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

More documents

Recommendations

Info

Although the violent methods were officially denied, they emerge in references in some of the comics and films. Interestingly, however, the paramilitary groups are never mentioned. In La Familia Burrón the State Police (Policía Judicial) are said to be detrimental. On the other hand, the regular police and investigators do engage in torture to extract confessions. Some of the methods of torture are based on reality, such as the use of electric shocks, or pulling out fingernails. 154 Hermelinda Linda also makes reference to torture. 155 There are also references to forced disappearance in the film Tívoli, in which some of the characters are illegally abducted by governmental forces. They discuss people who suffered from such abductions and who were killed. Countercultural movements Beginning in the 1950s, urban youth in Mexico sought change. The rules and codes imposed by society and the values promoted by the Revolution no longer fit the new generations. 156 The government tried to contain the spread of young cultural expressions -such as rock and roll- and to limit topics appearing in the mass media, with the aim of preserving the values that the PRI promoted. 157 Thus, young people expressed dissatisfaction in the way they dressed and spoke, the places they visited and the music they listened to. Theirs was a new culture, a counterculture whose manifestations went against the establishment. 158 During the 1960s ‘predominaban los valores como la obediencia, el sometimiento a la autoridad del padre, jefe de la familia, de los maestros (…) y de la whereabouts. On December 2009 the Inter-American Court of Human Rights demanded the Mexican government investigate the case and find the remains of Rosendo Radilla. ‘CIDH condena a México por guerra sucia’, El Universal, México, 15 December 2009 [accessed 1 August 2010] 154 Different kind of tortures are described in Castellanos, México armado…, p. 220 or pp. 226-227. 155 Hermelinda Linda, 363, pp. 10, 19. 156 José Agustín, La contracultura en México… p. 16. 157 Eric Zolov, Rebeldes con causa… p. 47. 158 José Agustín, La contracultura en México… p. 16. 69
patria, la entidad suprema’. 159 Middle class youth went through an identity crisis, since they did not feel part of those social values and way of life. Some participated actively in social movements or armed guerrillas, mostly during 1970s, but others joined countercultural movements as a way to channel their rage against the authorities. 160 Moreover, during the 1960s the hippie movement from the US had contact with Mexico, since some US hippies ventured south with an interest in Mexican culture. This included an interest in drug culture. 161 Young Mexicans found in hippie culture a way to express dissatisfaction with the establishment. They broke some rules, wearing long hair, dressing in psychedelic colours, but few actually left the family home or experienced free love 162 even though (like the US hippies) they may have supported the idea of a more liberated sexuality. This generation is portrayed in the film Mecánica Nacional. Young people appear enjoying ‘sex, drugs and rock and roll’, dressing like hippies, and enjoying themselves at a distance from the adults. The influence of US culture can be seen when a US girl observes the party and comments that she sees nothing Mexican in it. Sexuality is also raised when the daughter of the main character decides to exert her freedom by having her first sexual relationship that evening. But when she is discovered by her parents, she and her boyfriend are forced to get married to atone for their transgression of the moral codes. The government opposed the countercultural movement, arguing that hippies threatened social values. Beginning in 1969, the government penalised their presence in Huautla, a small community famous for its hallucinogenic mushrooms, and those who were found there were beaten, jailed and deported. 163 In cities, the authorities pursued 159 Gunia, ¿“Cuál es la onda”?... p. 115. 160 Zolov, Rebeldes con causa… p. 177. 161 José Agustín, La contracultura en México… p. 77. 162 Zolov, Rebeldes con causa… p. 177. 163 Eric Zolov, ‘Discovering a Land “Mysterious and Obvious”: The Renarrativizing of Postrevolutionary Mexico’, in Fragments of a Golden Age. The Politics of Culture in Mexico Since 1940, ed. By Gilbert 70
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 52 and 53: Other authors consider that in fact
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
Page 78 and 79: money without working because they
Page 80 and 81: information on antagonistic groups,
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
Page 102 and 103: story, such as the Licenciado askin
Page 104 and 105: were discussed. In that chapter we
Page 106 and 107: the flat roof of the vecindad 49 or
Page 108 and 109: True humour: humour as social compl
Page 110 and 111: those in power for citizens in trou
Page 112 and 113: puro macanazo me convenció! Yo ni
Page 114 and 115: Machismo is another topic which eme
Page 116 and 117: dibujaba Rius en los sesenta como u
Page 118 and 119: One last example from Los Agachados
Page 120 and 121: collect a large amount of money to
Page 122 and 123: In the same episode in which Borola
Page 124 and 125: As we may remember, Freud also sugg
Page 126 and 127: alleges. 102 So, through the misfor
Page 128 and 129: apart and the reader enjoys the pol
Page 130 and 131: Superiority and antithesis In the f
Page 132 and 133:
gaining a sense of victory over the
Page 134 and 135:
are in better position than us, at
Page 136 and 137:
Differences between groups of youth
Page 138 and 139:
eaction is no more compassionate. T
Page 140 and 141:
the actions of their antithesis, su
Page 142 and 143:
controlling our fear. We could argu
Page 144 and 145:
democracy, even if the official Par
Page 146 and 147:
policeman is not acting in the way
Page 148 and 149:
sistema de valores, pero por lo men
Page 150 and 151:
‘Pues sí: siendo rojos, tienen q
Page 152 and 153:
of the joke we are too wise to beli
Page 154 and 155:
allows us to discuss the existence
Page 156 and 157:
campo.’ 187 But this does not mea
Page 158 and 159:
Police As seen above, the police ap
Page 160 and 161:
The police talk openly and unashame
Page 162 and 163:
Nicanor was a victim of police brut
Page 164 and 165:
speaks openly about the paramilitar
Page 166 and 167:
demanded land reform: ‘consiguier
Page 168 and 169:
point of view. This group makes ref
Page 170 and 171:
we think about them. However, if we
Page 172 and 173:
would be mere entertainment. Yet th
Page 174 and 175:
claridades’. 228 That is what hum
Page 176 and 177:
industry finally blossomed. 1 This
Page 178 and 179:
make their own statements’. 13 In
Page 180 and 181:
with Corona that Arau became politi
Page 182 and 183:
The film was shot in 1971 and the p
Page 184 and 185:
Echeverría sexenio he continued wo
Page 186 and 187:
around the world. 45 It is consider
Page 188 and 189:
eceived by the critics 53 but the p
Page 190 and 191:
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 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 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
show all

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

You also want an ePaper? Increase the reach of your titles

Delete template?

Save as template?