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

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----------, The Role of the Reader. Explorations in the Semiotics of Texts. London: Hutchinson Education, 1981; repr. 1987. Eco, Umberto, V.V. Ivanov and Monica Rector, ¡Carnaval!, trans. by Mónica Mansour. Mexico: Fondo de Cultura Económica, 1989; repr. 1998. Favela Gavia, Diana Margarita, Protesta y reforma en México. Interacción entre Estado y sociedad 1946-1997. Mexico: UNAM, Centro de Investigaciones Interdisciplinarias en Ciencias y Humanidades, 2006. Ferrer Rodríguez, Eulalio, De la lucha de clases a la lucha de frases: de la propaganda a la publicidad, 2nd edn. Mexico: Taurus, 1995. Foster, David William, From Mafalda to Los Supermachos. USA, UK: Lynne Rienner Publishers – Boulder & London, 1989. ----------, Mexico City in Contemporary Mexican Cinema. Austin: University of Texas Press, 2002. Fowler, Will, ‘Goatsuckers, guerrillas and democracy: Mexico in the 1990s’, Vida Hispánica, 19 (1999), 12-16. ----------, Presidentes mexicanos (1911-2000), 2 vols, Biblioteca INEHRM, 2. Mexico: Instituto Nacional de Estudios Históricos de la Revolución Mexicana, 2004. ----------, Peter Lambert, eds., Political Violence and the Construction of National Identity in Latin America. New York: Palgrave, 2006. Freud, Sigmund, El chiste y su relación con lo inconsciente, trans. by Luis López- Ballesteros y de Torres, Biblioteca Freud, BA 0638. Spain: El libro de bolsillo, 1969; repr. Madrid: Alianza Editorial, 2008. 269
García Riera, Emilio, Historia documental del cine mexicano, 18 vols, 14, 15, 16, 17 Mexico: Universidad de Guadalajara, Consejo Nacional para la Cultura y las Artes, Gobierno de Jalisco, Secretaría de Cultura, Instituto Mexicano de Cinematografía, 1994. García Saldaña, Parménides, En la ruta de la onda. Mexico: Editorial Diógenes, 1974. Gasca, Luis, Román Gubern, El discurso del cómic, 4th edn. Madrid: Ediciones Cátedra, 2001. Gracida Romo, Elsa Margarita, El siglo XX mexicano. Un capítulo de su historia, 1940- 1982. Mexico, UNAM, 2002. Griffiths, Trevor, Comedians. London: Faber, 1976. Gubern, Román, El lenguaje de los comics, 4th edn. Barcelona: Ediciones Península, 1981. Gunia, Inker, ¿“Cuál es la onda”? La literatura de la contracultura juvenil en el México de los años sesenta y setenta. Madrid: Iberoamericana, 1994. Hershfield, Joanne, David R. Maciel, eds., Mexico’s Cinema: A Century of Films and Filmmakers. Oxford: SR Books, 2005. Hinds Jr., Harold E. and Charles M. Tatum, Not Just for Children. The Mexican Comic Book in the Late 1960s and 1970s. Contributions to the Study of Popular Culture, 30. Westport, Connecticut, London: Greenwood Press, 1992. ----------, ‘Images of Women in Mexican Comic Books’, The Journal of Popular Culture, 18.1 (1984), 146-162. 270
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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
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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
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marked limp and when Eufemio sees h
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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 278 and 279: Bibliography Agnew, Bob, ‘¡Viva
Page 280 and 281: Brewster, Keith, ed., Reflections o
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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