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André Leite Coelho, and Sol Alonso Romera
Hypothesis Historia Periodical 2021, 1, 1—21 Article
What if at the Monty Python Flying Circus 2
had been preferred the use of the ‘long take’
technique? Exploring alternative history as a
research tool for Scriptwriting and Television.
André Leite Coelho1, a, and Sol Alonso Romera2
1
| Programa de Doutoramento en Creatividade e Innovación Social e Sostible, University of Vigo, Spain
2
| Drawing Department, Faculty of Fine Arts, University of Vigo, Spain
a
| Author to whom any correspondence should be addressed: andre.coelho@mail.com
Received: 27 January 2021 Abstract. This paper aims to explore the idea of narrative continuity at the
Revised: 29 April 2021 Monty Python Flying Circus television series, while understanding what might
Accepted: 01 June 2021 have occurred in the series and audiovisual comedies had they used the long
Published: 8 July 2021 take technique to connect comedy sketches, thus imposing a non-fragment-
ed narrative. This research first addresses the characterization of this iconic
dx.doi.org/10.10789 TV show and the long take audiovisual technique, as a means of transition
Accepted manuscript throughout narratives, where several examples from cinema and television are
considered from classics to contemporary works, alongside theoretical defini-
tions. Secondly, different humourists inspired by the Flying Circus are presented,
inspecting afterward the need for comedy to cut to a new beginning after its
inevitable ending, considering the ‘cut to’ and the long take techniques. Next,
this paper explores, through the use of alternative history as a research tool, the
outcomes of the counterfactual use of the long take technique at a selected Flying
Circus episode as a case study, finishing with perspectives towards the future of
a speculative continuity in comedy.
Keywords: Alternative History; Monty Python Flying Circus; Humor; Long take
technique; Sketch Transition; Fragmented Audiovisual Narrative; ContinuityHypothesis Historia Periodical 2021, 1, 1—21
1. Introduction 3
Graham Chapman, Terry Jones, Eric Idle, John brings to discuss what may have been the con-
Cleese, Terry Gilliam, and Michael Palin to- sequences of using at the Flying Circus the long-
gether are globally and unanimously acclaimed take technique as the key transition in-between
to be the fathers of modern British comedy, by sketches, both aesthetically and narratively, thus
having founded the group of comedians Monty provoking a linear uninterrupted humor narra-
Python, authoring, before three worldwide suc- tive. To achieve so, the authors resource the con-
cessful feature films, the famous television se- cept of Alternative History as a tool to explore
ries Flying Circus. what consequences might have occurred consid-
Its sketch format and mainly its original ering a particular Flying Circus episode as a case
scriptwriting made this comedy troupe famous, study and also generally in television comedy,
setting the landmarks of what comedy is still to- where some examples are shown. This investiga-
day. Their legacy and influence on comedy and tion continues pointing out, as much as possible,
culture more generally remain profound [1]. perspectives regarding the development of humor
Ever since global subsequent milestones as far non-fragmented narratives in the future.
as humor is concerned were set free to be aired Throughout the following second section is
by different television networks: from the United presented an overview of this television show
Kingdom, like The Young Ones or more recently and the ‘long take’ technique, as well as distin-
Little Britain, from the United States of America, guished influences. In section three, the ending
since Cheers to Seinfeld, or even Portugal, with the in humor and its inevitable new beginnings with-
Tal Canal show from Herman José, aired by RTP 1 in a narrative are examined. Then materials and
in the early eighties. methods are presented. After in section five, a
Besides these narratives’ dark cold comedy case study is presented applying the preference
style, another common characteristic is its idea for the ‘long take’ technique, and being alongside
of fragmented continuity, a final editing prefer- with it presented other sequential transitions and
ence early defined by scriptwriters originating their speculative impact in the history of comedy
breaking transitions from one sketch to another narratives. This paper finishes with possible sug-
through the use of the ‘cut to’ classic technique as gestions and recommendations towards a future
a means to the ending. in comedy where the idea of continuity prevails.
On the Monty Python Flying Circus television se-
ries, the comedy narrative is generally taken into 2. Background
the most absurd logical point possible, to reach a 2.1. The Flying Circus
sudden ending which forces spectators to inevita- The first season of the Monty Python Flying Circus,
bly feel the need to laugh as a sign of relief, thus containing thirteen half-hour programs, began
accomplishing the show its initial comedy goals. airing on BBC television on October 5, 1969. The
As such, cutting the climax to another comedy be- second and third seasons also contained thirteen
ginning was the way to continue throughout the programs of the same length as the first, whereas
episode by fragmenting its narrative. the fourth contained only six programs, bringing
Despite this preference having proved to be the total episodes to forty-five. The final pro-
of enormous success, with countless followers gram was aired on December 5, 1974 [2]. The en-
and vast audiences worldwide, the present work tire series was conceived, written, and performedHypothesis Historia Periodical 2021, 1, 1—21
by the authors stated above, and mainly directed to the historian Tom Nairn, that was the break- 4
by Ian MacNaughton, being animations, one of up of Britain, migrating from a society of con-
the distinctive characteristics of this show, and a sensus to one of increasing, if not threatening,
later topic on this paper, credited to Terry Gilliam, diversity [6]. This specific cultural moment was
the only one American of this troupe. intrinsically relevant for the success of the Fly-
The Flying Circus underwent alterations ing Circus, breaking away from the early decades’
during the four seasons, experimenting with social commodity.
different uses of comedy within their type of According to Michael Palin, “there was no
comedy, often identified as a stream of con- predecessor for what we were doing. We were
sciousness, a narrative method that attempts being different,” [7] admitting Monty Python Fly-
to depict the multitudinous thoughts and feel- ing Circus’ unorthodox comedy, its bizarre transi-
ings which pass through the mind of a narrator tions from one sketch to another, and the absurd
or creator [3]. This surreal perspective is gen- premises by merging silliness with intellectual
erally characterized by the normal inversion concepts. As Brian Boyd states, the Flying Circus
of linguistic categories, current distortion of founded the idea of dropping punchlines at the
body language, or twisting the general percep- end of sketches, developing a more stream of con-
tion of stereotyped people, places, institutions, sciousness, absurdist, approach to TV comedy [8].
common knowledge, or events. The show chal- Therefore, comedy sketches were the play-
lenged traditional borders of gender, race, au- ground of a new idea in comedy. The succession
thority, social class, and national and regional of sketches, priory tested by David Frost’s, At last,
identity [2], deconstructing the establishment the 1948 show, created by John Cleese and Graham
by establishing a new narrative order. Accord- Chapman, along with Marty Feldman and Tim
ing to most professionals that report narra- Brooke-Taylor, and at Do not adjust your tv set, co-
tives to change as they are not pre-determined starred by Eric Idle, Michael Palin, Terry Jones,
[4], this process seemed rather be an ongoing and three additional scriptwriters, both compiled
writing process, as deconstruction itself doesn’t for the DVD collections shown of figure 1, ap-
consist of a set of theorems, axioms, tools, rules, peared to be the kindergarten of future comedy
techniques, or methods [5]. Television, which schools [9]. Being transitions from one sketch to
seemed to be their preferred comedy subject, another its bell ring, which sounded different for
far from other original themes as law, sexuality, the first time, by abandoning punch lines and
politics, classic literature, psychiatry, language, conclusions, allowing a fragmented narrative set
philosophy, or world history, was innovatively free during the entire episode.
used at the Flying Circus bringing to the show Firmly opposed to going out on drastic fin-
increasing popularity. Their original diverse ishings, the Pythons would either abruptly cut to
defiance of television programming as news, in- another sketch or to a Terry Gilliam’s original
terviews, talk, and children’s shows or, sitcoms, animation, freeing other future groups from
challenged the television status quo as it was the clean curtain-drop endings. ‘The Restaurant
perceived at that time. Television was a medium Sketch’, in which a kitchen staff is driven to sui-
that was established, particularly by BBC, a new cide over a dirty fork, is one of the few sketches
British social order, which was under a broadly that end on a joke (‘’Good thing I didn’t tell them
acknowledged moment of transition. According about the dirty knife!’’) [10].Hypothesis Historia Periodical 2021, 1, 1—21
5
acters do one thing, then another, and the writ-
er’s recounting of that sequence creates the nar-
rative. At its simplest level, a narrative is just a
chronology of events [14]. Alongside this aesthetic
and technical conditions of the long take, it has
been also a matter of theoretical research, hav-
ing evolved in a not always consensual manner.
In the middle of the last century André Bazin, the
magazine Cahiers du Cinéma co-founder, became
interested in this problem by defining a sequence
shot as the filming of a continuous action dur-
ing a long period, in which the camera performs
a sequential movement, without the occurrence
of cuts and in just one take. The same author ar-
gued that this resource was closely related to the
notion of cinematographic realism since it avoids
the future of reality that occurs precisely in the
editing phase [15].
On the other hand, Jean-Louis Cornoli af-
firmed that the sequence-plan, one of the syn-
Figure 1 – One of the authors’ personal DVD collections of ‘At onyms of the long take, was decidedly more an
last, the 1948 show’, created by John Cleese and Graham Chap- aesthetic than a realistic option [16]. Another
man, along with Marty Feldman and Tim Brooke-Taylor, perspective to be taken into account is that of the
and ‘Do not adjust your tv set’, co-starred by Eric Idle, Michael theorist Jacques Aumont, for whom what charac-
Palin, Terry Jones, and three additional scriptwriters. terizes the long shot is not only its duration but
rather the fact that it is articulated to represent
2.2. The Long Take Technique the equivalent of a sequence [17]. Therefore, it
The Long Take is the technique of taking a shot would be useful to distinguish it from the long
with a long duration that is not the same as the shot where, according to the same author, no
usual techniques [11], which both in practice and sequence of events is represented, such as fixed
in theory seem to differ from the director’s per- plans of above-average duration involving dia-
spectives and purposes for each scene. Techni- logue or simple locations of characters and sce-
cally, a long take is any shot lasting longer than narios. For this reason, Aumont himself warns
about 20 seconds, being the Hollywood average that this distinction is difficult and that the very
throughout the studio period about 12 seconds concept of the long take technique is often misun-
[12], while in practical terms it can be also under- derstood with that of the long tracking shot.
stood as a medium to reconstruct spaces for the Influenced by the notion of audiovisual re-
possibility of wonder [13]. alism transmitted through the long take pro-
Long takes exist to present a point of view moted by Bazin, countless filmmakers made
within a narrative. In any story, principal char- use of this option to give a real effect to theHypothesis Historia Periodical 2021, 1, 1—21
scenes, bringing the viewer closer to the nar- technique, with references regarding the rea- 6
rative. So, it became consensual that cutting son why it was undertaken [18 – 27]. Examples
is the death of a scene, and consequently, that are shown to establish either a technical pur-
breaking reality transmits the notion of fiction pose, a conceptual decision, or an aesthetical
to the audiovisual work. Currently, the long- preference to change between the time of the
take technique continues to be used in contem- film and the time of the narrative. Often this
porary cinema and television, seemingly rather option has provoked lively aesthetic discus-
as a director’s decision as opposed to an initial sions and awarded its responsible in renowned
scriptwriter idea. international film and television festivals. But
Historically, from classic cinema to more has also brought with it numerous logistical
contemporary productions, in audiovisual ar- production concerns, once all action must be
tistic creation for cinema and television, the carefully worked out in advance. Long shots
interest of numerous scriptwriters and direc- and staging in-depth help because they give
tors in using the long take technique has been greater possibilities of movement in the frame.
diverse as presented in table 1, that organizes Alternatively, moving the camera by panning or
relevant examples of the use of the long take tracking allows greater freedom [12].
Table 1. Some long take examples used in cinema and television.
Directors Work Scriptwriters Date Country Long-takes reason why / Ref.
Lumiére La sortie de l’usine Auguste Lumiére, Cinématograph’s technical
1895 France
brothers’ Lumiére à Lyon a Louis Lumiére characteristic [18]
Roberto Rossellini,
Roberto
Paisá b Federico Fellini, Sergio 1946 Italy Neo-realism aesthetic [19]
Rossellini
Amidei, Rod E. Geiger
Arthur Laurents,
Alfred Hitchcock Rope c 1948 USA Hide cuts [20]
Ben Hecht
Keiji Mizoguchi, Intention to convey the reality
Kenji Mizoguchi The life of Oharu d 1952 Japan
Yoshikata Yoda [21]
Manoel de Director’s particular intention
Palavra e Utopia e Manoel de Oliveira 2000 Portugal
Oliveira about reflection [22]
Alexandr Aleksandr Sokurov, Reality-effect form; Conceptual
Russian Ark f 2002 Russia
Sokurov Anatoli Nikiforov initial purpose [23]
Quentin
Kill Bill: Volume 1 g Quentin Tarantino 2004 USA Aesthetic and style option [24]
Tarantino
Sebastian Schipper,
Sebastian
Victoria h Oliva Neergaard-Holm, 2005 German Offer spontaneity [25]
Schipper
Eike Frederik SchulzHypothesis Historia Periodical 2021, 1, 1—21
Directors Work Scriptwriters Date Country Long-takes reason why / Ref. 7
Alejandro Iñarritu,
Alejandro Nicolás Giacobone,
Birdman i 2014 México The illusion of no editing [26]
Iñarritu Alexander Dinelaris,
Armando Bo
George R. Martin,
Miguel Keep the audience in the center
Game of Thrones j David Benioff, D.B. 2016 UK
Sapochnik of the action [27]
Weiss
a
https://www.imdb.com/name/nm0525910/bio?ref_=nm_ov_bio_sm
b
https://www.imdb.com/title/tt0038823/fullcredits?ref_=tt_cl_sm#cast
c
https://www.imdb.com/title/tt0040746/fullcredits?ref_=tt_ov_wr#writers/
d
https://www.imdb.com/title/tt0045112/fullcredits?ref_=tt_ov_wr#writers/
e
https://www.imdb.com/title/tt0200257/?ref_=nv_sr_srsg_0
f
https://www.imdb.com/title/tt0318034/fullcredits?ref_=tt_ov_wr#writers/
g
https://www.imdb.com/title/tt0266697/fullcredits?ref_=tt_ov_wr#writers/
h
https://www.imdb.com/title/tt4226388/fullcredits?ref_=tt_ov_wr#writers/
i
https://www.imdb.com/title/tt2562232/fullcredits?ref_=tt_ov_wr#writers/
j
https://www.imdb.com/title/tt4283088/fullcredits?ref_=tt_ov_wr#writers/
All transitions mentioned above, as well as oth- foot often culminating in explosions, mythical crea-
er examples liable to be mentioned here, admitted tures, or labyrinthine images as a way to reinforce
several different ways of being idealized, written, the absurdity of the previous sketch, by selecting one
and directed, to achieve the common goal of carry- image of it, as a character’s head drawing or a photo-
ing the viewer from a closing scene to the follow- graph of an objected related, which once integrated
ing one. The selection of how to merge these spe- into a short different narrative would culminate in,
cific moments into a non-fragmented sequential or cut to, a new different comedy narrative [2].
narrative could have been a consequence of an ini-
tial conceptual decision, a purpose, or encountered 2.3. Influences Fast Forwarded
aiming to express a specific goal in the narrative or - IFFW
to reach a pre-determined aesthetic level. Over decades, the Flying Circus influences appear
Equally, but within the humor genre for television, to have been innumerable and global, tending to
the British collective Monty Python at the Flying Circus gather the totality of successful comedians’ follow-
television series used sequential transitions as a way ers worldwide, from diverse humor spectrums.
to interrelate different comedy sketches, thus tending According to John Oliver, this strange group of
to keep each episode’s narrative fluid. But rather than wildly talented, appropriately disrespectful, huge-
defining first on the script and then capturing on ly imaginative, and massively inspirational idiots
camera these transitions, the decision relied on the changed what comedy could be for their generation
innovative Terry Gilliam’s animations. According to and for those that followed [28]. Matt Groening, the
Marcia Landy, these were mainly based on fantastic, creator of the global hit The Simpsons, stated that he
nonsensical, and imagined new worlds of catastro- was influenced by Monty Python’s high-velocity
phes, cannibalism, or figures crushed by an oversized sense of the absurd and not stopping to explain him-Hypothesis Historia Periodical 2021, 1, 1—21
self [29]. For the actor Jim Carrey, Monty Python was the same [29]. In regards to Jerry Seinfeld and his 8
the Super Justice League of Comedy [29]. Regarding homonymous sitcom co-creator Larry David, Monty
Austin Powers’ Mike Myers, if comedy had a periodic Python affected the series more than anything else, as
element table, Python would have more than one they are the absolute essence of comedy [32].
atom on it [29]. In parallel, for Tina Fey, the acclaimed Besides, a wide number of acknowledged com-
comedian from Saturday Night Live and the creator of edy names worldwide could have also been cited
the 30 Rock television series, sketch endings are over- here. From Stephen Colbert to Ricky Gervais,
rated. Their key was to do something as long as it from Dave Chappelle to Steve Martin, Conan
was funny and then just stop and do something else O’Brian, Herman José, or Fábio Porchat, the Fly-
[30]. As far as Sacha Baron Cohen, the Borat and Bru- ing Circus influence on their comedy careers have
no’s creator, is concerned he often attributes his filthy been determinant. In fact, according to the Brit-
humor to Monty Python’s fearless style of pushing ish television channel UKTV, this particular se-
the boundaries so much they narrowed his audience ries has been granted first place in a poll of four
[31]. South Park creators Trey Parker and Matt Stone thousand viewers as the most influential comedy
are also firm Python fans, as well as Seth MacFar- series in British broadcasting history, among a
lane, the television show Family Guy’s creator, which shortlist of thirty sitcoms, sketch, panel, and sa-
combination of provocative humor is influenced by tirical shows, as presented on table 2 [33].
Table 2. Ranking of the most influential British TV comedy series.
Source: Authors, based on UKTV GOLD, 2007 [23].
TV Shows Years % Reasons
• the way the show revolutionized television comedy by
incorporating strands of animation
• doing away with traditional techniques such as punchlines
Monty Python Flying Circus 1969-1974 26%
• it single-handedly created a new language for comedy
• encouraged the first wave of alternative comedians
throughout the following decade.
Only Fools and Horses 1981-2003 21% • strong writing and its memorable catchphrases
• strong characterization
Blackadder 1983-1989 6%
• innovative use of different historical periods
Little Britain 2003-present 6% • global popularity and strong characters
• innovation in creating a half-hour sitcom simply out of a
The Royle Family 1998-present 6%
family sitting in their living room and watching television
The Morecambe and Wise Show 1978-1983 5% *
Spitting Image 1984-1996 4% *
The Young Ones 1982-1984 4% *
The Office 1999-2004 3% *
The Vicar of Dibley 1994-2007 2% *
* No data available.Hypothesis Historia Periodical 2021, 1, 1—21
3. Humor needs an ending 3.1. From animation to ‘cut to’ 9
Fiction has enabled humankind to imagine things One of this iconic series biggest visual identi-
and to do so collectively [34]. The general communi- ties was animation. Its originality, fluidity, and
ty of Homo Sapiens has a relevant connection to hu- absurdity together combined were a distinctive
mor, a type of fiction that is evident in all languages characteristic of the show, as a means of transition
and cultures. The ability to create and recognize between one sketch to another: after the sudden
humor has a biological basis, and its many positive ending of a sketch, an immediate cut to animation
effects on physical and mental well-being suggest was followed, which end was again performed by
that from an evolutionary standpoint, laughter can a new cut to the beginning of a new sketch. Con-
be understood as adaptive behavior [35]. sequently, interrupting the linear narrative.
Humor depends on an unusual point of view Terry Gilliam preferred cut-out animation,
and, therefore, surprises about Life. It is almost a using old photographs and illustrations to create
matter of looking at things with an inaugural look; short surreal and hilarious sketches, which in-
it is looking at what is visible to everyone and yet volved pushing bits of paper in front of a camera,
seeing what no one else sees, or perhaps, more pre- a process that allowed for more spontaneity than
cisely, to see what almost everyone has already giv- traditional animation along with being compara-
en up to see [36]. People recognize that idealism and tively cheaper and easier to do [40]. As examples
pessimism are the extremes of experience since life of some of the animated intermissions separating
is rarely all sunshine nor is it all doom [35]. It is sketches can be considered a pram devouring old
both. So, the reality is relentlessly ironic, and this is ladies, a massive cat menacing London, or even a
why stories that end with irony tend to last longer giant foot smashing whatever was underneath it.
through time and draw the greatest of love and re- As an alternative to inserting animations
spect from audiences [37]. As it appears to be the in-between cuts, it was most common at the Fly-
case of the Flying Circus, noted for its surreal, ris- ing Circus cutting suddenly and directly to a new
qué humor and sketches without punch lines which sketch. Numerous examples can be cited, as it
still generate laughs around the world [38]. Their seems to be the case of the legendary ‘Dead Par-
constant pursuit for the inevitable humor ending rot’ sketch ending by a sudden cut to an announc-
irreverently eschewed the convention of the fully er eating a yogurt, the world acclaimed ‘Flying
formed and coherent script, the situation comedy’s Sheep’ sketch cuts to an announcer saying the
DNA. A type of humor that tends to be realistic and, famous line “And now for something completely
as it depends on the characters, it is generally ver- different”, which immediately cut to ‘The French
bal, with a minimum of pratfalls. Here, the editing lecture on sheep-aircraft’ sketch or the saga ‘Ev-
centers on timing to accentuate more than the per- erest climbed by hairdressers’ cutting directly to
formance, the ending of the sketch, in opposition ‘The fire brigade’ sketch [41].
to other types of comedy sequences as farce, such as
Blake Edwards’s The Pink Panther, or parody, such
as Sergio Leone’s The Good, the Bad, and the Ugly [39]. 4. Materials and methods
The end reliefs the laughter, the only comedy’s goal, 4.1. Material
a necessary break for a new start. To this paper were analyzed Monty Python’s Fly-
ing Circus original scripts and watched all four
seasons of the show, presently broadcast by Net-Hypothesis Historia Periodical 2021, 1, 1—21
flix, as shown on figure 2, proofing this televi- Considering alternative history as a counterfactu- 10
sion show’s particular relevance in the world to- al approach, a ubiquitous phenomenon in everyday
day. Also, this experience was crossed with the life, in literature, in film, in philosophy, and social
reading of academic outputs on this matter, also sciences [42], this methodology offers a broad up-
reports and interviews by this troupe and their dated approach that plays a decisive role in mind-
comedian followers as well. ing the above shifting initial historical fact.
Watching recent comedy television shows and
the reading of its available scripts was also taken into
consideration to establish a critical point of view. 5. And now for something
completely different: Results
Monty Python all agreed that they wanted to
overturn the conventions of traditional sketch
comedy – sketches with a beginning, middle,
and end, punchlines, blackouts, and topical gags.
Their approach to comedy was unpredictable,
aggressive, and irreverent resulting in each ep-
isode as a thirty-minute stream of consciousness
[43]. Therefore, fragmented narratives prevailed
throughout the Flying Circus, by juxtaposing one
sketch after another through the use of the ‘cut to’
audiovisual technique.
While each sketch is filmed and edited with clas-
sic camera angle shots in line with the scripts, using
the ´cut to` technique to change according to dia-
logues or characters, transitions, notwithstanding,
Figure 2 – One of the authors being caught during one of his generally fragment the overall narrative.
Monty Python Flying Circus viewing sessions.
5.1. ‘Cutting to’ the idea of
4.2. Methods continuity
Also determinant for the development of this pa- Notwithstanding the preference of fragmenting
per was the early consideration of an alternative their humor narratives, the very idea of continu-
fact in the history of the Monty Python Flying Cir- ity within the Flying Circus’ narratives was pres-
cus – the prevalence of the long take technique ent in some cases, as in the world acclaimed sec-
throughout the entire show, especially when ap- ond season’s ‘Spanish Inquisition’ sketch, which
plied to sketches’ transitions. Given this particular fluid narrative admitted transitions internally,
premise, authors speculate on how the course of although edited with the ‘cut to’ technique.
history might have been altered, considering what At the ‘Cheese Shop’ sketch, despite cutting di-
possible and different outcomes might have result- rectly to the ‘Philip Jenkinson on Cheese westerns’
ed not only in the show itself but also future ahead. sketch, the idea of transition was planted before,
Therefore, the conceptual idea of alternative once its original script indicates Mousebender –
history is a prevalent tool for results to be reached. the cheese client – puts a cowboy hat in his head;Hypothesis Historia Periodical 2021, 1, 1—21
cut to a stock shot of a man on a horse riding to each sequential scene, in a doctor office and 11
the sunset [41]. Therefore, the sketch ending is through the corridor that led to the next one, in
proposedly prepared to link with the following opposition to capturing him on camera in a one-
via the Pythonesque [44] decision of having a nor- shot only. Should have the long-take technique
mal cheese client putting a cowboy hat in his head. been preferred, this decision would reinforce re-
In parallel, at the Flying Circus’ fourth season alism and the aesthetic of the scene, a decision that
the non-fragmented narrative idea can be found could either have been technical and artistic.
at ‘The most awful family in Britain’, which be-
fore cutting to the ‘Icelandic Honey Week’ sketch 5.2. Episode Twenty-Eight – a
it evolves throughout different and successive cuts case study
reinforcing a linear narrative. Other examples of As a way to perform throughout an entire episode
continuity can be found, as the juxtaposition of the idea of continuity, the twenty-eighth episode,
‘The man who only speaks the ends of words, with the second of the third series of the Flying Circus,
‘The man who only speaks the beginning of the initially aired on July 26th, 1972 can be taken into
words’ and ‘The man who only speaks the middle consideration as a case study of this alternative
of the words’ sketches, or at the end of the ‘Barber historical subject.
Shop’ sketch when the life disappointed barber The choice of this particular episode for
character ends by saying that “all I want is to be a analysis as a case study of an alternative long
lumberjack.”, a dream that comes true by cutting take full-length episode, with non-fragmented
to the legendary ‘Lumberjack Song’ sketch [41]. transitions in-between sketches, thus avoiding
The ‘Argument Clinic’ sketch can also be cited the usual sudden use of the ‘cut to’ technique to
as an example of a continuous narrative, despite implement a fluid and continuous narrative, re-
being captured by a succession of cuts. Here, as the lays on this particular episode’s typical sketch
narrative stream occurs in different locations, in- structure and the fact of already admitting some
tending to follow the protagonist’s journey going sequential transitions, as it is possible to under-
in and coming out from different doctors’ offices, stand at table 3 below.
cuts were edited every time the patient performed On this 30 minutes long stream of conscious-
Table 3. Original and alternative transitions of the Monty Python Flying Circus, Episode 28. [41]
Following Original
Transition Previous sketch Long Take
Sketch Transition
Emigration from
Cut to nude Caption ‘THE END’ with the shot of the
1 Surbiton to Hounslow Prologue
organist nude organist in them, filling the screen
(5 min)
Schoolboys’
Pull back from de animated giant foot
Prologue Life Assurance Cut to a
2 revealing it to be a sculpture on top of
(40 sec) Company headmaster’s study
the headmaster’s tableHypothesis Historia Periodical 2021, 1, 1—21
Transition Previous sketch
Following Original
Long Take
12
Sketch Transition
Schoolboys’ Life How to rid the Pan right into the sign placed on the wall
Cut to a sign saying
3 Assurance Company world of all of the headmaster’s office, then zoomed
‘How to do it’
(1.40 min) known diseases out to a ‘Blue Peter’ type set
Pull out camera
How to rid the world Mrs.
revealing the ‘Blue Pull out camera revealing the ‘Blue Peter’
4 of all known diseases Niggerbaiter
Peter’ set is next to set is next to the living room set
(1.20 min) explodes
the living room set
After the bell rings,
cut to the house After the bell rings, pan to the house
door that opens door that opens revealing a vicar with a
Mrs. Niggerbaiter
revealing a vicar suitcase.
5 Explodes Vicar / Salesman
with a suitcase.
(1.30 min)
Cut to a doctor in Pan right into the doctor posh consulting
a posh consulting room set built juxtaposed
room
Cut to the
Vicar / skeleton diagram Zoom in to the skeleton diagram on the
6 Salesman Animation 1 on the wall, that wall, that starts running
(1 min) starts running in in animation
animation
Zoom out from the white space where
the running animated skeleton fell into
Animation 1 Cut to a TV
Farming Club after overpassing the edge of the cartoons’
(30 sec) Program Presenter
sprocket lines, revealing it to be the white
wall behind the TV Program Presenter.
(The idea of continuity is already present
Farming Club Life of Mixed contents, a
7 in a fully blended manner, narratively and
(3 min) Tchaikovski common narrative
technically.)
Insert of a crowd
roaring at Royal Pull back revealing the end of the
Life of Tchaikovski Trim-Jeans Albert Hall, where previous scene stage to reveal the
8
(4.40 min) Theatre a flag goes up entrance of the three theatre actors
revealing three forcing Tchaikovski to leave.
theatre actors
Trim-Jeans Theatre Cut to an animated Long shot of the same stage closing
9 Animation 2
(3.20 min) closing curtain curtain, dissolved by its animation
Cut to a quayside,
after an the Close to a fish in that sign. Zoom out of
Animation 2 Fish-Slapping
animated sign saying the fish already in the hand of the guard
(35 sec) Dance
“And now, the Fish dancing by a quayside.
Slapping Dance”Hypothesis Historia Periodical 2021, 1, 1—21
Transition Previous sketch
Following Original
Long Take
13
Sketch Transition
Cut to the
animation of the (The idea of continuity is already present
Fish-Slapping Dance
10 Animation 3 actor underwater, in a fully blended manner, narratively
(17 sec)
after falling from and technically.)
the quayside
Animation 3 Cut to the ship’s Close up of part of a ship. Pan to the
World War One
(50 sec) bridge ship’s bridge.
Insert caption ‘A Fast-forwarding stock images of a ship’s
World War One The BBC is short few days later’. Cut sinking and people running, while
11
(1.10 min) of money to a police chief ’s inserting and then dissolving the caption
office. ‘A few days later’
The BBC is short of (The idea of continuity is already present
Enter a pantomime
12 money Puss in Boots in a fully blended manner, narratively
of Pussy in Boots
(2 min) and technically.)
Puss in Boots
Final Credits Long shot
(7 min)
Long shot continuing to the studio with
13 Final Credits Extra sketch Cut to
Ringo Starr
Mixed images of
(The idea of continuity is already present
Ringo Starr and ‘Its
Extra sketch final in a fully blended manner, narratively
Man’ in a studio
and technically.)
with an ending title
ness Monty Python Flying Circus episode, untitled continuity in the narrative itself.
at Netflix as The Popular Ford of Mr. and Mrs. Nor- At the fifth transition, despite the use of the
ris!, amongst its thirteen different sketches, where ‘cut to’ technique, the last and the first lines of both
animations despite playing a central role are not sketches relate to each other. After the explosion
considered by them as such [41], the idea of conti- of Mrs. Niggerbaiter, the punch line asks: ”You
nuity can be found at some parts in opposition to wouldn’t think this is medically possible, would
others where the narrative is fragmented. you?”. The answer is found at the Vicar / Salesman
That fluid narrative attaching its distinct sketch’s first line: “This is where Mrs. Shazam is
micro-narratives is expressed in different man- so wrong. Exploding is a perfectly normal medi-
ners, both at the scriptwriting and at the direc- cal phenomenon.” [41], So, the idea of continuity
tion levels. At the third transition, despite the is present not by technical but by narrative terms
existence of a cut, the first dialogue line of the although visually fragmented. The high stream
following sketch referring to gynecology is a of consciousness here proposes a fluid conceptual
mention of the context of the previous one. In narrative, imposing the notion of the existence of
the next transition, it is used the long take tech- a sketch within a sketch, where its alternative se-
nique, by panning right the camera imposing quences could have been shot accordingly.Hypothesis Historia Periodical 2021, 1, 1—21
The authors of the Flying Circus were con- riencing a genius audiovisual comedy masterpiece. 14
scious about the need, or the absence of it, to link These two comedy sketches combined, existing at
into each other their different sketches’ narra- the same time, are crafted altogether under a con-
tives. This idea can be found, although formulat- verging stream of consciousness where it is always
ed in an ironic style, at the end of transition num- fluid and crossed the existence of each one of them.
ber six, where a voice clearly states: “Oh my gosh, To take full advantage of the idea of continuity, the
he’s fallen off the edge of the cartoon.”, continuing endless long shot unfolding the scene until a cut to
saying: “Well, so much for that link.” [41]. a corridor could alternatively be extended, reveal-
The Farming Club and the Life of Tschaikowsky ing not only the final credits written on sheets of
sketches appear to live as one, as both are built in paper being dropped in from the front door mail
the same narrative, thus expressing a converging slot to the floor but also continuing into the stu-
and surreal continuity, under superb scriptwrit- dio where the acclaimed Ringo Starr appears with
ing craftsmanship. Camera shots and movements minor significance, a surprising irony reserved for
are edited according to the script, admitting a the ending, at a typical Pythonesque final. The
wide variety of cuts of different types of shots and first sketch’s concept is developed through the sec-
all sorts of editing techniques within a continu- ond one, being at the end not only the reason for
ous narrative flow. the end of the sketch but also of the episode itself. It
Despite all the cuts editing within the Trim- is a mixed narrative closed by a long shot of the fi-
Jeans Theatre sketch, its entrance and finishing nal credits, after cut to an extra sketch which could
could have alternatively been shot preferring the be continued by the previous long take.
long take technique, as panning right or left, or From agricultural to fashion programs, from
zooming in or out, to reinforce the linear narrative. references to Renaissance or to Toulouse-Lautrec,
The Fish-Slapping Dance seventeen seconds long from the satire of medicine to social caricatures
sketch became to be iconic and one of Monty Py- of that time, the author believes this episode to be
thon’s trademarks, not only because of its surreal a factual sample of the valuable cultural contents
scriptwriting but also because it is embraced by and structure of the overall Flying Circus series.
two distinct animations. Despite both relate to it Also, this Case Study presents alternative
via cuts, the use of mutual referential dialogues non-fragmented transitions demonstrating how the
results as a whole fluid consequential narrative entire episode’s narrative gains a higher sense of con-
pushing it along, an example relevant to be tinuity. Providing, consequently, as far as continuity
mentioned for its originality still relevant today. is concerned, on top of a clear understanding of each
The strength of this segment is dramatically high, sketches’ ending, also a general fluid entertainment
in a way that it is reused again to introduce the experience, with higher realism in some cases and
following sketch, World War One, maintain the deeper aesthetical cinematography in others.
same superior level of creativity, intelligence, and
pure sense of surreal scriptwriting. 5.3. Sequential transitions in
The twelfth transition plays a decisive role in comedy: cross-referencing
this episode’s narrative, as it prepares the ending with other comedies
nearly ten minutes before it occurs, a notion only After Monty Python Flying Circus uncountable co-
perceived at the very end of the show, with an utter medians have been presenting diverse approach-
appreciation of having passed thirty minutes expe- es of different perspectives of humor. In regardsHypothesis Historia Periodical 2021, 1, 1—21
to television comedy, the 30-minute format during this continuity final part, small-scaled 15
sketches and sitcoms have been particularly pop- screens of following episodes pop up inside the
ular. From Little Britain to Seinfeld, from Tal Canal very same sketch screen, promoting a different
to Cheers, or even from Contemporâneos to Fawlty quest for immediate continuity, not in narrative
Towers, at the sketch format fragmented narra- terms but rather as consumer experience.
tives have been preferred.
Nonetheless, the idea of continuity has been 5.4. From Examples to
present seldomly, to maintain a linear humor Hypothesis: Discussing an
message linking opposite, different, or even Alternate History of Comedy
nonrelated sketches’ ideas. Reflecting on the Narrative
legendary Kramer’s entrances, at the Seinfeld se- From the analysis of the case study and the
ries, this crucial humoristic narrative incident is above-mentioned material, it seems reasonable
always captured by a Jerry Seinfeld’s living room to believe that the use of the long take technique
wide-angle shot, performing a transition in the at the Flying Circus series would have reinforced
narrative itself, always taking it where the au- their characteristic stream of consciousness
dience didn’t see it coming. As such, every time scriptwriting methodology. Should this prefer-
the character Kramer interrupted the previous ence had been implemented, their acknowledged
narrative by surreally entering the house, a new generations of followers’ comedians’ work would
beginning started. At the Portuguese Tal Canal have been deepened and carry the expression of
show, this idea can also be found, although not continuity at another level, thus democratizing at
abundantly, as exampled by the zoom out from a broader scale the sense of continuousness in hu-
the famous ‘Felisberto Lalande’ sketch into the mor. As comedy stands for timing, always urging
television set at the ‘Carlos Filinto Coelho’ pivot for its ending, the ‘cut to’ technique seems to be
news sketch. At Ricky Gervais’ The Office sitcom, the elected one to keep the development of frag-
continuity is only present when following David mented narrative’s plots, not only because it is
Brent, the protagonist, around the office, from his easier and economic, but also due to the technical
workplace to the open space or from the entrance limitations that the use of the long take technique
to the meeting room, by using steadycam camera demands. Which, at the time the Flying Circus was
movements to fragment a particular scene via conceived and produced, were of higher difficulty.
leaving a specific physical area to start, in transi- Notwithstanding, the use of the long take
tion, a new one at its very same destination. technique as the means to convey a linear com-
As far as Porta dos Fundos is concerned, the ac- edy’s narrative is not preferred, since this genre
claimed Brazilian comedian collective, the idea of is rather focused on each humor event’s narrative
continuity is also present but expressed in a rather than on the full-length episode.
different way. Here, the internet as a medium is Finally, the long take technique, from Martin
the ground base of continuity, by commonly air- Scorsese’s classic Goodfellas to Alfonso Cuarón’s
ing short-fragmented humor sketches, as it seems recent Gravity, seems to be more than an editing
to be how comedy is mostly consumed here, that technique, but rather an artistic decision that am-
end with cutting to visual separators, immediate- plifies the initial audiovisual concept, enabling
ly followed by the continuation of the same sketch, the audience to engage through long exposure [45].
thus finally reaching to its end. Alongside this, The notion of realism, time, space, and photogra-Hypothesis Historia Periodical 2021, 1, 1—21
phy are some of the benefits brought by the long- with actors and staff. As a consequence, the gen- 16
take technique that plays a central role in cinema eral public’s expression that ‘life is a drama ‘ might
and television genres in opposition to comedy, have been already not so popular and prevalent
mainly centered on the message to be conveyed. in western society’s culture, being replaced with
In summary, despite real continuity having the sense that ‘life is laugh ‘, which would offer a
had been rarely present during the Flying Circus’ positive global conception about life.
four seasons, it was technically implemented Continuity, however, is possible to be found in
not by using the long take technique due, most diverse ways, remaining the long take, despite all
probably, to the fact that it was not as evolved as its actual possibilities, a technique unexploited by
their scriptwriting ideas were at that time, but comedy, a genre that seems not to be as fertile on
mostly by preferring ‹cutting to› each fragmented this kind of artistic decision as drama generally
short humor narrative to the following one. is. Therefore, the idea of continuity should be in-
Thus, achieving possible linearity, whenever teresting to be further explored in future papers,
it was intended. Should have this technique with deeper and diverse analysis on its impact on
been sufficiently evolved, it would have been recent audiovisual contents.
considered by the authors and, consequently,
this iconic comedy show would have been
alternatively written under the idea of continuity, 6. Future Perspectives and
with alternative artistical, cinematographic, and Recommendations without
scriptwriting outcomes that would certainly spam
influence the course of history in comedy. Considering the long take technique has been
Their subsequent comedy followers did not preferred by dramatic and action movie genres,
develop to its extent the possibility to link com- it would be interesting to follow how could it be
edy events into each other. Despite stand-up co- beneficial in comedy. Exploring the idea of con-
medians crafting their text as a whole, tending to tinuity throughout full-length humor narratives,
link tightly each monologue via plots transition- from its initial concept to its further development,
ing, at television shows, both comedy sitcoms or appears to be a valid recommendation given its
thirty-minute sketch programs, the use of the ‘cut unprecedented characteristics.
to’ technique still seems to be the global continui- In addition to the novel use of the long take
ty preference. Culturally, the population seems to technique in comedy, it would also be relevant to
relate to comedy as snacks, rather than meals. The understand how its different ways would bridge
experience of consuming humor tends to be short distinct comedy scenes, and interesting to follow
and to finish at a sudden point. In case the alter- consequent direct implementations as far as act-
native use of the long take on the Flying Circus ing is concerned and logistic wise.
had occurred, the idea of non-fragmented comedy The continuity idea’s broadness is potentially
narratives might have had a different presence in high, and when is preferred the use of the long-
the world today, replacing the present short com- take technique, with all its diversities, as a way
edy contents’ formats on the internet, television, to add more realism and emotion, it seems this
and radio to another sort of format, different in decision to go beyond directors and scriptwrit-
length and aesthetical visuals, demanding high- er’s preferences as a mere alternative transition
er budgets for a more ambitious logistic planning means, in comparison to the ‘cut to’ or ‘dissolve’Hypothesis Historia Periodical 2021, 1, 1—21
techniques. This option has the potential to be sketches under a logical sequence. However ad- 17
the very beginning of the whole process, a funda- mitting an initial form of the idea of continuity,
mental conceptual initial decision and an artistic they did fragment their narratives as they were
instrument serving the narrative itself. not screened using long take sequences, which
Considering the lack of updated academic is present, more than fifty years later, still very
knowledge on this subject and its potential theo- much successful in other audiovisual genres.
retical and practical appliance contributions, the For comedy to benefit from this cinematogra-
authors believe it to be highly relevant to further phy technique’s advantages, humor scriptwriting
investigate and understand the advantages of should be encouraged to explore the idea of full-
continuity in comedy, also to evaluate the long length continuity. Because humor is part of Life
take technique usage in television comedy and, which is a succession of events worthy to be cap-
specifically, the audiovisual narratives sequential tured at its whole realism and beauty.
transitions, as well as their intimate correlation Alternative History is a transversal relevant
with the original concept and consequent scripts tool to address different perspectives in Life, as
as it appears to be unprecedented. it helps to consider and project facts in a different
Should have Monty Python have fully expressed order. One of the fields where this concept is of
in a more expanded manner their already existing great value is cinema and television content cre-
idea of continuity by using the long take technique, ation, traditionally enriched by diverse forms to
comedy, as a true part of Life, could achieve a high- make narratives evolve. In this case, minding al-
er visual artistic value in visual terms and cine- ternative history kickstarted a positive contribu-
matographic conceptualization of realism. tion to one of the most successful comedy televi-
sion shows in the history of television and humor.
7. Nobody expects this final
admission: Conclusion 8. Two Knights at the Round
Humor is a subject for extended searching discus- Table Insight
sion and study as it is richly endowed with the The very essence of this paper was initially present-
learning capacity, and for resolution. It summons ed along with the research ‘Using alternative sto-
our attention. As it is a unique factor of human ries to promote organizational change› brough by
nature with so much to contribute to the positive Prof. Cynthia Montaudon from UPAEP University
zones of human life, it reveals and encompasses a at round table #3 of the 2nd International Meeting
multiplicity of points of view. of ‘What if?...’ World History / 1st Hypothesis Cul-
Monty Python Flying Circus is still globally con- tural Week promoted by Casa Comum, of the Rec-
sidered as of higher reference not only in comedy torate of the University of Porto, Portugal. Despite
but also in culture today, influencing authors and both themes’ initial differences, backgrounded by
performers throughout the entertainment busi- different fields of knowledge, this interaction was
ness, from stand-up to television shows. Their most influential to this final paper as from it arose
original form of scriptwriting was enough to plural, distinct, and important common points:
defy the British social establishment at that time, • First, how alternative ideas are important in
prevailing fragmented narratives edited with the world today. Both in real everyday life itself,
the ‘cut to’ technique to attach different humor whether from public or private organizations,Hypothesis Historia Periodical 2021, 1, 1—21
from the entertainment business to political As a result, it seems relevant to recall the 18
sectors or, more specifically, from television to final words of this round table chair, Prof. Êmili
cinema, the presence and the development of Rosseti: there was so much positivity involved:
alternative stories is crucial to overpass social the idea of building the future together, the need
issues as well as to open different new story- for genuine, and the desire to look at the past
telling paths in designing narrative ideas. to think how it has built the present, leading us
• Second, the constant need for change, as the only to think of the future in cinema and in life itself.
immutable aspect of Life. For one to be better
prepared for the next inevitable change, alterna-
tive stories play a decisive role, very much like in A short thank-you note.
television fiction that constantly needs plot pres- A brief recognition.
ence, forwarding the present into a new future. Succinct gratitude. A
• Third, the importance of implementing the deep appreciation. Or,
smoothest of changes. To avoid the impact of Acknowledgments
changing, a circumstance that humans always Authors most acknowledge Graham Chapman,
tend to avoid, and rather implement the pas- Terry Jones, John Cleese, Eric Idle, Michael Palin,
sage for the alternative plan in the most ben- and Terry Gilliam for their combined inspiration.
eficial manner, key real-life transition actions Another special thank you note is addressed to
were presented in parallel with the alternative the University of Porto, and Prof. Ana da Silveira
idea of using the long take technique in oppo- Moura, for creating the 2nd International Meeting
sition to the cut to. of ‘What if?...’, which magnetic existence allowed
• Four, the positive idea that Life as a whole the authors the opportunity to explore this theme
must not stop. Accepting as a common ground and present this paper.
for both themes that Life itself is a no stopping
action, once considering, therefore, it to be a
one-take only real-life shot, then events tran- References
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