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

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evident in some films than in others. 59 El Águila Descalza addresses various serious<br />

topics, such as labour exploitation, poverty, drug dealing, and others. The construction<br />

of humour is important in that the viewer understands the issues at stake but does not<br />

feel concerned for the safety of the characters or become upset with the topics raised.<br />

From the beginning, the main character, El Águila Descalza, is presented as someone<br />

clumsy who emulates the stereotypical US heroes, such as Superman, Batman, or even<br />

the thief Robin Hood, but without their grace and success. For example, we see him<br />

trying to enter a house in order to recover the roller-skates belonging to a poor child<br />

which had been stolen by a rich spoilt child. He first fights with the family dog in the<br />

garden. He is humiliated by the dog, which bites him and rips his clothes while he runs<br />

awkwardly, in contrast to the elegance and style of the super heroes as we know them.<br />

When he finally gets into the house, he does it clumsily, dropping objects and making<br />

noise, causing the child to wake up. The behaviour of El Águila is discordant when we<br />

compare it to the hero stereotype, and this introduces us into the language of humour.<br />

However, El Águila is not the only incongruent character. Others include the<br />

assistants of Mascalzzone (the villain of the story), who dress like wrestlers. To have<br />

these evil helpers dressing that way seems absurd and it contrasts with the famous<br />

wrestler films from the end of the 1950s to the 1970s. In these films, wrestlers such as<br />

the legendary Santo or Blue Demon were the heroes. So it is incongruous to have them<br />

here in exactly the opposite role. However, it is necessary to know the broken frame that<br />

reveals the incongruity, as Umberto Eco suggests. Just to see wrestlers as a villain’s<br />

henchmen is already a ‘mismatch’.<br />

Working class exploitation is one of the social issues tackled in the film. But the<br />

subject is softened with incongruity. Poncho (El Águila) and his mates test pogo sticks<br />

59 It is important to highlight that for the time being, I will focus only on incongruity, though other<br />

mechanisms of humour will be discussed later in this chapter.<br />

177

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