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

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un disfraz inimaginable’. Don Perpetuo demonstrates disrespect for indigenous people when he speaks of Calzonzin: ‘Si por lo menos fuera gente de apariencia respetable, pero indio, flaco y prieto, para acabarla de amolar (…). Sin embargo es bastante listo…’. Calzonzin himself enunciates the disdain that indigenous people are held in when during the parade he says to Don Perpetuo: ‘En otras partes nada más lo ven a uno como asunto folklórico, de indio patarrajada no lo bajan a uno’. Clearly these expressions show contempt, but the exaggeration of the characters, situations and statements underline the comical character of the scenes, and once the comedy is revealed, our super-ego helps us cope with the anger that their racism arouses.We also appreciate Calzonzin taking advantage of the confusion by setting himself in a position of superiority – ‘uno de los ingredientes fundamentales de la comedia es el disfraz, el engaño’. 171 The breaking of the rule As we know, situations which disrupt established frames of reference are humorous. However, ‘the laughable borrows its special quality from some persons or group of persons who happen to laugh at it’, 172 in other words who share social frames. ‘Having a common sense of humour is like sharing a secret code’, 173 and if the frames that the comedy alludes to are alien, we would recognise the incongruity but not the underlying social reference. In comics, certain characters whom we expected to behave in a certain way (the frame of reference) in fact behaved differently. Showing characters’ excesses makes it possible to criticise them, bringing satisfaction. Humour gives us this satisfaction. When we laugh at the wrongdoing of these characters we point out their faults, the broken rule, and how ridiculous they are. 171 Campos, Comedia. Humor y... p. 71. 172 Raskin, Semantic Mechanisms… p. 17. 173 Critchley, On Humour, p. 68. 221
Bergson and Umberto Eco differ regarding the relationship between the comic character and the spectator. Bergson considers that ‘the comic character is often one with whom, to begin with, our mind, or rather our body, sympathises’, 174 while Eco considers that the comic hero is ‘alguien con quien no simpatizamos porque es un personaje innoble, inferior y repulsivo (animalesco)’. 175 If he/she is punished we feel no concern because we do not ‘sentimos obligados a compadecer a un ser tan inferior’. 176 Our research suggests that both assertions are valid. If the comic character performs an action that we would like to do and we enjoy their transgression, then, as Bergson suggests, we will treat the character as a soul-mate or put ourselves in their place, 177 such as when Calzonzin makes fun of Don Perpetuo. But if we condemn them, such as Eufemio abusing his wife, we will distance ourselves and enjoy the retribution they receive for their behaviour. 178 Such characters seem animalistic. 179 Though the two perspectives are opposites, they help us understand contrasting aspects of human behaviour. An example from El Águila Descalza illustrates Eco’s perspective. A policeman fails to help Poncho and Chona get help from the abuses they endured in the factory. The policeman prevents Poncho from entering the Ministerio Público because he is dressed as El Águila. They begin arguing, and the policeman tells him: ‘Ya terminó el carnaval’. 180 This suggests that the policeman is making a value judgment, rejecting Poncho’s right to dress as he wishes, and also blocking his access to justice. They start a ‘word challenge’: Poncho: Te enseño 174 Bergson, Laughter. An Essay… p. 194. 175 Eco, ‘Los marcos de…’, p. 10. 176 Ibid. 177 Bergson, Laughter. An Essay… p. 194-195. 178 In this case Eufemio’s machismo is the broken rule (the rule of gender equality), and his punishments include an unfaithful wife and a daughter who loses her virginity. 179 I explained the term ‘animalistic’ in chapter one. 180 Arau, El Águila Descalza, 1969. 222
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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
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In 2008 Gabriel Vargas said: ‘el
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story, such as the Licenciado askin
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were discussed. In that chapter we
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the flat roof of the vecindad 49 or
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True humour: humour as social compl
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those in power for citizens in trou
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puro macanazo me convenció! Yo ni
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Machismo is another topic which eme
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dibujaba Rius en los sesenta como u
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One last example from Los Agachados
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collect a large amount of money to
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In the same episode in which Borola
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As we may remember, Freud also sugg
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alleges. 102 So, through the misfor
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apart and the reader enjoys the pol
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Superiority and antithesis In the f
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gaining a sense of victory over the
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are in better position than us, at
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Differences between groups of youth
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eaction is no more compassionate. T
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the actions of their antithesis, su
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controlling our fear. We could argu
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democracy, even if the official Par
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policeman is not acting in the way
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sistema de valores, pero por lo men
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‘Pues sí: siendo rojos, tienen q
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of the joke we are too wise to beli
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allows us to discuss the existence
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campo.’ 187 But this does not mea
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Police As seen above, the police ap
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The police talk openly and unashame
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Nicanor was a victim of police brut
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speaks openly about the paramilitar
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demanded land reform: ‘consiguier
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point of view. This group makes ref
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we think about them. However, if we
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would be mere entertainment. Yet th
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claridades’. 228 That is what hum
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industry finally blossomed. 1 This
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make their own statements’. 13 In
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with Corona that Arau became politi
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The film was shot in 1971 and the p
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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
Page 200 and 201: However, after this demonstration o
Page 202 and 203: the milk in a metal pot, which make
Page 204 and 205: ‘¡pelos, pelos!’ 92 Tiliches a
Page 206 and 207: más favorable de la que, no obstan
Page 208 and 209: liberating us from their control an
Page 210 and 211: for the way he is dressed. They arg
Page 212 and 213: Superiority We have seen that humou
Page 214 and 215: or with that what which is prohibit
Page 216 and 217: world and change the situation in w
Page 218 and 219: During another event, the journalis
Page 220 and 221: antipathy or resentment toward disp
Page 222 and 223: Peasant: Ya va pa’treinta años d
Page 224 and 225: 211 DA: Raza de majaderos, eso es l
Page 226 and 227: elationship between conquerors and
Page 228 and 229: marked limp and when Eufemio sees h
Page 230 and 231: light side’), we are presumably b
Page 232 and 233: no se va a poder [cheat on him]. Po
Page 236 and 237: Policeman: La lengua Poncho: De ham
Page 238 and 239: sombreros, indicating that they are
Page 240 and 241: we may feel consolation in Critchle
Page 242 and 243: criticises the abuse and dishonesty
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Page 246 and 247: population. They were made in diffe
Page 248 and 249: elaxed or to break the tension afte
Page 250 and 251: In the section Speaking the Unspeak
Page 252 and 253: Conclusion This research has shown
Page 254 and 255: We also saw how films and comics co
Page 256 and 257: negatively depicted in films. The e
Page 258 and 259: the army in an unfavourable light.
Page 260 and 261: Tlatelolco in 1968, and the Halcona
Page 262 and 263: message. This kind of analysis, acc
Page 264 and 265: story. They were identified by high
Page 266 and 267: deep thought, etc. 21 ‘Even the s
Page 268 and 269: distinguished the concern of his gi
Page 270 and 271: Appendix 2 Tables The following cha
Page 272 and 273: Mechanisms of humour Los Agachados
Page 274 and 275: Mechanisms of humour Films Calzonzi
Page 276 and 277: Mechanisms of humour Mecánica Naci
Page 278 and 279: Bibliography Agnew, Bob, ‘¡Viva
Page 280 and 281: Brewster, Keith, ed., Reflections o
Page 282 and 283: ----------, 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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