Whispers – Autumn 2011
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
A Sheffield Hallam University Thesis
Reflections on UK Comedy’s Glass Ceiling: Stand-Up Comedy and Contemporary Feminisms TOMSETT, Eleanor Louise Available from the Sheffield Hallam University Research Archive (SHURA) at: http://shura.shu.ac.uk/26442/ A Sheffield Hallam University thesis This thesis is protected by copyright which belongs to the author. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. Please visit http://shura.shu.ac.uk/26442/ and http://shura.shu.ac.uk/information.html for further details about copyright and re-use permissions. Reflections on UK Comedy’s Glass Ceiling: Stand-up Comedy and Contemporary Feminisms Eleanor Louise Tomsett A thesis submitted in partial fulfilment of the requirements of Sheffield Hallam University for the degree of Doctor of Philosophy October 2019 Candidate declaration: I hereby declare that: 1. I have not been enrolled for another award of the University, or other academic or professional organisation, whilst undertaking my research degree. 2. None of the material contained in the thesis has been used in any other submission for an academic award. 3. I am aware of and understand the University's policy on plagiarism and certify that this thesis is my own work. The use of all published or other sources of material consulted have been properly and fully acKnowledged. 4. The worK undertaKen towards the thesis has been conducted in accordance with the SHU Principles of Integrity in Research and the SHU Research Ethics Policy. -
Racist Violence in the United Kingdom
RACIST VIOLENCE IN THE UNITED KINGDOM Human Rights Watch/Helsinki Human Rights Watch New York AAA Washington AAA London AAA Brussels Copyright 8 April 1997 by Human Rights Watch. All rights reserved. Printed in the United States of America. ISBN 1-56432-202-5 Library of Congress Catalog Card Number: 96-77750 Addresses for Human Rights Watch 485 Fifth Avenue, New York, NY 10017-6104 Tel: (212) 972-8400, Fax: (212) 972-0905, E-mail: [email protected] 1522 K Street, N.W., #910, Washington, DC 20005-1202 Tel: (202) 371-6592, Fax: (202) 371-0124, E-mail: [email protected] 33 Islington High Street, N1 9LH London, UK Tel: (171) 713-1995, Fax: (171) 713-1800, E-mail: [email protected] 15 Rue Van Campenhout, 1000 Brussels, Belgium Tel: (2) 732-2009, Fax: (2) 732-0471, E-mail: [email protected] Web Site Address: http://www.hrw.org Gopher Address://gopher.humanrights.org:5000/11/int/hrw Listserv address: To subscribe to the list, send an e-mail message to [email protected] with Asubscribe hrw-news@ in the body of the message (leave the subject line blank). HUMAN RIGHTS WATCH Human Rights Watch conducts regular, systematic investigations of human rights abuses in some seventy countries around the world. Our reputation for timely, reliable disclosures has made us an essential source of information for those concerned with human rights. We address the human rights practices of governments of all political stripes, of all geopolitical alignments, and of all ethnic and religious persuasions. Human Rights Watch defends freedom of thought and expression, due process and equal protection of the law, and a vigorous civil society; we document and denounce murders, disappearances, torture, arbitrary imprisonment, discrimination, and other abuses of internationally recognized human rights. -
BOB DOBSON – LANCASHIRE LISTS ‘Acorns’ 3 Staining Rise Staining Blackpool FY3 0BU Tel 01253 886103 Email: [email protected]
BOB DOBSON – LANCASHIRE LISTS ‘Acorns’ 3 Staining Rise Staining Blackpool FY3 0BU Tel 01253 886103 Email: [email protected] A CATALOGUE of SECONDHAND LANCASHIRE BOOKS FOR ORDERING PURPOSES PLEASE REFER TO THIS . CATALOGUE AS ‘LJ’ (Updated on 9. 11. 2020) All books in this catalogue are in good secondhand condition with major faults stated and minor ones ignored. Any book found to be poorer than described may be returned at my expense. My integrity is your guarantee. All secondhand items are sent ‘on approval’ to ensure the customer’s satisfaction before payment is made. Postage on these is extra to the stated price, so please do not send payment with order for these secondhand books I( want you to be satisfied with them before paying..Postage will not exceed £5 to a UK address. Pay by cheque or bank transfer. I do not accept card payments. I am preparing to ‘sell up’,and to this end, I offer at least 30% off the stated price to those who will call to see my stock. To those wanting books to be posted, I make the same offer if the order without that reduction comes to £40. Postage to a UK address will still be capped @ £5 If you prefer not to receive any future issues of this catalogue, please inform me so that I can delete your name from my mailing list A few abbreviations have been used :- PENB Published Essay Newly Bound – an essay taken from a learned journal , newly bound in library cloth dw dustwrapper, or dustjacket (nd) date of publication not known. -
British Comedy, Global Resistance: Russell Brand, Charlie Brooker
British Comedy, Global Resistance: Russell Brand, Charlie Brooker, and Stewart Lee (Forthcoming European Journal of International Relations) Dr James Brassett Introduction: Satirical Market Subjects? An interesting facet of the austerity period in mainstream British politics has been the rise (or return) to prominence of an apparently radical set of satirists.1 Comedians like Russell Brand, Charlie Brooker and Stewart Lee have consolidated already strong careers with a new tranche of material that meets a widespread public mood of disdain for the failure and excess of ‘global capitalism’. This can be seen through Brand’s use of tropes of revolution in his Messiah Complex and Paxman Interview, Brooker’s various subversions of the media-commodity nexus in Screenwipe, and Lee’s regular Guardian commentaries on the instrumentalisation of the arts and social critique. While radical comedy is by no means new, it has previously been associated with a punk/socialist fringe, whereas the current batch seems to occupy a place within the acceptable mainstream of British society: BBC programs, Guardian columns, sell out tours, etc. Perhaps a telling indication of the ascendancy of these ‘radical’ comedians has been the growing incidence of broadsheet articles and academic blogs designed to ‘clip their wings’. For example, Matt Flinders has argued that Russell Brand’s move to ‘serious politics’ is undermined by a general decline in the moral power of satire: 1 Numerous people have read and commented on this paper. In particular, I thank Erzsebet Strausz, Lisa Tilley, Madeleine Fagan, Kyle Grayson, Roland Bleiker and Nick Vaughan-Williams. The idea for the paper arose in a series of enjoyable discussions with Alex Sutton and Juanita Elias and I am grateful for their encouragement to develop these ideas. -
The Performance of Place and Comedy Explored Through Postdramatic and Popular Forms with Reference to the Staging of 'A Good Neet Aht'
THE PERFORMANCE OF PLACE AND COMEDY EXPLORED THROUGH POSTDRAMATIC AND POPULAR FORMS WITH REFERENCE TO THE STAGING OF 'A GOOD NEET AHT' Philip Green University of Salford School of Arts and Media Submitted in partial fulfilment of the requirements of the degree of Doctorate of Philosophy (PhD) 2020 Table of contents i List of tables vi List if images and photographs vii Acknowledgements viii Abstract ix Curtain up: The journey begins 1 1. Beginnings: mapping out the journey 2 1.1 Aims and objectives 2 1.2 Autoethnography 3 1.3 Place 5 1.4 Performance: the postdramatic and the popular 7 1.4.1 Postdramatic 8 1.4.1.1 A contested landscape 8 1.4.1.2 Panorama of the postdramatic 8 1.4.2 Popular performance 9 1.5 Structure 11 1.5.1 Chapter 2: Planning the journey’s route: Methodology 11 1.5.2 Chapter 3: Surveying the landscape for the journey ahead: place, class, performance 11 1.5.3 Chapter 4: The journey into performance: key concepts in the analysis of performing place and comedy 12 1.5.4 Chapter 5: An audience of travelling companions: The iterations of A Good Neet Aht and audience response 12 1.5.5 Chapter 6: Arrivals and Departures: Conclusion 12 1.6 Gaps in knowledge and original contribution 13 1.6.1 Northern stereotypes and stand-up comedy 13 1.6.2 Original contribution 13 Entr’acte 1: 1, Clifton Road, Sharlston 14 2. Planning the journey’s route: Methodology 15 2.1 Autoethnography 15 2.1.1 Autoethnography and place 15 2.1.2 Performative-I 16 2.1.3 Performative-I persona and dialogical performance 17 2.2 Geographical space in the studio and the reading of maps 18 2.3 Popular performance and the comic-I 22 2.3.1 Reading stand-up 23 i 2.3.1.1 Kowzan and analysis of the ‘mother in law and the shark’ 27 2.3.1.2 Pavis and ‘blowing raspberries’ 28 2.4 Destinations: Iterations of A Good Neet Aht 32 Entr’acte 2: 36, Clifton Road, Sharlston 35 3. -
1 Introduction 2 Football, 'Race' and the Forging of British Identity
Notes 1 Introduction 1. For an opposing view of the changing composition of crowds, see Malcolm, Jones and Waddington (2000). 2. The interviews were either semi-structured or unstructured and conducted by one or both of the authors. Some survey work, of fanzine editors and of football club safety officers undertaken in the period 1995–96 also informs this work. The authors would like to acknowledge with thanks the work of Mark Carver, who participated in the formative part of this research. 3. From an interview conducted for this book, May 1998. 4. Excerpt from an interview conducted for this volume, January 1998. 5. Interview undertaken for this book, November 1997. 6. From an interview for this work, August 1997. 7. Conservative leader William Hague, in a speech to the Centre for Policy Studies in 1999 spoke of an ‘emerging English consciousness’ that was a ‘ticking time bomb’ under the constitution of the United Kingdom. Interestingly, he viewed the manifestation of the widespread painting of the St George Cross on the faces of England football supporters as evidence of this new nationalism (Shrimsley, 1999). 2 Football, ‘Race’ and the Forging of British Identity 8. Collins, who had the ‘affectionate’ nickname of ‘Darkie’, took Rochdale to the League Cup Final in 1962, losing 4–0 on aggregate to Norwich City. 9. Interview with Jeff Simons, November 1997. 10. Interview with Brendon Batson, February 1998. 11. Interview with Cyrille Regis, February 1998. 12. Ibid. 13. The Guardian, 26 January 1979. 14. Dave Bennett of Manchester City and Garth Crooks and Chris Houghton of Tottenham. -
British Cult Comedy.Indb 215 16/8/06 12:34:16 Pm Cult Comedy Club up the Creek in Greenwich, Southeast London
Geography Lessons: comedy around Britain British Cult Comedy.indb 215 16/8/06 12:34:16 pm Cult comedy club Up The Creek in Greenwich, southeast London British Cult Comedy.indb 216 16/8/06 12:34:17 pm Geography Lessons: comedy around Britain Comedy just wouldn’t be comedy without local roots. And that is why, in this chapter, we take you on a tour of British comedy from Cornwall to the Scottish Highlands, visiting local comedic landmarks, clubs and festivals. Comedy is prey to the same homogenizing forces Do Part, was successfully re-created in America, that have made Starbucks globally ubiquitous but Germany and Israel, suggesting that comedy that humour doesn’t travel so easily or predictably as touches, however lightly, on universal truths can cappuccino. In the past, slang, regional vocabu- be exported around the world. lary, accents and local knowledge have often A comic’s roots, cherished or spurned, are limited a comic’s appeal, explaining why such crucial to their humour. The small screen has acts as George Formby and Tommy Trinder never made it easier for contemporary acts – nota- quite transcended the north/south divide. Yet a bly Johnny Vegas, Peter Kay and Ben Elton character as localized as Alf Garnett, the charis- – to achieve national recognition while retain- matic Cockney bigot in the sitcom Till Death Us ing a regional identity. Since the 1980s, a more 217 British Cult Comedy.indb 217 16/8/06 12:34:17 pm GEOGRapHY LESSONS: COmedY arOUND brItaIN adventurous approach to sitcoms has meant that theme to British comedy, it was that, as Linda shows such as The Royle Family have had a much Smith told him: “A lot of comics come from more authentic local flavour than most of their the edge of nowhere.” Smith often argued with predecessors. -
Comedy and Distinction: the Cultural Currency of a ‘Good’ Sense of Humour
Sam Friedman Comedy and distinction: the cultural currency of a ‘good’ sense of humour Book (Accepted Version) Original citation: Comedy and distinction: the cultural currency of a ‘good’ sense of humour, Abingdon, Oxon: Routledge, 2014, 228 pages. © 2017 The Author This version available at: http://eprints.lse.ac.uk/59932/ Available in LSE Research Online: September 2017 LSE has developed LSE Research Online so that users may access research output of the School. Copyright © and Moral Rights for the papers on this site are retained by the individual authors and/or other copyright owners. Users may download and/or print one copy of any article(s) in LSE Research Online to facilitate their private study or for non-commercial research. You may not engage in further distribution of the material or use it for any profit-making activities or any commercial gain. You may freely distribute the URL (http://eprints.lse.ac.uk) of the LSE Research Online website. This document is the author’s submitted version of the book section. There may be differences between this version and the published version. You are advised to consult the publisher’s version if you wish to cite from it. Introduction: Funny to Whom? In January 2011, the scheduling plans of Britain’s biggest TV station, BBC 1, were leaked to the press. After the recent success of BBC comedies such as Outnumbered and My Family, BBC1 Controller Danny Cohen apparently told his team of producers that BBC Comedy was becoming ‘too middle class’, and failing in its responsibility to appeal to working class viewers (Gammell, 2011; Revoir, 2011; Leith, 2011). -
Rape Jokes Aren't Funny: the Mainstreaming of Rape Jokes In
Rape Jokes aren’t funny: The mainstreaming of Rape Jokes in contemporary newspaper discourse Forthcoming in Feminist Media Studies (accepted 29th Jan, 2019) Sharon Lockyer Department of Social and Political Sciences College of Business, Arts and Social Sciences Brunel University London [email protected] Heather Savigny (corresponding author) Leicester Media School De Montfort University Leicester LE1 9BH [email protected] 1 Biographical Note Heather Savigny is Professor of Gender, Media and Politics at Leicester Media School, de Montfort University, UK. She is author of over 40 articles and book chapters and her work has appeared in journals such as Gender, Work & Organisation; Media, Culture & Society and Feminist Media Studies. She is author/editor of 7 books and is currently working on an interdisciplinary monograph ‘Cultural Sexism’ (Bristol University Press). She is currently PI on a Leverhulme/BA grant for her research in to depictions of male sexual violence in popular culture. Sharon Lockyer is the founding director of the Centre for Comedy Studies Research (CCSR) and a Senior Lecturer in Sociology and Communications in the Department of Social and Political Sciences at Brunel University London, UK. Her research interests include critical comedy studies, identity politics and comic media representations and the sociology of popular culture. She is editor of Reading Little Britain: Comedy Matters on Contemporary Television (I.B.Tauris 2010), co-editor of Beyond a Joke: The Limits of Humour (Palgrave Macmillan 2005, 2009), Controversial Images: Media Representations on the Edge (Palgrave Macmillan 2013) and Screening the Undead: Vampires and Zombies in Film and Television (I.B.Tauris 2014) and has published in a range of academic journals. -
·-Newsletter 72 June 2001
THE NORTH - WEST GE()JlGE FORMBY Vol. 5 No.12 ·-Newsletter 72 June 2001 **********************" . ..... "·>'! .. * ' * * * * * * * * * * * * * Seventy Two * Months Old And Still Alive and Active. Specially Produced for George Formby Fans by Stan Evans, The Hollies, 19 Hall Nook, Penketh, Warrington, Cheshire W A5 2HN Tel or Fax 01925 727102 -1.- Welcome to Newsletter No.72 and Low and Behold we are 6 years old with this issue. It's hard to believe that we have been pro ducing our little Newsletter for so long with out a hitch. Never once have we been stuck for something to fill the pages with. The North-West Newsletter was the inspiration of the late Walter Cronshaw who, way back in 1995, ;,. hounded me every week at the meetings to launch the ~ki'h r Newsletter. At first I refused, thinking it would '"~\li' have an effect on the GFS Vellum, but Walter was adamant and wouldn't take no for an answer. Every meeting I ducked and dived from him because I knew that he would be asking the same question; "When are you going to launch a N.W. Newsletter?" Walter Cronshaw-he could sell sand to the Arabs!!! TRAPPED!!! - At a Sale meeting I walked on to the fire escape balcony to get some fresh air-and to keep off Walter's war path-and who should be on the balcony but Walter with John Broadhead, and I was trapped between them. So that I couldn't escape Walter immediately shut the door behind me and I was well and truly hooked!!! The first thing I noticed was that Walter didn't have the usual sparkle in his eyes. -
Raymond Campbell
Raymond Campbell School of Arts and Digital Industries University of East London Title: Comic Cultures: commerce, aesthetics and the politics of stand-up performance in the UK 1979 to 1992 Thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy. October 2016 Abstract This thesis represents the first Cultural Studies analysis of the 1980s entertainment form commonly known as ‘alternative comedy’, which emerged against the backdrop of social, industrial and political unrest. However, the use of the term ‘alternative comedy’ has obscured a diverse movement that contained many different strands and tendencies, which included punk poets, street performers, chansonniers and improvising double acts. This thesis goes some way to addressing the complex nature of this entertainment space by recognising the subtle but important differences between New Variety and alternative cabaret. Alternative cabaret was both a movement and an entertainment genre, while New Variety grew out of CAST’s theatre work and was constructed in opposition to Tony Allen’s and Alexei Sayle’s Alternative Cabaret performance collective. Taken together, alternative cabaret and New Variety comprise one part of the alternative space that also includes post-punk music, and were the cultural expressions of the 1980s countercultural milieu. Alternative cabaret and New Variety were the products of cultural change. Each genre has its roots in the countercultural movements of the 1960s and 1970s and it was the knowledge that agents had acquired through participation in these movements that helped to shape their political-aesthetic dispositions or their weltanschauunng. As well as political activism, rock music influenced performers and promoters and contributed much to their art. -
Download from Itunes
Kent Academic Repository Full text document (pdf) Citation for published version Wassell, Ashley Steven (2021) Operation IRIS: How Commercialisation has Impacted Creativity with British Stand-Up Comedy. Master of Arts by Research (MARes) thesis, University of Kent,. DOI Link to record in KAR https://kar.kent.ac.uk/88279/ Document Version UNSPECIFIED Copyright & reuse Content in the Kent Academic Repository is made available for research purposes. Unless otherwise stated all content is protected by copyright and in the absence of an open licence (eg Creative Commons), permissions for further reuse of content should be sought from the publisher, author or other copyright holder. Versions of research The version in the Kent Academic Repository may differ from the final published version. Users are advised to check http://kar.kent.ac.uk for the status of the paper. Users should always cite the published version of record. Enquiries For any further enquiries regarding the licence status of this document, please contact: [email protected] If you believe this document infringes copyright then please contact the KAR admin team with the take-down information provided at http://kar.kent.ac.uk/contact.html OPERATION IRIS: How Commercialisation Has Impacted Creativity Within British Stand-Up Comedy By Ashley Steven Wassell Submitted in fulfilment of the degree of Master of Arts School of Arts University of Kent September 2020 Word Count: 43995 0 Acknowledgements Huge thanks go to my project supervisor Oliver Double, for his patience, time and encyclopaedic knowledge of stand-up comedy. I’ve learned more from the tangents our meetings take than I ever did at school! Thanks also go to my 2nd supervisor Sophie Quirk, for her invaluable feedback at final draft stage.