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

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Bibliography Agnew, Bob, ‘¡Viva la Revolución! Los Agachados and the Worldview of Eduardo del Río (Rius)’, Studies in Latin America Popular Culture, 23 (2004), 1-20. Agrasánchez Jr., Rogelio, ¡Más! Cine Mexicano. Sensational Mexican Movie Posters 1957-1990. San Francisco: Chronicle Books, 2007. Aguayo Quezada, Sergio, La Charola. Una historia de los servicios de inteligencia en México. Mexico: Editorial Grijalbo, Hoja Editorial, Hechos Confiables, 2001. Aguilar Camín, Héctor, Saldos de la revolución. Cultura y política de México, 1910- 1980. Mexico, Editorial Nueva Imagen, 1982. Ai Camp, Roderic, La política en México, trans. by Stella Mastrangelo. Mexico: siglo veintiuno editores, 1995. Aréchiga Robles, Rubén and others, Asalto al cielo. Lo que no se ha dicho del 68. Mexico: Oceáno, 1998. Aristóteles, Poética, trans. by Alicia Villar Lecumberri, Clásicos de Grecia y Roma, BT 8271. Spain: Alianza Editorial, 2004; repr. 2007. Arnheim, Rudolf, Film as Art. London: Faber and Faber Ltd., 1958. Bakhtin, Mikhail, Rabelais and his World, trans. by Héléne Iswolsky. Cambridge: M.I.T. Press, 1968. Barajas, Rafael ‘El Fisgón’, Sólo me río cuando me duele. La cultura del humor en México (Mexico: Editorial Planeta Mexicana, 2009) 265
Bartra, Armando, ‘Debut, beneficio y despedida de una narrativa tumultaria. Piel de papel. Los pepines en la educación sentimental del mexicano’, Revista de Estudios Latinoamericanos sobre la historieta, 2, 1 (2001). Bartra, Roger, La jaula de la melancolía. Identidad y metamorfosis del mexicano. Mexico: Grijalbo, 1986; repr. 2007. Basañez, Miguel, El pulso de los sexenios. 20 años de crisis en México, 4th edn. Mexico: siglo xxi editores, 1999. Bazin, André, Bazin at Work. Major essays & Reviews from the forties & the fifties, trans. by Alain Piette and Bert Cardullo. New York and London: Routledge, 1997. Bentley, Bernard P.E., A Companion to Spanish Cinema, Monografías A, 266. Woodbridge: Tamesis, 2008. Bergson, Henri, Laughter. An Essay on the Meaning of the Comic, trans. by Cloudesley Brereton and Fred Rothwell. London: MacMillan, 1911. Bizberg, Ilán, Lorenzo Meyer, Francisco Alba, eds., Una historia contemporánea de México: transformaciones y permanencias, 4 vols, 1. Mexico: Editorial Oceáno, 2004. Blanco, José Joaquín, José Woldenberg, México a fines de siglo, Sección de Obras de Historia, 2. Mexico: Consejo Nacional para la Cultura y las Artes, 1993. Bordwell, David, Kristin Thompson, Film Art. An Introduction, 3rd edn. New York: McGraw- Hill Publishing Company, 1990. Brewster, Claire and Keith Brewster, Representing the Nation: Sport and Spectacle in Post-revolutionary Mexico. Oxon: Routledge, 2010. 266
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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
Page 136 and 137:
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
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Superiority We have seen that humou
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or with that what which is prohibit
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world and change the situation in w
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During another event, the journalis
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antipathy or resentment toward disp
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Peasant: Ya va pa’treinta años d
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211 DA: Raza de majaderos, eso es l
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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 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 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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