Leticia Neria PhD thesis - Research@StAndrews:FullText ...

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‘Pues sí: siendo rojos, tienen que ser asesinos y rateros.’ 170 By exaggerating the comments of Trastupijes, who in this case embodies the Mexican authorities, we find expressed something that part of the population believed about the government blaming the communists. Thus, the statements will bring satisfaction to the reader. We also notice that the authorities are not only exaggerating but also spending money to promote a negative image of the communists, which denigrates the authorities and portrays them as behaving incorrectly. But if we did not know how the Mexican authorities at that time were reacting against the communists and how they were excessive in blaming them for the troubles of the country, we would recognise an incongruity but not what the social context is referring to. In comedy, ‘el marco transgredido debe estar presupuesto pero nunca explícito’ 171 since, if the transgression is made explicit, then the comic effect is lost. Political humour requires the reader to know the code, otherwise the interpretation would be limited and true humour would remain simply as incongruent humour. A similar scene occurs in Hermelinda Linda with reference to civil servants. Hermelinda complains to the authorities about the noise and smoke coming from the motorcycle of a young man outside her house. The civil officer explains that he cannot do anything since the father of the young man is a well-known politician. He says: ‘Yo quiero conservar mi chamba’. 172 The man is saying that the authorities cannot work against those in power or their relatives, which of course goes against the proper way that an authority should work. But we realise that a truth about how authority operates has been revealed. Even if we find Hermelinda’s situation funny we also recognise that this is the unfortunate reality. As Eco states, humour criticises a fault, and we 170 Los Agachados, 40, p. 16. 171 Eco, ‘Los marcos de…’, p. 14. 172 Hermelinda Linda, 377, p. 7. 137
understand it if we belong to the cultural context in which the fault occurs. But for the reader, to realise that the scene is a possible world which portrays our society might bring a feeling of rebellion but also of sadness. We discover that what looks like an odd world is in fact the way that the world really is. Humour ‘no funciona para que aceptemos ese sistema de valores, pero por lo menos nos obliga a reconocer su existencia’. 173 Corrupted bureaucrats do not exist only in comic books, but they are part of our daily reality, and to admit it brings us discomfort. We enjoy that Hermelinda takes revenge on the young man who misbehaves, and that the behaviour of the authorities was revealed. However, after the pleasure, Eco states that we will feel sad, knowing that we are not able to change reality, at least by making jokes. 174 That is the point when the cold carnival emerges: after witnessing the act of humour and insulting the authority we feel relieved, avenged but finally, upset. We can say the same about corruption. When Borola is trying to find a way to release her brother from jail, she mentions a possibility: ‘El dinero ablanda a cualquiera. Préstame medio millón de pesos para repartirlo a manos llenas entre los representantes de la justicia’. 175 Later in the story she adds: ‘Un cañonazo de quince mil chuchos no lo aguanta el más honrado de los jueces’. 176 The way that Borola refers to corruption is inappropriate, and this generates comedy, but she also refers to a topic that can generate stress in the population, namely citizens gaining justice through corruption. And to admit it, according to Eco, is a way to reinforce the code, so, we criticise at the same time that we admit our destiny. The liberation is only for the soul, when we ridicule the authorities. Real freedom does not come through humour, but at least we set ourselves – just temporarily- in a situation in which we feel superior. Eco claims that at the moment 173 Eco, ‘Los marcos de…’, p. 18. 174 Ibid., p. 19. 175 La Familia Burrón, 16914, p. 6 176 Ibid., p. 15. 138
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HUMOUR AS POLITICAL RESISTANCE AND
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Abstract This research focuses on t
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Table of Contents Acknowledgments
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The breaking of the rule ………
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Acknowledgments After so many years
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fantastic friends who are now part
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Introduction Dime de qué te ríes,
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And what about comics? Comics take
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helps us to understand a specific c
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were expecting a funny story. In ad
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Román Gubern’s ideas of visual a
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Chapter 1 Laughing when it hurts: A
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etween varieties of terminology in
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than just disjunctions in the narra
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serve as the basic vehicle for the
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so that there are parts which are n
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her body, she has a large round red
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classified jokes and humour and des
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case of Excélsior showed. 50 So, p
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We might find this joke funny becau
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absentmindedness in men and in even
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oken the rule of being respectful w
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Even though humour can work as a so
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sentiments, develop and perpetuate
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jokes are ‘a useful means of diss
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Other authors consider that in fact
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neutralise our feelings because lau
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power for thirty-five uninterrupted
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-and in the subsequent years- did n
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numbers of businessmen, workers and
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undermining the image of a dictator
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people’. 50 It aimed for an appar
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cambio (exclusivamente verbal), por
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university. In the film El Águila
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gave money in secret to Scherer to
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men appeared and beat many of the s
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Thus they decided to fight against
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PDLP, 115 captured those they thoug
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money without working because they
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information on antagonistic groups,
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Although the violent methods were o
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those who appeared to be hippies, h
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ock and roll and read the writers o
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Chapter 3 Laughter and reflection,
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are richer and carry more informati
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two years later the formula was rep
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magic will punish those who are hur
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time: Regino Burrón and his demand
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around them, in La Familia Burrón
Page 100 and 101: In 2008 Gabriel Vargas said: ‘el
Page 102 and 103: story, such as the Licenciado askin
Page 104 and 105: were discussed. In that chapter we
Page 106 and 107: the flat roof of the vecindad 49 or
Page 108 and 109: True humour: humour as social compl
Page 110 and 111: those in power for citizens in trou
Page 112 and 113: puro macanazo me convenció! Yo ni
Page 114 and 115: Machismo is another topic which eme
Page 116 and 117: dibujaba Rius en los sesenta como u
Page 118 and 119: One last example from Los Agachados
Page 120 and 121: collect a large amount of money to
Page 122 and 123: In the same episode in which Borola
Page 124 and 125: As we may remember, Freud also sugg
Page 126 and 127: alleges. 102 So, through the misfor
Page 128 and 129: apart and the reader enjoys the pol
Page 130 and 131: Superiority and antithesis In the f
Page 132 and 133: gaining a sense of victory over the
Page 134 and 135: are in better position than us, at
Page 136 and 137: Differences between groups of youth
Page 138 and 139: eaction is no more compassionate. T
Page 140 and 141: the actions of their antithesis, su
Page 142 and 143: controlling our fear. We could argu
Page 144 and 145: democracy, even if the official Par
Page 146 and 147: policeman is not acting in the way
Page 148 and 149: sistema de valores, pero por lo men
Page 152 and 153: of the joke we are too wise to beli
Page 154 and 155: allows us to discuss the existence
Page 156 and 157: campo.’ 187 But this does not mea
Page 158 and 159: Police As seen above, the police ap
Page 160 and 161: The police talk openly and unashame
Page 162 and 163: Nicanor was a victim of police brut
Page 164 and 165: speaks openly about the paramilitar
Page 166 and 167: demanded land reform: ‘consiguier
Page 168 and 169: point of view. This group makes ref
Page 170 and 171: we think about them. However, if we
Page 172 and 173: would be mere entertainment. Yet th
Page 174 and 175: claridades’. 228 That is what hum
Page 176 and 177: industry finally blossomed. 1 This
Page 178 and 179: make their own statements’. 13 In
Page 180 and 181: with Corona that Arau became politi
Page 182 and 183: The film was shot in 1971 and the p
Page 184 and 185: Echeverría sexenio he continued wo
Page 186 and 187: around the world. 45 It is consider
Page 188 and 189: eceived by the critics 53 but the p
Page 190 and 191: evident in some films than in other
Page 192 and 193: eal inspector has arrived, there is
Page 194 and 195: indicio) 67 which set the audience
Page 196 and 197: es una pura y celestial chiripada
Page 198 and 199: artists are in a coffee shop discus
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However, after this demonstration o
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the milk in a metal pot, which make
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‘¡pelos, pelos!’ 92 Tiliches a
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más favorable de la que, no obstan
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liberating us from their control an
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for the way he is dressed. They arg
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Superiority We have seen that humou
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or with that what which is prohibit
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world and change the situation in w
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During another event, the journalis
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antipathy or resentment toward disp
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Peasant: Ya va pa’treinta años d
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211 DA: Raza de majaderos, eso es l
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elationship between conquerors and
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marked limp and when Eufemio sees h
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light side’), we are presumably b
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no se va a poder [cheat on him]. Po
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un disfraz inimaginable’. Don Per
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Policeman: La lengua Poncho: De ham
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sombreros, indicating that they are
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we may feel consolation in Critchle
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criticises the abuse and dishonesty
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young one whose job is to carry the
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population. They were made in diffe
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elaxed or to break the tension afte
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In the section Speaking the Unspeak
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Conclusion This research has shown
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We also saw how films and comics co
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negatively depicted in films. The e
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the army in an unfavourable light.
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Tlatelolco in 1968, and the Halcona
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message. This kind of analysis, acc
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story. They were identified by high
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deep thought, etc. 21 ‘Even the s
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distinguished the concern of his gi
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Appendix 2 Tables The following cha
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Mechanisms of humour Los Agachados
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Mechanisms of humour Films Calzonzi
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Mechanisms of humour Mecánica Naci
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Bibliography Agnew, Bob, ‘¡Viva
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Brewster, Keith, ed., Reflections o
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----------, The Role of the Reader.
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Jardón, Raúl, 1968, el fuego de l
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Oikión Solano, Verónica, Marta Eu
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Zolov, Eric, Rebeldes con causa. La
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Bracho, Diana, ‘El cine mexicano:
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[accessed 28 February 2010] Monsiv
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Films Ahí está el detalle, dir. b
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