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Coline Serreau is one of the most famous female French directors alive, not only in France but also abroad. This book is devoted not only to some relevant biographical aspects of Serreau's personal and artistic life, but also to the social, historical and political context of her debut. It deals with the 1970s' flavour of Serreau's work and more especially with the importance of politics. Taking intertextuality in its broadest sense, it assesses the strong literary influence on the tone, genre and content of Serreau's films and dramas. The book is concerned with the cinematographic genres Serreau uses. It provides a description and an analysis of Serreau's comedies, within the wider perspective of French comedies. The book also deals with the element of 'family' or community which is recurrent in Serreau's films and plays. During the 1980s, Serreau's career moved towards fiction, and she worked both for the cinema and the theatre. Serreau often underlines her family's lack of financial resources. The book considers the specificity of French cinema in the 1970s before analysing in more detail Serreau's first film. Serreau's work on stage and on big or small screens was strongly influenced by the political mood which succeeded May '68 in France. The book also discusses the idea of utopia which was the original theme of Serreau' first documentary and which is central to her first fiction film, Pourquoi pas!. Female humour and laughter cannot be considered without another powerful element: the motivation of often transgressive laughter.
(anotherexperiment’ triedby many café-théâtre female comedians such as Les trois Jeanne and Marianne Sergent). Female humour and laughter cannotbe considered without another powerful element: the motivationof often transgressive laughter. For e, thegenres of laughter when reappropriated by women can be used toexpress a feeling women have very little opportunity to articulate as men do: anger. For Ruby Rich in her definition of what she calls the Medusan film, comedy has ‘a revolutionary potential as a deflator of the patriarchal order and [is] an
from the Summer Exhibitions at The Royal Academy of Arts, London, indicate the significance of the relationships between conceptions of polite and vulgar activities and people, male and female humour, the significance of degrees of technical competence in making drawings and the expectations of different media, on the part of readers. The Summer Exhibition, instituted in 1769, was an international commercial showcase, in London, for new artworks by Royal Academy members and an open submission Exhibition for aspiring artists. In common with public
problem in Spenser’s allegory. The moist ‘female’ humours (phlegmatism’s idle gluttony, sanguinity’s seductive jollity) are shown as special gateways for demonic corruption in misusing sensory pleasures. Cymochles is not innately phlegmatic, for his typical male aggression is only distracted by ‘wat’rish’ sensual pleasure, arousing in him a post