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Abstract

Since comedy is often considered a universal and transnational genre on a cinematic level, many comic films belong to a specific cultural space influenced primarily by national traditions and shared cultural references. French comedies are no exception. Regardless of their artistic format, French comedies have always been difficult to classify. Often a combination of several genres, they can be described as a hybrid art form, incorporating daring, even delicate subjects, with exceptional actors delivering literary dialogues or, on the contrary, using popular slang known to millions of French spectators, with a savoir faire equal in quality to the best comedies made in Hollywood.

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Notes

  1. Russell B. Gill, “Why Comedy Laughs: The Shape of Laughter and Comedy,” Literary Imagination (2006) 8 (2): 233–250, p. 250.

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  4. Bazin André, Monsieur Hulot et le temps. Qu’est-ce que le cinéma (Paris, Cerf: 1994), p. 41. “Le burlesque français, si’ l’on excepte les derniers films de Max Linder réalisés à Hollywood, n’a pratiquement pas dépassé les années 1914, submergé ensuite par le succès écrasant et justifié du comique américain. Depuis le parlant, en dehors même de Chaplin, Hollywood est demeuré le maître du cinéma comique.”

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  5. Maurice Charney, Comedy: A Geographic and Historical Guide, Volume I (Westport, CT: Greenwood Publishing Group, 2005), p. 5.

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  6. Don Nilsen, Comedy: A Geographic and Historical Guide, Volume II (Westport, CT: Greenwood Publishing Group, 2005), p. 408.

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  7. Norman Shapiro, Comedy: A Geographic and Historical Guide, Volume I (Westport, CT: Greenwood Publishing Group, 2005), p. 305.

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© 2014 Rémi Fournier Lanzoni

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Lanzoni, R.F. (2014). Introduction. In: French Comedy on Screen. Palgrave Macmillan, New York. https://doi.org/10.1057/9781137100191_1

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