Leah Dennison Knihy

The dissertation explores how female comedians are perceived and represented in stand-up comedy, focusing on their interactions with audiences. It reviews key theories of humor, including repression, release, and incongruity, to provide a theoretical framework for understanding these dynamics. The research aims to shed light on the unique challenges and experiences faced by women in the comedy circuit, contributing to discussions about gender and humor in contemporary media.

The paper examines Jean-Pierre Jeunet's innovative use of post-production techniques to enhance the atmosphere and narrative of his film. It argues that these methods add depth to the story while shaping an idealized, albeit unrealistic, portrayal of Paris. By employing postmodern techniques, Jeunet strengthens his directorial control, engaging the audience and reflecting his philosophy of cherishing life's small pleasures. The analysis highlights how these elements combine to form a unique aesthetic signature that contributes to the film's critical acclaim.

The essay explores Louis XIV's reign, highlighting his efforts to consolidate royal authority through cultural control at Versailles. It emphasizes his belief in the monarch's visibility and accessibility to subjects, contrasting it with the instability of France in 1610. The introduction of Richelieu in 1624 marked a shift towards a cohesive representation strategy. The discussion also touches on the challenges faced during Louis XIII's reign, where limited use of visual arts and court rituals reflected his need to secure power before shaping his public image.

This piece investigates the perception and representation of female comics on the stand-up circuit and their audiences. It begins with a review of various theories of humour examining three major strands of thought: theories on repression, release and incongruity. It goes on to give an historical overview of British stand-up comedy, covering the Music Hall/Variety tradition, the Working Men's Club tradition and the Alternative Comedy tradition examining the cultural attitudes of the time alongside these various stages of British comedy and the place women found within them. Concluding with a case study on Bridget Christie and her success at navigating the patriarchal world of comedy, an investigation of current panel shows figures and their representation of female comics and interview responses from current women stand-ups on the circuit. Illustrating that audiences may no longer perpetuate these long held stereotypes, but instead the industry 'gatekeepers', the bookers, promoters and producers within the comedy business, are limiting aspiring female comedians from garnering mass exposure.