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

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message. This kind of analysis, according to Lauro Zavala, ‘centra su atención en el enunciado y sus condiciones de enunciación […]. Las herramientas centrales del análisis son la descripción y la microdescripción’. 5 In order to undertake an analysis of comics and films, the methodology was based on that by Francesco Casetti and Federico Di Chio in Cómo analizar un film. Specifically for comics I used part of the methodology suggested by Román Gubern in El lenguaje de los comics, and some of the ideas of Miguel Ángel Muro Munilla in his work Análisis e interpretación del cómic. These scholars present semiotics and narrative tools which help to segment, describe and analyse the sources, drawing out important information about the use of humour and the expression of social dissent. My analysis started by recognizing the segments of the text and reducing them to smaller units. The segmentation was made according to the images and dialogues which created and animated the scenes, starting with longer fragments and later smaller ones. This work facilitated the analysis since it allowed me to observe a wider segment, including series of sequences, by choosing a topic (such as corruption, abuse of authority, etc.) to identify and thus analyse it. An example of how this was done is the sequence in Tívoli in which the lawyer Licenciado Pantoja is describing in the present a meeting that he attended weeks ago where the Mayor decided to demolish the cabaret. If the scene was analysed by shots or scenes I would get plenty of information but not all of it relevant for my aim. By opening the semantic unit it was possible to discover how humour was used to break moments of stress, even when the joke appeared not to be related to the topic. I can also support this segmentation with the idea of macro- punctuation proposed by Christian Metz in which the segmentation ‘intervenes not 5 Lauro Zavala, ‘El análisis cinematográfico y su diversidad metodológica’, Casa del Tiempo, 30, 3 (2010), (pp. 65-69). [accessed 7 October 2010] 249
etween shots, which might be seen as the minimal units of the syntagmatic change of the editing code, but rather between whole syntagmas’. 6 Likewise, if I considered the frames in comics as units of meaning, I would obtain plenty of information but not all relevant for my purpose. I looked for informantes: ‘los elementos que definen en su literalidad todo cuanto se pone en escena’. 7 Later for indicios, which give us information about a place or a person but without stating it directly. 8 In Calzonzin Inspector, for example, the journalist always carries his notepad and wears a stereotypical hat, the soldier wears a uniform, the indigenous are dressed in their traditional clothes or in raw cotton clothing, for example. Moreover, according to the way the characters speak and dress, the activities they develop, the content of their dialogues, and their function in the plot, we associate them (or not) to people from the ‘real world’, recognising in them their function as an archetype. 9 The same is true about the mise-en-scène. These help to relate the scenes to places that we know and can label, such as a farm, an urban house, a spaceship, Mexico, and so forth. According to Umberto Eco, the viewer/reader performs this action by comparing ‘the world such as is presented by the text with his own “real” world, that is, the world of his (presumed) concrete experience’. 10 In La Familia Burrón there are constant references to Mexico City which allow me infer that in fact, the stories take place there. Some are obvious, like a reference to la lagunilla, 11 a well- known area in Mexico City for buying cheap things, or signs on the buses indicating that they are going to popular sites in the city. 12 I paid attention to elements with a deeper content and with more relevance to the 6 Robert Stam, Robert Burgoyne and Sandy Flitterman-Lewis, New Vocabularies in Film Semiotics. Structuralism, Post-structuralism and Beyond (London and New York: Routledge, 1992), p.57. 7 Casetti and di Chio, Cómo analizar… p. 112. 8 Ibid., p. 113. 9 Ibid., pp. 115, 160. 10 Eco, The Role of… p. 37. 11 Gabriel Vargas, La Familia Burrón, 17165, p. 13. 12 For example Vargas, La Familia Burrón, 17160, p. 19. 250
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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
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eal inspector has arrived, there is
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indicio) 67 which set the audience
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es una pura y celestial chiripada
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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
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 242 and 243: criticises the abuse and dishonesty
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 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
Page 294: Films Ahí está el detalle, dir. b
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