- Page 1 and 2: HUMOUR AS POLITICAL RESISTANCE AND
- Page 4 and 5: Abstract This research focuses on t
- Page 6 and 7: Table of Contents Acknowledgments
- Page 8 and 9: The breaking of the rule ………
- Page 10 and 11: Acknowledgments After so many years
- Page 12 and 13: fantastic friends who are now part
- Page 14 and 15: Introduction Dime de qué te ríes,
- Page 16 and 17: And what about comics? Comics take
- Page 18 and 19: helps us to understand a specific c
- Page 20 and 21: were expecting a funny story. In ad
- Page 22 and 23: Román Gubern’s ideas of visual a
- Page 24 and 25: Chapter 1 Laughing when it hurts: A
- Page 26 and 27: etween varieties of terminology in
- Page 28 and 29: than just disjunctions in the narra
- Page 30 and 31: serve as the basic vehicle for the
- Page 32 and 33: so that there are parts which are n
- Page 34 and 35: her body, she has a large round red
- Page 36 and 37: classified jokes and humour and des
- Page 38 and 39: case of Excélsior showed. 50 So, p
- Page 40 and 41: We might find this joke funny becau
- Page 42 and 43: absentmindedness in men and in even
- Page 44 and 45: oken the rule of being respectful w
- Page 46 and 47: Even though humour can work as a so
- Page 48 and 49: sentiments, develop and perpetuate
- Page 50 and 51: jokes are ‘a useful means of diss
- Page 54 and 55: neutralise our feelings because lau
- Page 56 and 57: power for thirty-five uninterrupted
- Page 58 and 59: -and in the subsequent years- did n
- Page 60 and 61: numbers of businessmen, workers and
- Page 62 and 63: undermining the image of a dictator
- Page 64 and 65: people’. 50 It aimed for an appar
- Page 66 and 67: cambio (exclusivamente verbal), por
- Page 68 and 69: university. In the film El Águila
- Page 70 and 71: gave money in secret to Scherer to
- Page 72 and 73: men appeared and beat many of the s
- Page 74 and 75: Thus they decided to fight against
- Page 76 and 77: PDLP, 115 captured those they thoug
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- Page 80 and 81: information on antagonistic groups,
- Page 82 and 83: Although the violent methods were o
- Page 84 and 85: those who appeared to be hippies, h
- Page 86 and 87: ock and roll and read the writers o
- Page 88 and 89: Chapter 3 Laughter and reflection,
- Page 90 and 91: are richer and carry more informati
- Page 92 and 93: two years later the formula was rep
- Page 94 and 95: magic will punish those who are hur
- Page 96 and 97: time: Regino Burrón and his demand
- Page 98 and 99: around them, in La Familia Burrón
- Page 100 and 101: 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
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no se va a poder [cheat on him]. Po
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un disfraz inimaginable’. Don Per
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Policeman: La lengua Poncho: De ham
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sombreros, indicating that they are
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we may feel consolation in Critchle
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criticises the abuse and dishonesty
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young one whose job is to carry the
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population. They were made in diffe
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elaxed or to break the tension afte
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In the section Speaking the Unspeak
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Conclusion This research has shown
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We also saw how films and comics co
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negatively depicted in films. The e
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the army in an unfavourable light.
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Tlatelolco in 1968, and the Halcona
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message. This kind of analysis, acc
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story. They were identified by high
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deep thought, etc. 21 ‘Even the s
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distinguished the concern of his gi
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Appendix 2 Tables The following cha
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Mechanisms of humour Los Agachados
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Mechanisms of humour Films Calzonzi
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Mechanisms of humour Mecánica Naci
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Bibliography Agnew, Bob, ‘¡Viva
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Brewster, Keith, ed., Reflections o
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----------, 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