Titlebook: British TV Comedies; Cultural Concepts, C Jürgen Kamm,Birgit Neumann Book 2016 The Editor(s) (if applicable) and The Author(s) 2016 Televis

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Konzeptionelle Grundlagen des Marketing,liday and Comic Relief Specials between 2004 and 2015 — as well as its scheduling around Christmas and Easter and for Red Nose Day have turned each new episode into something of an event, simultaneously drawing on and reinforcing the show’s persistent popularity and ‘significant audience ratings’ (Mills, . 12).

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: ‘Everybody Out!’ Gender, Politics and Class on the Factory Floorrom 1977 to 1978, broadcast on Sunday evenings. This chapter concerns .’s first and most notable incarnation, although the reimagining of the series for the late 1970s will be considered towards the end when examining the further development of the series.

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The Uses of History in y, the series’ general characteristics as a sitcom will be briefly sketched. The last and longest part will analyse and contextualise one specific episode from the third season, ‘Dish and Dishonesty’, with an emphasis on the relationship between the past and the present.

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Introduction: The Aesthetics and Politics of British TV Comedyic broadcasting, TV comedy in the UK enjoys a tradition and success probably unrivalled anywhere. Firmly embedded in the British media culture and shaped by the specific dynamics of the British television industry, British TV comedies are immensely powerful cultural media, which have developed disti

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‘Your Little Game’: Myth and War in rry and David Croft, who both had served either in the Home Guard or in the Royal Artillery. ., which was only intended as a six-episode series in 1968, ultimately developed into nine complete series, totalling 80 episodes (the last 68 in colour) and three Christmas Specials when it concluded in 197

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‘The Struggle of Class against Class is a What Struggle?’ , and its Politicsfied: left-wing political groups, religious fanatics, ‘trade-unionists and guerrilla organizations’ (Wilmut 250). At the same time, in spite of bans and protest by religious institutions in many countries, the Pythons insisted that the film was not directed against Jesus Christ or Christianity (Mich