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Sarah Leahy
Isabelle Vanderschelden

in Génération Père Noël (Grenier 1994), Veber’s autobiographical account of his unusual career (Veber 2010), and critical writing on comedy in French and in English (e.g. Harris 1998; Moine 2007 ; Lanzoni 2014 ). Some of these sources help to establish direct connections between screenwriting and comic theory (Defays 1996; Critchley 2002; Stott 2005), while others reveal connections with modes of

in Screenwriters in French cinema
Celestino Deleyto

history of comic theory, from medieval reformulations of Aristotle and Cicero to film theory’s much more recent interventions. In a sixteenth-century response to one of the many routine puritan attacks on the theatre, Thomas Lodge, author of the source story for Shakespeare’s As You Like It , starts his defence by quoting from the late Roman grammarian Aelius Donatus on the origins of both comedy and tragedy in ritual

in The secret life of romantic comedy