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Comedy and humour
Brigitte Rollet

Women of more ordinary physique were to occupy a new space, first of all on the stage, and sometimes on the big screen, since many plays mounted by the Splendid Company were to become films. Female humour and laughter cannot be considered without another powerful element: the motivation of often transgressive laughter. This chapter examines a few examples of Coline Serreau's humour in her comedies in order to assess whether or not she offers an alternative to the traditional male comedy, before considering in more detail and from a more general perspective the devices she uses to create humour. The golden age of French comedy was cut short by the First World War. Although the comedy was by and large a minor genre in the cinema of the Occupation, other forms of light film entertainment either remained (the farce) or emerged (the film zazou).

in Coline Serreau
Chris Abel

the street with a suitable handheld device – transformed the fundamentals of human connectivity in the electronic age. Significantly, in explaining the impact of the Net on our lives and consciousness, not only architects and urbanists but also writers in other fields commonly fall back on metaphors originating in the physical and spatial world of cities and urban communities, as well as other analogies with familiar cultural and social concepts. Even when the most fervent devotees of the Net, including science fiction writers like the much-quoted William Gibson,1

in The extended self
In search of Manly Banister, an excerpt from an unpublishable memoir
R.L. Tillman

suppose it's unlikely that I will ever know much more, and I'm not sure that I would care to. In my imagination, the man has assumed a mythic stature proportionate to his name. Banister had a wide-ranging career as a writer, driven by an amateur's interest in art, science fiction, and mechanical tinkering. He had been a fireman, a Marine on Okinawa

in Perspectives on contemporary printmaking
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Activism and design in Italy
Author: Ilaria Vanni

Precarious objects is a book about activism and design. The context is the changes in work and employment from permanent to precarious arrangements in the twenty-first century in Italy. The book presents design interventions that address precarity as a defuturing force affecting political, social and material conditions. Precarious objects shows how design objects, called here ‘orientation devices’, recode political communication and reorient how things are imagined, produced and circulated. It also shows how design as a practice can reconfigure material conditions and prefigure ways to repair some of the effects of precarity on everyday life. Three microhistories illustrate activist repertoires that bring into play design, and design practices that are grounded in activism. While the vitality, experimental nature and traffic between theory and praxis of social movements in Italy have consistently attracted the interest of activists, students and researchers in diverse fields, there exists little in the area of design research. This is a study of design activism at the intersection of design theory and cultural research for researchers and students interested in design studies, cultural studies, social movements and Italian studies.

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Brigitte Rollet

slightly away from post-May ‘68 agendas to more consensual 1980s’ topics and filmic genres. Twenty years after making a documentary which is still hailed as the feminist documentary par excellence, she came back with her latest film so far – La Belle Verte, released in France in September 1996 – to 1970s’ preoccupations such as ecology and the defence of the environment via a science fiction tale, with a typically 1990s’ flavour. Although she shares similarities with other French female filmmakers who started their career in the

in Coline Serreau
Tijana Vujošević

universe” – is materialized in science fiction, the kind of science fiction that, as Marx would put it, is meant “not only to interpret the world but to change it.” Neither cosmist narratives nor their most ambitious and exuberant genre, pre-Revolutionary science fiction, could be called daydreams. Not only did they describe alternative ways of life but they were also used as a tool by which real-life proponents of those alternative ways of life wanted to propel history towards those alternatives. Such narratives were intended both to describe life in utopia and to

in Modernism and the making of the Soviet New Man
John Mundy and Glyn White

point where generic categorisation has lost all meaning are ultimately too rigid and too ahistorical. While 2010 saw the release of Jonah Hex, described as a supernatural western, and Cowboys and Aliens, a science-fiction western, one of the most successful films of the year was the Coen brothers’ True Grit, a generically grounded remake of the 1969 John Wayne western of the same name

in Laughing matters
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Art in the distributed field and systems of production
Johanna Drucker

intervention, rather than as a thing. The science-fiction inspired imagination of the NET research project led to the realisation of an actual, integrated, hybrid work. Our cultural imaginary is infused with technophilic musings and aesthetic potentialities. We absorb our ideas of future interface from special effects in films that also offer a vision of space-time transformations

in Perspectives on contemporary printmaking
Jane Roscoe and Craig Hight

documentary filmmakers. There are a wealth of both mainstream and low-budget texts which, with varying degrees of sobriety, purport to examine the subject and to herald the discovery of an apparently convincing piece of evidence. There are obvious science fiction connotations to the possibility of alien contact with Earth, as Orson Welles himself claimed in his defence of involvement in the infamous 1938 War of the Worlds radio

in Faking it
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Paying attention – environmental justice and ecocritical art history
Andrew Patrizio

, thrives on crossbreeding, grows better from being stepped on.’ 26 This is Ursula Le Guin in her anarcho-science fiction novel The Dispossessed . It is not a bad concluding epigraph for The ecological eye , as an expression of my hopes (and expectations). This book has tried to make an appeal to a quite extreme form of collective and egalitarian sensibility, rather than one of hierarchy and exclusion. This has meant radically limiting the support (and indeed the criticism) towards any one single methodological, ethical or disciplinary approach. This is not to imply

in The ecological eye