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

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criticises the abuse and dishonesty of the authorities, helping both the actors and the audience overcome their fears. The exaggerations in Calzonzin Inspector make it easier to enjoy what we are witnessing. At the beginning of the film, Calzonzin is participating in a peasant meeting where they are complaining about local government abuse, and Calzonzin mentions: ‘O somos o nos hacemos, porque como dijo el otro día el compañero periodista Chano González ‘El Pujuy’, quien se encuentra indebidamente incomunicado en la cárcel municipal...’. 200 Calzonzin is an exaggerated character, the language he uses is relaxed and informal, and these features make us less inclined to worry about the plight of the journalist. The abuse of journalists was also discussed in Los Agachados, as well as forced disappearance in La Familia Burrón, which confirms suppositions of the existence of these practices. Later in the film we see the authorities violating citizens’ rights in San Garabato, when the police go to ‘enjaular a la oposición’. 201 The operation starts with the policemen driving around the town in their ‘van’, which is a horse cart with a giant wooden cage. Arsenio, hangs on the back making the sound of a siren. The first stop is in Don Lucas’ pharmacy where a group of men are reading poetry aloud. One of the policemen asks the other: Lechuzo: ¿A poco don Lucas es subversivo? Arsenio: ¡Claro! ¿No ves que lee libros? 202 The authorities considered the opposition to be cultured, perhaps because the social movements of 1968 and 1971 were led by university students and intellectuals. This is also an allegory of who the authorities were afraid of. The scene criticises the practice of jailing people for being educated, as well as triggering laughter for its silliness. When the policemen burst into the pharmacy they start beating the men, telling them they are 200 Arau, Calzonzin Inspector, 1973. 201 Ibid. 202 Ibid. 229
under arrest. When one of the victims asks about the reasons for his arrest, Lechuzo says that it is for hiding weapons. However, the so-called weapons are the bottles of liquids and chemicals, which shows how the police fabricated evidence to justify their actions. The situation becomes even more absurd when Lechuzo opens the till, takes the money and points out: ‘¡Ah! Con que dinero para propaganda subversiva, ¿no?’ 203 But there is no evidence that the money is for anything other than legitimate business purposes. The scene is so exaggerated that even when we recognise fragments of reality, we are able to enjoy it. The absurdity is taken to the extreme when the policemen arrest a man in a pulquería. The man resists, saying he is not drunk. Lechuzo replies ‘pero está feo, que es peor’. 204 The bizarre explanation shows how arbitrary stupid the authorities can seem when they try to justify their actions. To laugh about it ‘es triunfar, al menos por un instante sobre situaciones insoportables e intolerables como el dolor, la crueldad, la violencia’. 205 Army Religion, the president and the army were institutions that filmmakers rarely raised, fearing censorship or rejection. 206 But some did criticise the army. In comics, Rius was very critical of the armed forces, and in films, Calzonzin Inspector and Mecánica Nacional offer equally unflattering portraits. Calzonzin Inspector presents a crude caricature of the army. Two men in particular embody the institution (they are supporters of Don Perpetuo): a very old General who can barely move by himself, and a 203 Arau, Calzonzin Inspector, 1973. 204 Ibid. 205 Barajas, Sólo me río… p. 12. 206 Jean Nakamichi, ‘El cine mexicano era rosa, ahora es real’, La Crónica de Hoy, 16 September 2010, section Espectáculos [accessed 30 November 2011]. Armando Manzo Vieyra, ‘La censura en el cine mexicano’, Libertad de palabra, 21 March 2011, section Reflector [accessed 30 November 2011] and Bracho, ‘El cine mexicano…’, p. 417. 230
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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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Echeverría sexenio he continued wo
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around the world. 45 It is consider
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eceived by the critics 53 but the p
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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 234 and 235: un disfraz inimaginable’. Don Per
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 244 and 245: young one whose job is to carry the
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.
Page 284 and 285: Jardón, Raúl, 1968, el fuego de l
Page 286 and 287: Oikión Solano, Verónica, Marta Eu
Page 288 and 289: Zolov, Eric, Rebeldes con causa. La
Page 290 and 291: Bracho, Diana, ‘El cine mexicano:
Page 292 and 293:
[accessed 28 February 2010] Monsiv
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Films Ahí está el detalle, dir. b
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