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

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that they could be confronted later. We saw in chapter three that incongruity, as a<br />

mechanism of humour, can trigger laughter. However, simply to point it out in a text is<br />

not enough to understand the social criticism within the act of humour. The relevance of<br />

incongruity as a language of humour is particularly important when studying films. This<br />

is because part of the incongruity in comics comes from the idea that they are cartoons<br />

and they are published regularly, which helps the reader to understand the genre of the<br />

comic, and the characteristics and features of the characters. Meanwhile, films usually<br />

have less than two hours to develop their content and the intentions of the screen<br />

writers. Therefore, to recognise the elements of incongruity will help the audience to<br />

understand that the film belongs to the genre of comedy, helping it to choose the most<br />

appropriate reading mechanisms in order to grasp what the author wishes to express.<br />

We should be clear that the presence of incongruity is not enough to label<br />

something as humorous. In the previous chapter I discussed the case of Hermelinda<br />

Linda, a comic whose main subject is witchcraft, arguing that the presence of witchery<br />

as something illogical was not enough to trigger humour or to understand this comic as<br />

part of the universe of humour. The same phenomenon occurs when analysing films.<br />

However, I will begin by presenting examples of incongruity in some of the films, and<br />

show how they can help readers to label the text as a comedy. During the development<br />

of the chapter I will consider other mechanisms of humour as well, and will discuss<br />

reasons for using humour to express certain ideas. I will also analyse the content of the<br />

scenes (social and political criticism) through these mechanisms of humour.<br />

As discussed earlier, incongruity is essential for humour 58 and as might seem<br />

obvious, it is present in all the films analysed here. Nevertheless the incongruity is more<br />

58 Paul McGhee, Humour. Its Origin and Development (San Francisco: W.H. Freeman and company,<br />

1979), p. 10.<br />

176

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