, 134, 149, 104, 107, 116, 121, 124–131, 162–163, 170, 171 133–136, 139, 141–143, 147–148, celluloid, 24, 93, 159, 180 152–155, 159, 162–165, 169–184 children’s, 7, 15, 28, 33, 48, 50, 154, narrative, 11, 15, 27, 28, 172, 180 170, 171, 172, 179, 185 non-figurative, 24 cinema, 10, 24, 25, 27, 45, 30, 31, nostalgia, 18, 19, 55, 68, 108–109, 44, 48, 62, 80, 149 143, 151–152, 159–160, 162, 165, clay, 41, 67, 185 169–172, 174–175, 179 collage, 79–80, 93, 118 orthodox, 3, 175 comedy, 1, 6, 11, 18, 42, 47, 56, personality, 40, 104, 126,130 88, 101, 139, 142, 147, 153, 162, prime-time, 50, 52 164–165, 173, 174, 176, 179 product, 68 comic, 1, 2, 13, 85, 89, 94, 115, production, 1–3, 14, 22, 24, 28–29, 171, 182 31, 40, 53, 55, 83, 175, 179 Index 211 animation – continued art director, 26, 117 puppet, 27, 79, 116, 149, 153, 180 articulate, 58, 67–68, 80, 124, 127, realism, 74, 80 136, 138, 159 realist, 43 articulation, 93, 130, 159 reflexive, 3, 68, 75, 101, 180, 187 artifice, 127 representation, 18–19, 41, 44, 49, Arts Council, The 30 52, 54–56, 60, 71, 84–85, As You Like It, 150 87, 89, 96–98, 107, 109, 121, aspiration, 6, 66, 73–74, 81, 100, 123, 130–131 129, 141, 165, 172, 173 satire, 6, 19, 50, 79, 80, 93, 99, asylum seeker, 100–101 116, 141, 142,147, 152–155, 157, Atkinson, Will, 99 159–160, 164–165, 179 Au Pair, 76 scheduling, 9, 14, 26–27, 34–35, Auf Weidersehen Pet, 75 37, 42, 49–50, 59, 69, 72, 89–90, Australia, 32 141, 146, 149, 163, 170–171, auteur, 7, 27, 29, 38, 42, 48–49 175, 182, 185 authenticity, 12, 64, 66, 121, 176 Second wave, 28–32, 34, 37–38, 55, authority, 15, 18–19, 57, 108, 122, 165, 171, 175, 183–184 125–127, 130, 138–140, 142, 145, short (film), 7, 19, 10, 13, 23, 24, 149–151, 153, 155–158, 160–161, 27, 30, 32, 33, 37, 44, 48, 49, 50, 163–164, 188 87, 148–149, 175 authorship, 1, 4–5, 10, 12, 31, 38, 60, short (television), 7, 19, 23–25, 117, 134–135, 148, 175 32–35, 37, 41, 47, 49–50, 60, 68, avant-garde, 7, 9, 29, 31, 37, 39, 128, 141, 149, 180, 182, 185 54–55, 62–63, 115, 130 squash and stretch, 70, 159 Avenue Q, 180 stereotyping, 87, 88, 125 Avery, Tex, 75 stop-motion, 149 Azaria, Hank, 185 studio, 8, 24–27, 31, 33–34, 45, 67, 72, 100, 182, 185 Baby Cow, 45, 78 Third Wave Animation, 1, 3–5, Babylon, 67 10, 12, 14, 17–19, 21–22, 28, Bachman, James, 144, 161 30, 36–39, 40, 42–45, 48–50, bad taste, 107 52–56, 61, 63–65, 77, 83–85, 106, Bagpuss, 27 112–114, 116, 124, 128, 133, Bain, Sam, 127 135, 139, 140, 141–143, 151, Bakhtinian, 58 164–166, 168–170, 172, 174, Bakshi, Ralph, 49, 171 176–177, 183 Baldwin, Eileen, 35 Animation Nation, 186 Baldwin, Kevin, 100 Animation Week, 40 Banjo String, The, 180 apathy, 53, 99, 116, 123–124, Banks, Morwenna, 41, 47, 162 139–140, 162, 169 Barber, Frances, 108 archetypes, 18, 62, 76, 129, 144, 148, Barbera, Joseph, 36, 45, 50 157, 165 Barclay, Adam, 79 Aristotle, 65 Barclay, Jim, 95 Armstrong, Jesse, 127 Barclays Bank, 25 art (description, classification and Barker, Chris, 10, 88 status), 4, 8, 22, 24, 28, 30, Barker, Cordell, 70 31, 32, 39, 40, 43, 48, 58, 111, ‘Barney’, 136 117–118, 120, 133, 138, 153, 185 Barrett, Julian, 92 212 Index

Barrier, Michael, 104 bitmap, 80 Barron, Fred, 59 black (ethnicity), 52, 62, 87, 97–98, ‘Bart Sells His Soul’, 155 100–101, 105 Barthes, Roland, 43 Black Dog, 35 Basics, 149 Blair, Tony, 13, 53, 75, 99 Batch, 4, 78, 81, 82 Blairite, 66, 81, 99–101, 172 Batchelor, Joy, 23, 133, 181 Bless This House, 61 Battle Pope, 162 Blick, Hugo, 127 Baudrillard, Jean, 168 Blind Justice, 35 Baynham, Peter, 47, 78–83, 92, 185 Bob and Margaret, 39–43, 45, 52, 68, BBC (British Broadcasting 69–72, 74, 78, 134, 143, 179 Corporation), 3, 4, 15–16, ‘Bob Fish’, 68, 70 26–27, 33, 36–37, 39, 40, Bobin, James, 92 45–47, 50–52, 57, 59–61, 64, Bob’s Birthday, 68 69, 72–73, 75, 78–79, 85–93, Bogle, Donald, 87 95, 97, 102, 109–110, 116–118, Booker, M. Keith, 155–156 127–129, 134–135, 140–143, Bordes, Christian, 159 145–148, 153, 163, 168–169, boundaries, 10, 12, 14, 18, 21, 35, 37, 171–172, 175–176, 178–181, 51, 61, 64, 66, 72, 74, 77, 87–88, 185–187 97, 106–109, 123–124, 129, 135, BBC Choice, 46, 72, 89 157, 163, 164, 175, 187 BBC Worldwide, 78 Brass Eye, 81, 96–97 Beattie, Zac, 180 Bremner, Rory, 36 Beauty and the Beast, 159 brevity, 34, 88, 90, 119, 157, 169 Beavis and Butthead, 6, 9, 135 Bristol, 33, 108, 111 Beck, Les, 104 British Animated Productions, 24 Bendazzi, Giannalberto, 23 British Film Institute (BFI), 30 Benedict XVI, 144, 187 British Gaumont, 150 Bennett, Alan, 112 British Industrial Films, 24 Bentine, Michael, 50 British Instructional Films Animation Berger, Phil, 150 Unit, The, 24 Bergson, Henri, 14, 18, 43, 68 British Petroleum, 25 Berkmann, Marcus, 92 broadcast Berry, Paul, 36 history, 1, 4, 7–8, 10, 12, 19, 51, 56, Betamax, 29 58–59, 72, 86, 151, 165, 169, 171 ‘Betty Boop’, 70, 130 public service, 3, 5, 27, 33, 37, 46, Beynon, John, 76, 132–133 89, 118, 143, 168 Biblical Films, 149 scheduling, 9, 14, 26–27, 34–35, Bicchieri, Christine, 58, 63 37, 42, 49–50, 59, 69, 72, 89–90, Big Brother, 172 141, 146, 149, 163, 170–171, 175, Big Train, 81, 127 182, 185 Billen, Andrew, 46 television, 7 Billig, Michael, 79, 139–140 Bromwell High, 39, 43, 63, 123, 142 Binder, Maurice, 25 Brooker, Charlie, 123 Binegger, Dominik, 117 Brown, Mike, 25, 50 Biographic Films, 25 Brown, Rupert, 106 Bird, John, 153 Bruce, Ray, 149 Birds of a Feather (television series), 167 Buchan, Suzanne, 29 Index 213

Buckingham Palace, 70 147, 169, 172, 178, 179–180, ‘Buddhism TV’, 145 182, 186 Bugs Bunny Series, The, 27 Channel Five, 5, 98, 172 Bullmore, Amelia, 81 channel surfing, 157 Bullough, Miles, 178 Channel X, 45, 116, 134, 145–146 Bunnage, Mick, 115–124, 126, 136, Charge of the Light Brigade, The, 25 138–139, 186 Charmin, 31 Bunyan, Paul, 149 Charney, Maurice, 151, 159 Burdis, Ray, 127 ‘Chat Room Perv’, 52, 86, 91 Burglary, The, 71 Cheaper by the Dozen, 62 Burns, Robert, 149 children, 57, 71, 73–75, 96, 136, 149, Buscombe, Ed, 31 158, 159, 161 Bute, Mary-Ellen, 13 children’s animation, 7, 15, 28, 33, Butterflies, 61 48, 50, 154, 170, 171, 172, 179, Buxton, Dudley, 23 185 children’s television, 7, 8, 22, 25, 27, cable television, 40 40, 49, 50, 60, 110, 159, 170 Cameron, Deborah, 17, 94–96, 173 Chomet, Sylvain, 37 Camp X-Ray, 102, 109 Christian, 57, 144, 149, 159, 188 campaign, 91, 119, 180 Christian Aid, 149 Canada, 32, 43, 69, 70, 101, 145 Church, 19, 142–144, 148–150, 152, Candlemaker, The, 149 155–162, 164, 187 Canterbury Tales, The, 65 Church Army, 149 capitalism, 10, 12, 13, 112 Church of England, 148 cardinal, 149, 151, 160–163, 177 cinema Carnivalesque, 58 animation, 10, 24, 25, 27, 30–31, Caroline in the City, 59 44–45, 48, 62, 80, 149 Carrier, David, 122 British cinema, 22, 23, 25, 28, 30, Carroll, Lewis, 149 31, 40, 44, 95, 107 Cartoon Network, 40, 45 Classical Hollywood, 11, 170 Cash, Craig, 61, 127 feature, 8, 11, 62, 80, 107, 176 catchphrase, 72, 110, 119 form, 14, 30, 80, 117, 125 Catholic, 142–144, 146, 148, 152, medium, 8, 12, 22–23, 72, 95, 145, 161, 163–164, 187 148, 149 Church, 142–144, 146, 148, 152, 161, Post-Classical Hollywood, 131, 170 164, 187 Citizen Khan, 167 Cattaneo, Tony, 25–26 Clampett, Robert, 49 Caucasian, 87, 104 Clangers, The, 27 Cawelti, John, 64 Clare Franchetti, 81–81 CBS (network), 57, 75, 129, 171 class Celebrity Big Brother, 172 (concept), 61, 66, 71, 74–76, 85, celluloid, 24, 93, 159, 180 95, 108, 113–114, 116, 126, 128, censorship, 12, 49, 87 131, 135–136, 139–140, 169, 171 Central Office of Information, 23 middle class, 49, 59, 62, 63, 70, 71, CGI, 80 73, 75–76, 80–82, 97, 108, 112, Channel 4, 5, 7, 8, 15, 28–30, 33–43, 135 45–46, 49, 67–69, 72–73, 90, under class, 126, 127 115–118, 123, 128, 133–134, 142, upper class, 97 214 Index class – continued Comedy Central, 6, 51, 69, 157 urban class, 123 Comedy Lab, 116, 123, 185 working class, 57, 95, 113, 126, 128, comic hero, 76–77 133, 135, 136 Comic Strip Presents..., The, 95 clergy, 148, 150, 159–160 commerce, 11, 30, 36, 38–39, 111, cleric, 148–151, 156, 161 150, 152–153 ‘Clive the Liar’, 99 commercials, 24 clowning, 133 commission, 7, 8, 34, 35, 38, 40, Coal Black and De Sebben Dwarves, 87 42, 45, 46, 47, 50, 68, 69, 73, Coca-Cola, 25 90, 98, 116, 133, 139, 171, 180, cockney, 110 185, 186 Cohen, Karl F., 87, 90, 98 commodification, 10 cohesion, 11, 14, 28, 72, 122, 137, 162 common experience, 60, 98 Colebrook, Claire, 64–65 communal, 67, 84, 162 collage, 79–80, 93, 118 communication, 3, 8, 23, 35, 47, 82, Columbia, 27 88, 108, 117, 118, 120, 122, 126, Combs, James, 4 134, 174, 183, 186 comedian, 14, 22, 34, 52–53, 90, 92, community, 30, 35, 41, 62, 66, 67, 95–97, 101, 109, 148, 153, 163, 70, 83, 84, 99, 105–107, 156, 162, 168–169, 172–173 168, 187 comedy, 1,2 4, 5–19, 21–22, 31, 33–34, compromise, 3, 8, 20, 22, 54, 63, 76, 36–37, 39, 41–49, 51–53, 127, 147, 150, 153, 157, 163, 164, 55–61, 64–65, 67–69, 71–73, 168, 171, 184 76–78, 83, 85–86, 88–92, 94–97, concession, 3, 38 101, 104, 108–109, 111–113, Concord Films, 149 115–118, 123–124, 127, 129–130, Confessions of a Foyer Girl, 33 134, 136–143, 145–154, 157, 160, conformity, 40, 58, 61, 63, 71, 84, 162–165, 167–169, 171, 173–176, 113, 120, 137 179–181, 183, 185–188 confrontation (al), 9, 15, 52, 77, 86, animation, 1, 8, 6, 11, 18, 39, 42, 101, 110, 127, 132, 141, 155, 156, 47, 56, 86, 88, 101, 134, 139, 142, 170 147, 153, 162, 164–165, 173–174, connoisseur, 5 176, 179 consensual views, 2 family, 6, 18, 56–66, 75, 78, 83, 127, consensus, 9, 15, 18, 19, 38, 42, 44, 161 52, 56, 66, 83, 85, 86, 87, 96, 116, film, 95, 176 120, 169, 171, 173 incongruity, 34, 52, 64, 67, 79, 104, comedy, 86, 96 130, 149, 161 moral, 56, 171 mode, 65, 122, 141, 152 political, 66, 120 product, 6–8, 48, 59 social, 44 reflexive, 75 Conservative, 40, 43, 49, 62, 98, 112, satire, 6, 19, 50, 79, 80, 93, 99, 116, 140, 168, 170, 172, 187 141, 142, 147, 152, 153–155, 157, Conservative (government), 13, 29, 99 159, 160, 164–165, 179 constitution, 3, 11, 61, 64, 83, 143, satirical, 9, 51, 59, 64, 79, 83, 113, 157, 169, 180, 183 117, 123, 129, 137, 141–143, 150, consumption, 15, 39, 51, 119, 152, 152, 155, 157, 164, 171, 180 157, 182 stereotyping, 88 containment, 7, 70, 74, 83, 84, 144, strategy, 46, 107, 167 151 Index 215 contemporary history, 3, 12, 20, 28, 63, 66, 72, 98, animation, 2, 6, 9, 13, 17–18, 107, 111, 112, 123, 148, 150, 151, 28–29, 33, 43, 46–47, 56, 81, 83, 152, 156, 165, 174, 181, 184 85–86, 95, 103, 110, 115–116, importance, 22, 141 119, 135, 151 narrative, 56–57, 62, 132, 143 culture, 2, 10, 12, 17–18, 29, 76, nostalgia, 12, 55, 67, 75, 84, 111, 133, 147, 160, 164, 184 111–112, 143, 151–152, 165, life, 2, 19, 46, 116, 126 167–168, 174, 184 Conversation Pieces, 33 popular culture, 4, 10, 15, 65, 81, Coogan, Steve, 47, 78, 81, 129 105–106, 113, 154, 157, 159, 167, Cook, Pam, 9, 112, 174 175, 184 Cook, Peter, 128 post-war, 10 Cook, William, 95–96 curator, 14, 35, 40 ‘Cool Britannia’, 99 Curry and Chips, 88 Cooper, Arthur Melbourne, 23 Curtis, David, 35 Corbett, Camilla, 138 cycle, 48, 149, 167–178 corruption, 143 cynicism, 74, 112, 123, 155–156, 163 Cosgrove Hall, 8, 145 countercultural, 9, 49–50, 57, 62, 121, DaCosta, Charles, 89, 134 124, 153, 174 Daddy’s Little Bit of Dresden China, 35 Coupe, Laurence, 61 Dad’s Army, 75, 83, 148 Coward, Rosalind, 132 ‘Daffy Duck’, 129 Crafton, Donald, 11, 19 Daily Mail, The, 98, 101 Crapston Villas, 39–41, 52, 68, 72, 134, Daily Mirror, The, 117 143 Daily Show, The, 57 Creation, 149 Danot, Serge, 27 creative, 1, 7–9, 17, 24–26, 28–31, 35, Daria, 9, 59, 135 38, 42, 45, 58–59, 79, 89, 91, 96, Darley, Andrew, 23, 30–32, 39–40, 47, 118, 133, 136, 145–146, 148, 152, 53, 80 166, 171–172, 174–177, 181, 185, Daukes, Johnny, 92 187 David Brent, 129 Creature Comfort, 33, 34, 67, 68, 180 Davidson, Jim, 172–173 Creature Discomforts, 141, 165, 171, Davis, Julia, 47, 81 175 Davis, Lennard J., 63 Crewe, Ben, 135 Davis, Murray S., 79, 99, 133, 141, crisis, 132, 176 171–172 critique, 14, 15, 52–53, 55, 58, 63, Day Today, The, 81, 138 71, 77, 80, 83, 85, 100, 128, de la Tour, Andy, 95 131, 133, 136, 142–143, 145, Deadsville, 72 147–150, 154–155, 163–165, Deadsy, 36 168, 171 Deakin, Camilla, 8, 42, 46 Crompton Bulbs, 25 deconstruction, 14, 66 Crook, MacKenzie, 126 deferential, 148, 155, 156 cross-media production, 2, 3 123 Deluxe, 135 cult, 120 demographic, 6, 42, 46, 48, 50, 86, 88, culture 91–92, 105, 134, 136, 148 British culture, 19, 21, 66–67, 98, denomination, 144, 155 135, 150, 165 Denzin, Norman, 10, 156, 174 cultural, 57, 60, 105 developmental, 4 216 Index

DeVere, Alison, 30, 35 E. H. W. Productions, 149 Diagram Films, 24 E4, 37, 45, 46, 89, 179 Dick Emery Show, The, 148, 186 Early Bird, 34 Dickinson, David, 109 Eastern (ethnicity), 105, 109, 110 director Eaton, Mick, 18, 44, 77, 83 animation, 30, 41, 48, 117, 120, Eco, Umberto, 120–121 150, 162 education, 4, 24, 32, 60, 66, 75, 132, art, 26, 117 148, 175 film, 31, 38, 117 egalitarianism, 57, 101 management, 37, 134, 146, 178 Eisenhower, 57 disability, 52, 97, 175 Eldon, Kevin, 47, 81, 146, 160 discomfort, 15, 127 elitism, 3, 98, 123 dis-embedding, 82 elitist, 76, 164 disillusionment, 99, 157, 187 Elton, Ben, 95, 187 dislocation, 53, 123, 124, 128, 131, 133 emancipation, 13, 21 Disney (corporation), 11, 23, 25–26, emblem, 160 80, 121, 130, 136, 159 emblematic, 162 Disney, Walt, 27, 33 empathy, 93, 123, 128, Dispatches, 35 Enfield, Harry, 92, 186 disruption, 51, 64, 133 England, 67, 69, 100, 117, 148, 150, dissonance, 158 185, 187 distribution, 3, 23, 28, 33, 53, 183 English, James. F., 66 District!, The, 162 ennui, 106, 123 diversity, 39, 46, 167 entertainment, 3, 5–9, 11, 13–14, divine, 144, 162 22, 29, 36, 44, 48, 50–52, 65, divinity, 43, 150 88, 90–91, 95, 145, 147, Dobson, Nicola, 10, 44 149–150, 153, 168–169, 173, doctrine, 143–144 179, 181, 183 Do-Do: The Kid From Outer Space, 25 epoch, 10, 11, 28, 123, 168, 174, Dope Sheet, 35 184 Double, The, 160 ‘Eric Feeble’, 72, 73, 75 double-coding, 50 Essex, 100, 126 Douglas, Mary, 14 Esso (company), 24 Down and Out, 33 Esso Blue, 26 ‘Drive-By Abuser, The’, 124, 126, establishment, 31, 47, 61, 78, 95, 113, 130–132, 137 153, 155, 173 Drool, 77 Ethics, 65 ‘Drugs’, 96 ethos, 13, 22, 24, 29, 36, 37, 40, 42, Dubernet, Isabelle, 144–145, 159, 161 45, 51, 60, 89, 115, 120, 122 Duckman, 9, 59, 72 etiquette, 127, 136 Dudley, 102 Eton, 150 Dunning, George, 25 euphoria, 99, 135 DVD, 14, 15, 87, 93, 98, 146, 177, 178 Europe, 32, 177 Dyer, Anson, 23, 24, 149 Eva Productions, 42 Dyer, Richard, 52, 55, 83, 168 Evans, Chris, 36 dynamism, 126, 151 Evelyn Frogrotter Show, The, 50 dysfunctional, 57, 61, 121, 131, 139, everyday, 43, 55, 63, 66–68, 109, 112, 151 117, 127, 129, 144, 148 Index 217 everyman, 18, 63 Father Knows Best, 57 evolution, 1, 18, 21, 29, 40, 51, 57, ‘Father Nicholas’, 148, 151, 162 86, 103, 121, 134, 141, 170, 172, Father Ted, 65, 81, 147, 175, 183 161, 187 exclusion, 11, 20, 52, 62, 88, 112, 124, Fawlty Towers, 75 138, 143, 151, 168 Feed My Funny, 180 exhibition, 3, 23, 24, 28, 32, 33, 39, female, 18, 81, 98, 109–110, 117, 130, 40, 183 134, 137–139 existential, 127 feminine, 77, 109, 110–112, 128, exorcism, 144 130, 138, 162 expediency, 21, 41, 59, 82, 90, 115, humour, 137 157, 160, 174, 187 feminism, 17, 26, 77, 94, 129, Experimental (short), 182, 186 132, 135 experimentation, 31, 117, 135, 165, post-feminist, 41, 135 167 Second Wave Feminism, 77, 135 expressionism, 153 Third Wave Feminism, 132 extra-textual, 55 FHM, 135 extreme poses, 125 Fiasco Films, 33 extremism, 107 Field in England, A, 117 Fielding, Noel, 92, 179 failure, 42, 48, 67, 76, 127, 129, 142, Fielding, Ruth, 8 145, 146, 153, 154, 164, 178 film faith, 19, 103, 106, 108, 116, Filmfour, 37 142–143, 148, 150, 155, 157, industry, 23–26, 29–30, 32, 33 160–161 studies, 12, 31 family, 4, 6, 9, 15, 18, 26, 42, 50–51, studio, 27, 34, 45 55–85, 90, 100, 106, 111, 115, Fincham, Peter, 92, 98, 179 127, 129, 132, 156, 161, 169, 170, Fine, David, 41, 42, 68–69, 71 180–181, 185, 188 Firmin, Peter, 27 Family Guy, 9, 90, 169, 170, 180–181, First Night, 41 188 First Wave Animation, 22, 29, 33, 49, ironic, 18, 78 59, 89, 175 myth, 18, 55, 59, 63, 64 Fiske, John, 39 pseudo, 82 Fisons, 25 sitcom, 57 Fizzy Eye, 103 television, 56, 60, 66 Flash software, 121, 154 Fantasy Football League, 135 flawed male, the, 75, 128–129 Far Side, The, 122 Fleischer Brothers, The, 10, 27, 49, 70, farce, 75, 96 130, 171 Farley, Rebecca, 50 Flintstones, The, 10, 50, 58, 171, 185 Fast Show, The, 64, 92, 186 Fluck, Peter, 153 Fat Freddy, 94 ‘Fly Talk’, 126 Fat Slags, The, 128, 186 Fodorava, Anna, 30 father, 57, 61, 65, 74–75, 81, 132, folk demons, 107 147–149, 151, 161–163, 168, 185, folly, 147, 150 187 Foo-Foo (animation), 25 ‘Father Bosche’, 163 Foreign Office, The, 30 Father Dear Father, 168 Foreman, Michael, 33 218 Index formal (grammar), 4, 10–11, 15, 25, gender, 95, 97, 110, 113–116, 125, 31, 33, 35, 38, 43, 48, 51, 53, 67, 129, 130–132, 134–137, 140, 143 68, 70, 72, 74, 79, 80, 93, 111, humour, 136, 137, 153 114–115, 119, 120–121, 127, Genie in the House, 145 129–130, 133, 139–140, 152–154, Gerald McBoing-Boing, 121 158–159, 162, 168, 175, 180, 183, Germany, 146 187 Gervais, Ricky, 97, 127, 129 Four Lions, 107 Giddens, Anthony, 82, 105, 156 Four Weddings and a Funeral, 148 Gifford, Denis, 44, 149–150 Fox, 6, 155 Gilliam, Terry, 50, 149 fragmentation Girlie Show, The, The, 36 cultural, 12, 65, 156, 161, 169, 182, Girl’s Night Out, 31, 35, 136 184 Girls on Top, 95 identity, 66, 133, 161 global market, 5, 7, 13, 177 industry, 28, 39, 182, 184 globalisation, 99, 101 France, 24, 145 God, 143, 149, 160, 188 franglais, 126 God, The Devil and Bob, 187 ‘Fred Flintstone’, 129 Godard, Jean-Luc, 176 free market, 5, 36, 45–46, 51, 66, 90, Godfrey, Bob, 25–26, 30, 32, 44, 45, 95, 100–101, 176, 178 49–50, 70, 149 Freedland, Mark, 46, 90 Going Equipped, 34 French, Dawn, 42 Golden Girls, The, 5, 36 French, Phillip, 176 Goldman, Thalma, 30 Freud, Sigmund, 14, 64, 125, 151 Golezowski, Richard, 79, 128 Friends, 5, 36 Gombrich, E. H., 107, 131 Fritz, Gabriele, 138 Good Life, The, 69 Fritz the Cat, 49, 171 ‘Good Luck Father Ted’, 187 Front, 135 Good Samaritan, The, 149 Fuhrer, Eric, 144–145, 161 Goodness Gracious Me, 109 Fukuyama, Francis, 53 Goons, The, 175 Full Circle, 30 Gorham, Carl, 73 Full English, 180 GPO Film Unit, 23 Full Monty, The, 133 Grace Under Fire, 5 fundamentalism, 106–108 Grade, Michael, 36–37, 41, 46 funding, 25, 30, 32, 37, 40, 143, 183 Graduate, The, 62 Furniss, Maureen, 70, 93, 121, 159 grammar (formal), 43, 65, 70, Futurama, 187 104–105, 112, 130, 164 Fuzzbox, 180 graphic (art), 32, 39, 93, 121, 131, 159 Gray, Jonathan, 6, 44, 107, 147, 155, Gabriel, Peter, 31 157 gag, 48, 71, 74, 117 Greenhall, Simon, 103, 126, 160 game show, 55, 169 Griffin, Dustin, 197 Gary the Rat, 170 Griffin, Sean, 136 Gas Council, 25 Griffiths, Sid, 23–24 Gauder, Áron, 162 Groening, Matt, 6, 58, 78, 129 Gausden, Sidney, 149 grotesque, 18, 41–43, 52, 110, 128, Gavin and Stacey, 78 131 gay (representation), 41, 52, ‘Groundskeeper Willie’, 107 172–174 Guantanámo Bay, 102 Index 219

Guard, Candy, 7, 35, 41, 68, 130, 139 high-brow, 153 Guardian, The, 117 Higson, Charlie, 36, 92, 186 Gunning, Tom, 121 Hill, Benny, 95 Guns of Navarone, The, 25 Hill, Derek, 35 Gustafson-Capková, Christine, 126 ‘Hindustan Fabrics Co’, 100 Hine, Dan, 92 Habatale, 25 History of Cinema, The, 150 Habermas, Jurgen, 156 Hoban, Russell, 36 Halas and Batchelor, 23–25, 33, Hogarth, William, 79 149–150, 181 Holiday, 71 Halas, John, 23, 181 Holwill, Donald, 30 Hall, Jerry, 145 Holy Willie’s Prayer, 149 Hall, Stuart, 94, 147 Home Counties, 122, 131 Hamilton, Andy, 68 ‘Homer Simpson’, 57, 129 Hampson, Heather, 145 ‘Homer the Heretic’, 155 Hancock’s Half Hour, 75 homophobic, 173 Hand, David, 23, 44, 150 Homosexual, 13, 77 Hanna, Nancy, 25 Honeymooners, The, 129 Hanna, William, 36, 45, 50 Hoover, Stewart, 144, 156, 160, 163 harridan, 77, 111, 135 Horgan, Sharon, 92 Harrison, Jane, 116, 134 Horrocks, Jane, 41 Harry Enfield Television Programme, horror, 125 The, 92 Hoxton, 123 Hastrup, Jannik, 32 Hubley, Faith, 133 Hat Trick, 45, 92, 147 Hugh Grape, 82 Hattytown, 172 Hughes, Geoffrey, 17, 52 Have I Got News for You, 16, 92, 94 human, 43, 49, 67, 80, 93, Headcases, 154, 179 100–101, 121, 125, 128, 148, Heap, Mark, 47, 73 150, 159, 162 Heat, 109 humour, 14, 16, 19, 22, 41, Hebdidge, Dick, 106 42, 52, 60, 64, 77, 79, Hector’s House, 60 81, 95, 96–98, 101, 112–113, hegemonic, 133, 168 115–116, 120, 122–123, ‘Help Desk’, 137 127, 134, 136–140, 154, Henley Regatta, 150 168, 170, 172–174, 176, 187 Henry 9 til 5, 49 black humour, 101 Henry’s Cat, 50 Hutcheon, Linda, 65, 66 Henson, Jim, 171 Huxley, David, 122 He-Play, She-Play, 35 hybrid, 4, 75, 104, 145, 162, 182 Hepworth Productions, 149 Hynes, Jessica, 167 hero, 76–77, 132, 162 hyper-stereotyping, 107 Herring, Richard, 92 hypocrisy, 49, 66, 108, 136, 137, 148, Hesmondhalgh, David, 105 158, 163 heterosexual, 49, 57, 61, 71, 132 Heyward, Stan, 30 I Am Not An Animal, 78–80, 82, 142, hierarchy, 11, 14–15, 26, 45, 52, 71, 185 95, 101, 110, 131, 142, 144–145, Ianuuci, Armando, 78, 117, 180 147, 152–153, 160–161, 168–187 iconography, 9, 56, 58, 64, 83, 85, 87, High Fidelity, 30 111, 144, 147, 152 220 Index ideal, 5, 13, 36, 56, 61–62, 66, 70, indexical, 1, 44, 54, 56, 63, 69, 73–74, 77, 95, 97, 99, 101, 112, 119, 81, 87, 122, 125, 134, 158, 162, 123–124, 133, 136, 141, 162, 172 180–181 idealism, 36, 123–124 individualisation, 161 ident (brand/animation), 23, 102, 138 individualism, 10, 13, 66, 94, 105, Ident (short film), 128 123, 130, 150, 152–153, 156–157, identification, 18, 56, 71–72, 74, 77, 160–163, 169, 173, 176 80, 83, 187 ineptitude, 57, 102, 108, 122, 129, identity 131 brand and industry, 6, 28, 29, 34, inferiority, 23, 36, 132 38–39, 45, 46, 90, 93, 103–106, Information film, 13, 23, 24, 30, 60, 110, 119, 138 149, 170, 182 historical, sociological, cultural, Innes Book of Records, The, 168 philosophical, 4, 15, 44, 45, 67, innovation, 8, 34, 38, 93, 174 76, 82, 119, 133, 135, 142, 156, institution, 1, 13, 18–19, 24, 32, 57, 172, 184 60, 66, 82, 94, 97–98, 105, 116, idiocy, 116, 140 129, 136, 142–144, 148, 152, idiom, 122, 127, 128, 129 154–157, 160–161, 163–164, 169, ignorance, 83, 93, 97, 109, 112, 128, 173, 179 131, 136, 171 intellectual, 34, 38, 123, 162 illustrated radio, 93 internet, 2, 15, 39, 80, 91, 116, 118, I’m Dom Joly, 91 122, 139, 177, 180, 182, 183 imagination, 4, 61, 93, 103, 138, 161 intertextuality, 10 Imbruglia, Natalie, 109 Invasion of the Bodysnatchers, 62 immediacy, 64, 88, 95, 157 inversion, 82, 87, 113, 126 immigrants, 32, 88, 100 Irish, 148, 158, 162 imperative, 2, 7, 19, 43, 46, 61, 66, 71, irony 108, 115, 127, 143, 156, 165, 168, animation, 12–13, 18–19, 53, 55, 179, 184 64, 72, 174 imperialism, 5 comedy, 65, 69, 97, 169, 174 import, 5, 27, 36, 37, 89, 90 mode, 12, 13, 18–19, 53, 55, 64–65, impotence, 126, 131 69, 72, 83, 96–97, 112, 135, 156, impressionism, 15, 43, 54, 59, 70, 74, 168–169, 174, 187 88, 91, 103, 112, 121, 130–131, post-ironic, 2, 16, 169, 172–173 152, 155, 158, 170, 180 postmodern, 12–13, 18–19, 53, 55, inappropriate, 82, 104, 127, 159 64–65, 72, 83, 135, 156, 168–169, incompetence, 158 174 independent Isaacs, Jeremy, 34, 36, 37 animators, 28–31, 33, 40, 45, 49, Islam, 103, 106 116, 130, 134, 150 Islamophobia, 107 cinema, 23, 25, 30–31, 33, 40 IT Crowd, The, 179 companies (film), 23, 25, 30, 31, Itel (studio), 145 33, 40 ITMA: It’s That Man Again, 110–111, companies (television), 8, 34, 38, 186 45, 49, 78, 90, 116 It’s a Square World, 50 production, 8, 38, 90 ITV, 5, 23, 25, 39–40, 47, 61, 75, 88, television, 27, 90 95, 105, 129, 153–154, 167, 168, Independent animation festivals, 8, 171, 172, 179, 185 27, 32, 35, 47, 175 Ivor the Engine, 27 Index 221

Jackson, Dianne, 35 labelling, 1, 16, 96, 97 Jackson, Michael (director of Lacan, Jacques, 152 television), 37, 41, 69, 134 lampoon, 164, 188 Jackson, Michael (performer), 161 Lang, Fritz, 176 Jacoby, Russell, 123–124 Langer, Mark, 51 Jam, 81, 96, 127 Lantz, Walter, 27 Jameson, Frederic, 10, 39, 53, 65, Larkins Studios, The, 24–25 111–112, 130, 151–152, 165, Larry Sanders Show, The, 59 168–169, 174, 183 Larson, Gary, 122 ‘Jeff the First Time Cottager’, 173 Late Edition, 34 Jeffersons, The, 57 Late Night Line Up, 50 Jenkins, Charlie, 25 Later, 135 Jenkins, Henry, 39, 118, 120, 182 Laurel and Hardy, 75 jihad, 18, 85, 103, 109 Law, Roger, 153 Jim Crow, 87 Law, Susan, 130 John Paul II: The Friend of All Leaf, Caroline, 130 Humanity, 162 League of Gentlemen, The, 52 Johnson-Woods, Toni, 155 Lear, Edward, 149 joke, 14, 51, 60, 67, 98, 110, 116, 121, Lear, Norman, 57, 185 137, 163, 169 Learner, Keith, 25 Jones, Chuck, 48, 57, 93, 104 Lee, Stewart, 53, 92 Jowell, Tessa, 89 Leeds Animation Workshop, Juvenalian, 158 The, 31 Leftist, 32, 34, 153 Kama Sutra Rides Again, 49 Leigh, Mike, 41 Kandola, Jay, 7 Lennon, Conor, 92 Kaye, Paul, 126 lesbian, 98 Keeping Up Appearances, 69 Lewis-Smith, Victor, 93 Kelly, Dennis, 92 liberalising, 51 Kennedy, Sarah-Ann, 41, 68, 72, 134, 139 liberalism, 37, 89, 94, 144 Kid Clones in Space, 145 liberation, 78, 103 kidult, 50 libertarian, 156 Kill List, 117 Libya, 154 King of the Hill, 6, 9, 59 Life With Father, 75 Kinsella, E. P., 149 light entertainment, 6, 9, 51, 52, 65, Kirkman, Robert, 162 90, 95, 153, 168, 169, 173, 183 kitchen sink, 61 Likely Lads, The, 75 Kitson, Claire, 7–8, 25–26, 31, 34–35, limited animation, 125, 149 37–38, 42, 68–69, 116, 133–134, linearity, 112, 151, 162, 165, 184 182, 184 Linehan, Graham, 127, 161, 187 Klasky-Csupo, 45, 72–74 Lingstrom, Freda, 27 Klein, Norman, 12, 121 Link, Jon, 115–124, 126, 136, Knife and Packer, 92 138–139 Knowing Me, Knowing You, 129 Linnecar, Vera, 25 Korea, 45, 73 Lippman, Walter, 88 Kotlartz, Irene, 40 ‘Lisa the Skeptic’, 155 Kricfalusi, John, 51, 125 Lit Up, 25 Krutnik, Frank, 72, 77 literacy (television, culture and Kumars at No. 42, The, 110 animation), 9, 164 222 Index literalisation, 75, 99, 126 audiences, 2–3, 6–7, 9, 16, 27, 36, Lithuania, 146 37–38, 40–43, 46–50, 56, 59, 72, Little Britain, 15, 52, 91, 118, 142 82, 86, 89, 101, 112, 118, 134, Little Mermaid, The, 136 142, 145, 146–147, 153–154, 157, live action and animation, 41, 43, 162, 164, 166–168, 171–172, 177, 124, 125, 149, 186 179–181 live action cinema, 33, 148, broadcast television culture, 1–3, live action comedy, 1, 5, 8, 9, 19, 15, 5–6, 10–12, 15–16, 22, 28, 31, 16, 17, 22, 27, 31, 34, 36, 40, 41, 33–34, 38–39, 42, 44, 48, 50, 42, 45, 47, 48, 49, 51, 53, 56, 59, 52–53, 55, 59, 62, 63, 73, 86–87, 60, 65, 66, 69, 73, 88, 90, 91, 89–90, 92–93, 115, 118, 129, 133, 96, 110, 115, 123, 129, 142, 143, 139–142, 147–148, 153–154, 157, 145, 154, 156, 157, 162, 164, 164, 166–168, 170–171, 173, 178, 180 174–176, 179–180, 182–184 live action form, 43, 44, 54, 55, 67, cinema, 29, 33 70, 124–125, 138, 147, 158–159, comedy, 17, 37, 39, 53, 67, 73, 77, 169 83, 86, 92, 95, 115, 153, 157, 175, Live at The Apollo, 168 176 loaded, 117–118, 135 culture, 176 Lock, Sean, 92, 129 Major, John, 51 Logo Films, 25 male, 18, 42, 75–77, 92, 97–98, London, 30, 32, 41, 69–70, 73, 78, 111–112, 115–116, 119, 121, 80–82, 116, 122, 123 124–126, 128–140, 144, 162, 177, London Calling, 81 186 Loop, The, 30 Maltin, Leonard, 49 Lopez-Gaurdia, Jose Luis, 162 Manchester, 78 Lord, Peter, 33–34, 89, 181 Manège, enchanté, La, 27 Love Thy Neighbour, 88 Manning, Bernard, 95 Lucas, Matt, 47, 92, 145, 160 Marc, David, 57, 70, 74 Lumsden, Lucy, 46 marginal, 34–35, 42, 68, 88–89, 96, Lyotard, Jean-Francois, 11, 174, 133–135, 162, 167 183–184 Mark Andrews, 81 Marke, Alan, 146 McCarthyite, 57 marriage, 61, 66, 75, 143, 181 McCay, Winsor, 24 Married With Children, 5, 57, 73 McGillis, Tom, 69 Marvel Animation, 45 Mack Cartoon Unit, The, 24 Mary, Mungo and Midge, 27, 60 MacKichan, Doon, 138 Mary Whitehouse Experience, The, 92 Maddicott, Dan, 145 masculine, 76, 77, 110, 124, 128–130, magazines, 62, 81, 109, 117–118, 122, 132, 133, 134, 136, 137, 139 135 Masion de Tou-Tou, 60 ‘Maggie Simpson’, 73 maternal, 109–111 Magic Canvas, The, 24 Mathematician, The, 30 Magic Roundabout, The, 27, 50 Matthews, Arthur, 81, 127, 161, 187 mainstream Max Factor, 25 animation, 1, 6, 10–11, 17–18, Maxim, 135 22, 36, 41–42, 44, 53, 87, 98, Mayall, Rik, 186 128–130, 134, 142, 155, 157, 163, Mayer, Lise, 186 171,178 Mazurkewich, Karen, 69–70, 175 Index 223

Medhurst, Andy, 14, 67, 70, 77, 83, Money, 82 88, 109, 112, 113, 127 Mongrels, 180 media product, 123 Monk, Claire, 87 mediation, 9, 13, 19, 43, 67, 105 Monkey Dust, 16, 18, 39, 43, 45, 47, Meg and Mog, 72 52, 63, 79, 85–87, 89–94, 96–99, melodrama, 14, 132 101, 101–2, 104, 112–113, 116, Melville, Pauline, 95 120, 134–135, 140–142, 153–154, Men Behaving Badly, 129 160, 169, 173, 185–186 Men’s Health, 135 Monkhouse, Bob, 169 Merchant’s Tale, The, 65 monoplane, 80, 154, 159 Messmer, Otto, 24 ‘Monsieur Tourettes’, 119, 137 meta-narratives, 11, 106, 111, 123, montage, 10 151, 156, 174 Montreal, 69 metaphor, 99–100, 144, 147, 163 Monty Python and The Holy Grail, 149 Metropolis, 176 Monty Python’s Flying Circus, 50, 90, MGM, 50, 81 149, 175, 186 middle ground, 13, 53, 57, 82, 121, Monty Python’s Life of Brian, 149 141, 146, 167, 168, 177 Moore, Dudley, 128 Midlands, 104, 109, 111 Moore, Tony, 162 Mighty Boosh, The, 78 moral (morality), 2, 13–15, 44, Mike Simmons, 78 49, 52, 55–58, 63, 66, 70–72, Miles, Lawrence, 172 83, 88, 96–97, 120, 123, 128, milieu, 4, 10, 16, 25, 40, 49, 70, 72 132, 141–142, 144, 155–156, Millennial (and ‘pre’ and ‘post’), 1, 16, 158, 161–164, 168–169, 22, 46, 66, 85–86, 95, 97, 99–100, 171–172, 188 108, 122, 132–133, 135, 172 Moral Orel, 187 man, 132, 133 Mormon, 155 Miller, Ben, 159 Morning Star, The, 139 mimesis, 34, 43, 80 Morreall, John, 76–77, 139 Mind Your Language, 88 Morris, Chris, 36, 78, 96–97, 101, 107, minorities, 18, 62, 85–89, 98, 134 123, 126–127 minutiae, 67, 71, 112 Mort, Frank, 76 Miranda, 167 Mortimer, Bob, 36, 47, 145, 148 misconception, 17, 49, 154, 171, 173 Moss, George D., 61–62 misogynist, 98, 103 motif, 72, 99 ‘Mister Magoo’, 128 ‘Mr. Raja’, 100 Mittell, Jason, 7 Mrs. Brown’s Boys, 167–168 mod, 106 ‘Mrs. Khan’, 108–112 mode (humour), 41, 65, 67, 72, 84, 101, ‘Mrs. Mopp’, 110 112, 128, 137, 141, 152–153, 169 MTV, 6, 50, 51, 59, 125, 135 Modern Toss, 39, 43, 52, 63, 115–124, Mullan, John, 150 126–134, 136–142, 169, 171, 174, Mulloy, Phil, 31, 150 179, 186 multicultural, 17, 66, 87, 94, 95, 104 modernism, 5, 10–11, 15, 29, 31, 48, multimedia, 116, 119, 157, 182, 184, 65, 111–112, 123, 151, 160, 163, 186 184 mundane, 71, 101, 109 Modood, Tariq, 104, 108 Muppet Show, The, 171, 180, 181 Moi J’aime Productions, 45, 145, 159 Murakami, Jimmy, 35 Mondo, 135 Murdoch, Rupert, 6 224 Index

Murphy, Stuart, 46, 91, 146 norm (social), 18, 44, 58, 63, 71, 136, Musical Paintbox, 44, 150 137, 168 muslim, 87, 102, 104–105, 107, 108, Normal, Henry, 47, 78 111, 145, 149, 169 normalcy, 18, 58, 62–64, 69, 71, 83 muslim culture, 106 normality, 56, 60, 63–64, 80, 81 ‘Muslim TV’, 145 Norman, Phil, 48, 101 My Fair Mare, 82 Norris, Van, 117, 119, 122, 124–125, My Family, 59 131–132, 145, 163, 175 mystory, 174 Northern (regional), 109, 162 myth, 35, 51, 55–64, 67, 72, 78, 81, nostalgia 84, 95, 99, 170, 172, 173 broadcasting and television, 55, 68, mythology, 5, 72, 81, 82, 97, 131, 174 75, 143, 165, 167 culture, 12, 55, 67, 75, 84, 111–112, Nancy, Jean L., 67 143, 151–152, 165–168, 174, 184 narrator, 138, 158, 169 postmodern, 53, 83, 111–112, 151, Nathan Barley, 123 165, 169, 174, 184 National Film and Television School, Not Going Out, 167 69 Not Only...But Also, 128 national television, 51 nuclear family, 60–62 National War Savings Committee, Ńyocker!, 162 149 naturalism, 127, 130 objectification, 35, 88, 110, 136 NBC, 5, 36, 57, 73, 185, 187 obligation, 63, 99, 161 Neale, Stephen, 72, 77 Odling, Edward, 149 Nelvana, 45, 69, 145, 185 Odling, Elizabeth, 149 Neubauer, Vera, 30 Office Pest, 118 neutral language, 94 Office, The, 15, 46, 97, 127, 129 New Deal, 61 Oh Brother, 48 New Labour, 13, 47, 85, 99, 113, 154, O’Hanlon, Ardal, 186 172 Old Father William, 149 New Lad, The, 129, 135 ‘Omar’, 87, 102–103, 105, 108–109, New Man, The, 76–77 111 New Zealand, 146 On Probation, 34 Newman, Rob, 92 Once More with Feeling, 25 News Quiz, The, 92 One Nation TV, 46, 167 newspaper, 4, 24, 101, 122 O’Neill, Patrick, 60, 64 Nexus, 45, 93, 103 Onion, The, 94 Nexus Productions, 45, 93, 103 online, 18, 48, 52–53, 86, 117, 141, niche, 46, 56, 168 171, 175, 177, 182 audience, 48 Only Fools and Horses, 75 Nickelodeon, 45, 145 oppositional, 39, 49, 120, 163, 168 A Night In, 71 optimism, 123, 178 Nighty Night, 78, 81 Orientalism, 113, 169 nihilism, 52, 113, 117, 140 Orwell, George, 79 No Trouble, 71 Owl and the Pussycat, The, 24, 149 Nocturna Artificialia, 31 Ox, Phil, 145, 159 Noel Fielding’s Luxury Comedy, 180 Oxbridge, 92, 153 nonsense, 128, 130 Oxfam, 149 non-terrestrial television, 5, 14 Oxford, 98 Index 225 paedophilia, 52, 86, 101 Pochahontas, 136 Pal, George, 24 polarisation, 87, 96, 138 Palmy Days, 34 policy, 7, 31, 34, 40, 94, 153 pan-sexual, 139 political correctness, 2, 16–18, 52, 86, Paolucci, Anne, 113 94–97, 100, 107, 129, 140, 169, papal, 52, 144, 162–163 173, 175 paradox, 10 post-politically correct, 2, 17, 22, 52, Paramount, 59, 130 94, 96, 114, 134, 139, 164 Paramount Comedy Network, 69 Pond Life, 7, 39, 40–42, 68, 69, 134, Park, Nick, 37, 67, 89, 150 143 Parker, Trey, 7 Poole, Elizabeth, 105, 107, 108, 145 parochialism, 42, 90, 112 Pop Idol, 105 parody, 57, 64, 73, 78, 87, 102, 152, Popbitch, 122–123 155, 157 Pope, 144, 151, 162–164, 187 Passport to Pimlico, 25 Pope John Paul, 162 pathos, 111, 151 Popeman, 145 patriarchy, 57, 134, 136 Popetown, 39, 45, 52, 63, 69, 79, patriotism, 153 134, 140, 142–166, 178, 179, ‘Paul Power’, 73 185, 187 PBS, 145 ‘Popeye’, 70, 130 PCP, 99 popular, 3, 4, 10–11, 15, 32, 52, 56, ‘Peace and Quiet’, 137 58, 62, 65, 81, 105–106, 110, Peep Show, 127 113, 122, 133, 135, 144, 148, Pegg, Simon, 47, 81 154, 157, 159, 167, 172, 175, Perkins, Geoffrey, 8, 72 184, 186 permission, 15, 53, 59, 94, 97, 137, Porter, Larraine, 110–111 147, 154, 156, 169, 181 ‘Possessed’, 144 Perry, Ruth, 94 Postgate, Oliver, 27 pervasive, 4, 6, 9, 29, 33, 60, 62, 88, post-ideological, 123 105, 137, 181 post-industrial (self), 19, 76, 82, 105, Peter Serafanowicz Show, The, 186 156 Pets, 79 postmodern condition, 10, 44, 86, phallic, 125, 128 105, 106, 147, 151, 160, 165, 174, phatic dialogue, 127 183 phenomenon, 30, 43, 45, 80, 82, 96, postmodernity, 11, 183 99, 111, 116, 118, 122, 129, 132, late modernity, 11, 57, 112 134, 142, 165, 174, 179 perpetual present, 151, 160 ‘Phillip Masterson-Bowie’, 81 reflexive, 10, 68, 75, 85, 105, 169, philosophy, 97, 111 184 Phoenix Nights, 15 post-war culture, 10 Picasso Pictures, 93 Potolsky, Matthew, 43 Pilgrim’s Progress, 149 poverty, 23, 71 Pilling, Jayne, 32, 40, 41, 133 pragmatism, 24, 36–37, 45, 53, 90, Pinschewer Films, 24 123, 134, 150, 161, 164, 176, 182 Pintoff, Ernest, 27 Private Eye, 98 Pixar, 80, 121 Private Life of Mrs. Mopp, The, 110 Plague Dogs, 79 problematic, 16–18, 21, 28, 43, 48, 59, Play for Today, 15 72, 77, 87–88, 94, 102, 107, 111, pleasure principle, the, 125 132, 135, 170, 178 226 Index progressive, 3, 7, 13, 16–17, 19, 28, reductionism, 136 31, 34, 35, 37, 41, 47, 55, 63, reductionist, 63, 95 88–89, 96, 97, 101, 109, 116–117, Redwall, 145 134–135, 165, 169, 175, 183 Reeves, Vic, 36, 64, 176 promotion, 18, 28–29, 91, 118, 120, regional, 44, 61, 104, 110–112 138, 141, 147, 171, 179 regressive, 88, 98, 151–152, 159, 165, propaganda, 23–24, 148, 153 167 short 23, 24, 148, 153 Reiniger, Lotte, 133 Protestant, 161 Reital, Enn, 103 pseudo logic, 43 relief theory, 64, 133 psychological, 64, 124–126 religion, 19, 106, 142, 144, 148, 150, psychotic, 52, 164 155, 156, 157, 163, 164, 188 public service ethos, 37, 89 removal, 15, 110, 132, 152, 157, 158, punk, 95, 106 169 Pye, Shaun, 47, 85–87, 92, 93, 96–103, Ren and Stimpy, 6, 50, 51, 125 106, 108, 109, 111, 113, 154 repetition, 11, 16, 44, 48, 62, 128, 157 Q, 175 representation, 3, 15, 18, 43, 56, 84, Quay Brothers, The, 31 88, 121, 142, 173, 175, 177 Queen Elizabeth II, 160 Respectable, 98 Queer as Folk, 37 responsibility, 61, 76, 99, 110, 116, Quinn, Joanna, 31, 35, 136 122–123, 130, 132, 138, 140, 156, quotation, 10, 18, 43–45, 55, 57–59, 162, 163, 169 61, 64–67, 83, 102, 110, 112, 116, retreat, 62, 112–113, 128, 139, 157, 135, 138, 152, 158, 161, 164, 173, 160, 162, 166 174, 181, 183–184 ‘Reverend Lovejoy’, 155 Rex the Runt, 79 race (ethnicity), 84–85, 87, 89, 96–98, Rhetoric, 65 107, 109 Rhys-Jones, Griff, 128 radical, 23, 34, 43, 46, 83, 91–92, Richard Branson, 160 134, 140, 156, 164–165, 170, Rider, David, 25–27, 30, 33, 35, 50 172, 176 Right Wing, 13, 94, 101 radio, 41, 92–93, 95, 109–110, 118 ritual, 14, 55–56, 62, 74, 82, 102–103, Radio Four, 93 109, 112, 123, 127–128, 144, ‘Ralph Kramden’, 129 149–150, 156, 160, 188 Rank, J. Arthur, 23 Roadrunner, 48 ratings, 6–8, 35–38, 41, 46, 59, 68–69, rocker, 106 90, 141–143, 154, 167–168, Roger Mellie: The Man on the Telly, 186 171–172, 177, 179, 181, 185–186 Rolf’s Animal Hairdressers, 185 reactionary, 52, 77, 96, 98, 101, 112, Rolf’s Cartoon Club, 40 140, 173 Rolf’s Cartoon Time, 40 realism Rome, 144, 187 second order realism, 80 Romeo and Juliette, 149 realpolitik, 147 Ronald Reagan, 154 Rebel Without a Cause, 62 Roobarb and Custard, 50 rebellion, 106, 131, 137, 140 Room, 101 109 Red Eye, 139 ‘Rory and Dino’, 173 reduction, 37, 62, 63, 75, 106–107, Rose, Colin, 8, 73 132, 170 Roseanne, 5, 36, 57 Index 227

Rosen, Andrew, 66, 75 sequential art, 39 Ross, Jonathan, 36 sexist, 94–96, 173 Rotter’s Dog, 100 Sexual Healing, 177 Rough Draft, 45 sexuality, 13, 15, 41, 49, 52, 57, Rousseau, Jean-Jacques, 82 61–62, 64, 71, 76–77, 81, 95, 110, Royle Family, The, 61, 127 128, 132, 139, 163, 172, 177, Rugrats, 72 180–181 Rutland Weekend Television, 168 ‘Shafiq’, 87, 102–103, 105, 108 Ryan, John, 27 Sherbet Animation, 45, 93 shitflap.com, 118 S4C (network), 42, 93 Shoreditch Twats, 122–123 Sachs, Peter, 24 short Said, Edward, 108 animation (film), 7, 19, 10, 13, St. Martin’s School of Art, 32 23–24, 27, 30, 32–33, 37, 44, Sales Pitch, 34 48–50, 87, 148–149, 175 Sandler, Kevin, 80 animation (television), 7, 19, Sandman, The, 36 23–25, 32, 33–35, 37, 41, 47, Sarris, Andrew, 31 49–50, 60, 68, 128, 141, 149, satire, 6, 19, 50, 79–80, 93, 99, 116, 180, 182, 185 141–142, 147, 152, 153–155, 157, propaganda, 23–24, 148, 153 159–160, 164–165, 179 shorthand, 63, 85 Juvenalian, 158 Showtime, 69 satirical, 9, 51, 59, 64, 79, 83, 113, Shrigley, David, 131, 186 117, 123, 129, 137, 141–143, 150, Signal Films, 24 152, 155, 157, 164, 171, 180 signifier, 28, 62, 79, 104, 131, 184 Saunders, Jennifer, 42 ‘Simon Martext’, 150 Savage, Mike, 99 simplification, 86–87 Saxondale, 78 ‘Simpsons Bible Stories’, 155 Sayal, Meerya, 109 Simpsons, The, 5–12, 15, 21, 26, 35, 37, Sayle, Alexei, 95 39, 44, 45, 47, 50–51, 56, 58–59, scatology, 51, 158 61, 69, 72–73, 84, 90, 92, 107, Schall, David, 126 135, 141, 147, 154–156, 164, 169, schizophrenia, 152 170, 171, 177, 181, 183–185, 187 school, 32, 43, 69, 73, 83, 97–98, 123, sin, 177 149, 153, 156, 158 sincerity, 55, 64–65 Screen Test, 149 Siriol, 8 Scrub Me Mama with a Boogie Beat, 87 ‘Sister Marie’, 151, 162 Searle, Tim, 8, 47 situation comedy, 6, 12, 14, 18, 44, Second Class Mail, 35, 68 55, 57, 58, 138, 167 second order realism, 80 sit-com 5, 6, 8, 10, 18, 21, 36, 42–44, seditious humour, 79, 116, 139 51, 57–59, 61, 65, 68, 70, 72, segregation, 94 74–79, 88, 90, 97–98, 109, 123, Seinfeld, 5, 59, 187 127, 129, 145, 148, 153–155, 161, self-awareness, 9, 65, 69, 138 167–169, 178–179, 182, 184–185, self-deprecation, 69, 96, 139 187–188 self-reflexive, 10, 187 sketch series, 16, 21, 43, 44, 47, 51, self-reflexivity, 82 55, 65, 72, 85–86, 90, 92, 97, separation, 93, 108, 124, 154, 161, 110, 116, 139, 148, 153, 177, 172 179–180, 186 228 Index

Sketchbook Fantasy, 44 Sprengler, Christine, 111, 152 Sky TV, 5 Sproxton, David, 33, 34, 89, 181 slapstick, 75, 96 stability, 12, 65, 69, 78, 124, 160, 165, Sledgehammer, 31 174 Slinky Pictures, 45, 93 Starkeiwicz, Antoinette, 30 Slipknot, 159 Stars in Their Eyes, 103, 105, 108 Smack the Pony, 138 stasis, 8, 34, 59, 71, 84, 123, 161, 165 Smallfilms, 27 Stay Tooned, 40 Smith, Mel, 128 Steptoe and Son, 61, 75 Smith, Will, 92 stereotyping, 88, 97, 107, 108, 173 Snowden, Alison, 35, 41, 42, 68, 69, 71 Stern, Tony, 42 Snowman, The, 35 Stone, Matt, 7, 155 So Graham Norton, 37 Stone, Norman, 149 soap-opera, 58, 79 Stott, Andrew, 147, 158 social, 19, 66, 142, 152 Stressed Eric, 39, 71–75, 77, 135, 171, commentary, 33–34 178 order, 63, 74, 113 Stripperella, 170 realism, 67, 68 stupidity, 129–130 Socialism, 13, 36, 29, 99, 139, 176 sub-narrative, 16, 19, 22, 63, 122 society, 3–4, 9, 11, 13–14, 19, 22, 34, subtext, 112, 121 44, 56, 58, 62–63, 66, 74, 79, 83, suburban, 58–59, 61–62, 68, 70, 74, 99, 100, 105, 107–108, 115, 122, 185 124, 128, 133, 137, 143–144, 150, subversion, 15, 19, 49, 57, 58, 79 155–157, 160, 163, 169, 176, 183, subvert, 5, 26, 32, 35, 80, 83, 128, 186 136, 165 American, 62 Sultan of Brunei, 160 British, 13, 107, 122, 186 Summer, Dorothy, 110 Capitalist/consumerist, 9, 79, 108 Sunbeam, 31 contemporary, 56, 144, 160 super-ego, 125 multicultural, 34, 176 superhero, 162 socio/political, 2, 13, 52, 56, 66, 85, superiority, 64, 97, 104, 113, 128, 132, 99, 154, 173, 177, 184 135, 140, 151 Soho Crowd, The, 25, 27 Support Your Local Poet, 149 sophistication, 5, 6, 16, 49 Surogat, 27 South Park, 6, 7, 9, 15, 41, 51, 52, 59, Surprise Package, 25 101, 134, 141, 147, 154, 155–157, surrealism, 139, 153 159, 164, 169, 170, 177 surrogate family, 60, 78 Southern (regional), 150, 162 Sussman, Chris, 92 Southern England, 150 Sweet Disaster, 35, 182 ‘Space Argument’, 137 Swift, Jonathan, 150, 151, 158 Spare a Thought, 149 Swiss Toni, 91 Spargo, Nick, 26, 44, 50 symbolic, 15, 36, 42, 44, 55, 58, 62, speech, 64, 99, 117, 127–128 81, 98, 132, 144, 155, 171 Speight, Johnny, 57 symbolism, 149 Spencer, Graham, 161–162 symmetry, 79 Spike TV, 162 spiritual, 62, 74, 123, 149–150, 156, taboo, 14, 16, 52, 72, 87, 101, 122, 160 134 Spitting Image, 153 Tale of Tub, A, 150 Index 229 talk show, 55 Ten Commandments, 150 Talkback Thames, 90, 179 terrorism, 18, 106–108 Tarbuck, Jimmy, 95 terrorist, 87, 102–103, 105, 107 Taschen, 117 Terry and June, 69, 168 Tashlin, Frank, 49 TF1, 145 taste, 2, 9, 11, 14–17, 22, 40, 51, 52, TFI Friday, 135 69, 73, 98, 102, 107, 145, 147, Thatcher, Margaret, 66, 154 172, 184 Thatcherism, 13 Tate Gallery, 182 Thatcherite, 66, 81, 95, 100, 101, 176 Taylor, Cheryl, 8 theatrical, 24, 118, 121, 127, 168, 180, Taylor, Dick, 25 187 Taylor, Mark, 8 thematic, 14, 17–18, 20, 21, 35, 53, technology, 47, 150, 178, 180 64, 79, 116, 133, 155, 168, 175, Tee, Sue, 149 177 Telemagination, 8 theme, 9, 16–18, 22, 33, 35, 40, 42, Teletoon, 145 49, 51, 61, 62, 79, 83, 103, 108, television, 1, 2, 4–8, 10, 12, 14–18, 111, 121, 152, 155, 159, 186 21–24, 27–29, 33–38, 42, 44, 46, theological, 161 49, 51–53, 55–63, 56, 60, 70, They Think It’s All Over, 135 75, 78, 83–86, 89–95, 97, 101, Thief of Baghdad, The, 25 103, 105, 109, 113, 116–117, Third World, 100 119–121, 127–130, 134, 136, Thomas, Rhys, 158 139–143, 145, 148–149, 153–155, Thompson, Ben, 14, 46, 65, 161, 167 157, 159, 164, 166–175, 177–180, Thompson, Harry, 16, 46, 47, 52, 182–187 85, 86–87, 92–94, 96–103, 106, animation, 1, 2, 4, 7, 8, 1, 12, 15, 108–109, 111, 113, 153, 154, 186, 22, 28, 29, 38, 51, 55, 83, 93, 121, 187 143, 145,159,170, 174, 175, 178, Thompson, John, 16, 41 17, 182, 183, 184 Thunderbirds, 172 comedy, 1, 11, 14–15, 17–18, 22, 36, Tiger Aspect, 45 44, 47, 52, 55–56, 61, 64–65, 69, Till Death Us Do Part, 57, 61, 88 78, 86, 90, 95, 109, 127, 129–130, Time Trumpet, 117, 180 136, 142, 148, 157, 167–168, 173, Tipton, 107 187 Tipton Three, The, 102 commercial television, 22, 121, 175 Titanus Films, 25 commercials, 24 titles, 8, 24–26, 33, 70, 138 culture and family, 4, 9, 18, 56–69, Tittybangbang, 186 75, 78, 81–85, 132, 156 ‘Tom and Jerry’, 50, 81 industry, 5, 178 Toonzone, 45 network, 1, 5, 12, 55, 63, 91, 145, Tories, 53 155, 164, 168 Toronto, 69 studio, 70 Tosh, John, 4 terrestrial, 3, 5, 14, 29, 37, 40, 46, totality, 112, 121, 151, 156, 165 68, 89, 177, 181 totem, 9, 56, 60–61, 65, 83, 105, 115, US television, 12 132, 144, 150 template, 24, 33, 57, 73–74, 79, 90, trafficiking, 101 134, 153, 167 tragedy, 127 temporal, 2, 10–12, 19, 31, 63, 151, tragic hero, 76 152, 162, 165, 173 transformation, 10, 113, 132, 183 230 Index transformed, 55, 75, 183 viral advertising, 117, 119, 172 transgression, 51, 98, 173 visceral, 15, 48, 154 transsexual, 172 Vision On, 27 ‘Trapped’, 144, 161 Vision, The, 149 Trickfilm, 25 vivisection, 79 Triplettes de Belleville, les, 159 Viz, 122, 128, 186 Tripping the Rift, 170 Vukotić, Dušan, 27 Trouble with Mummy, The, 71 Trumpton, 172 Wadja, Nina, 109 Tuck, Lucy, 14, 77, 83, 88, 127 Wait ‘Til Your Father Gets Home, 187 Tueth, Michael V., 57, 62 Walker, Jim, 23 TV animation, 1, 4, 7, 13, 18–19, 21, Walker, Nancy, 136–139 24, 44, 49–50, 56, 59–60, 63, 65, ‘Wallace and Gromit’, 33, 150 93, 128, 134–135, 155, 165, 170, Wallace and Gromit: Curse of the 172, 175, 178, 183, 200 WereRabbit, 150 TV Cartoons, 25 Walliams, David, 92 TW3, 153 Walsh, Darren, 47, 185 Two Pints of Lager..., 186 Walters, Julie, 110 Two Ronnies, The, 128 War Story, 67 Tyler-Moore, Bert, 92 Ward, Paul, 19, 20, 149, 153 typology, 3, 44, 149 Warner Brothers, 10–11, 27, 48, 171 Warren United, 180 UK Play, 72 Watch With Mother, 27 Ulmer, Edgar, 174 Watership Down, 79 under class, 126, 127 Watson, Karen, 35 understatement, 69, 127 Wax, Ruby, 145 United Productions, 145 Weekend (film), 176 unity, 31, 75, 157, 161 Wells, Paul, 3, 15–16, 18, 23–24, 48, Up the Women!, 167 63, 79, 93, 125, 128, 130, 134, UPA (United Productions of America), 154, 163, 170, 174, 181 26, 27, 121, 128 West, Brian, 79 up-talk, 126 West Bromwich, 87, 102–103 upward inflection, 126 Wheatley, Ben, 117, 126, 180 urban, 41, 74, 88, 89, 123, 128, 185 Where the Wind Blows, 35 Whiskas, 31 Vancouver, 69 Whitby Secondary School, 149 verisimilitude, 72, 74 white (description), 74 vernacular, 136 White (ethnicity), 59, 62, 71, 87, 92, Vester, Paul, 31 97–105, 184 VHS, 29, 186 Whitehouse, Paul, 36, 186 Vic Reeves Big Night Out, 64, 176 Who Framed Roger Rabbit, 11, 25 vicar, 148–150 Who I am and what I want, 186 ‘Vicar of Bray’, 150 Whybray, Adam, 2 Vicar of Dibley, The, 148 Williams, Richard, 25–26 Vicious, 167 Will-O the Wisp, 50 Victoria Wood As Seen on TV, 110 Winona Matthews, 81 vielle dame et les pigeons, La, 37 Wonderland: The Trouble with Love and violence, 118, 133, 136, 139, 181 Sex, 180–181 Violinist, The, 27 Wood, Tat, 172 Index 231

Wood, Tim, 30 Yankee Doodle Mouse, 36 Wood, Victoria, 42, 109–110, 112, Yellow Submarine, 25 Word, The, 36 Yentob, Alan, 40 Work, 126, 137 ‘Yogi Bear’, 80 working class, 57, 95, 113, 126, 128, Young Ones, The, 95, 176, 187 133, 135, 136 youth audience, 46 World War Two, 24 youth identity, 106 Wright, Camilla, 123 YouTube, 15, 182 Wrong Door, The, 117, 180, 186 Wrong Trousers, The, 37 Zemeckis, Robert, 11