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

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two years later the formula was repeated with a sequel, although the author did not participate in the production of these films. 4 However, the Mexican comic book industry was declining and at the end of the 1980s Hermelinda Linda appeared for the last time. The stories in this comic book are mostly related to crimes, mystery, cheating, and love affairs. Because of the topics, the use of witchcraft in the stories, the reference to sex and violence –including death and murder- and the semi-naked cartooned women, the comic was considered to be just for adults. Some of the images are bloody, women and men are represented in sexual positions and talk openly of sexual desires, women are voluptuous, and murder and crime is described in detail. Hermelinda Linda did not fit into the moral code of a conservative Catholic country. So, the comic had on the cover the lettering ‘Revista cómico-satírica para adultos’, to make clear that the content was not proper for minors. The comic is full of details which enlighten the reader about the time when the story is developed (usually contemporaneous), some background on the characters, and the society in which they live. 5 Some of the young characters dress in clothes which were fashionable in the 1970s, they make reference to the Olympics which were taking place in Munich in 1972, 6 and Hermelinda lives in a real neighbourhood in Mexico City, known as Bondojito. 7 Therefore, the observation of these details is relevant for our purpose. Some of the characters also capture the language of the period, portraying the 4 Personal communication with Óscar González, 15 July 2010. 5 Francesco Casetti and Federico Di Chio define these details as indicios which provide information about the specificities of the place and person portrayed. For further information, consult annex one of this research. 6 Hermelinda Linda, 368. 7 According to Óscar González, the reason why Hermelinda is set in this neighbourhood is because one of his collaborators lived there and he used to tell stories about the place which inspired the comic. Personal communication with Óscar González, 15 July 2010. 79
countercultural manner of speech. 8 Thus, although some of the stories are merely fantastic or the main topic is related with a mystery or a crime, it is interesting to observe how the characters communicate and the places in which the stories occur. As just mentioned, after Brujerías was banned, the image of Hermelinda Linda was completely caricaturised when she became the hero of her own comic book, and her cartoon features were more exaggerated than the rest of the characters, who had more human-looking characteristics. The witch lives in the neighbourhood called Bondojito, an area in Mexico City which was at that time, -since the city has grown plenty in the last years, on the Northern periphery. That part of the city was not wealthy, and the people who lived there belonged to the working class and this is portrayed in the comic. Although a real neighbourhood was used to locate the stories, it would be possible to imagine the place as fictitious. However, throughout the issues there are multiple references to Mexico City, 9 which points the reader to the fact that the stories take place there. Hermelinda’s house is next to a cemetery in a still undeveloped area where the streets have no pavement and lack some essential services such as electricity. Besides earning money preparing witchcraft for anyone who can afford it, Hermelinda works taking care of the graves by keeping them in good condition, and charging monthly the relatives of the deceased for this service. There are no impossible tasks for Hermelinda and she does not have moral issues about what her witchery is required as long as the client pays the fees. However, Hermelinda knows that those who deserve it, will pay for their pernicious acts, and her 8 As when a spoiled young man says to his father: ‘Déjame aquí, vetarro’ and ‘¡Con mucho susto, mi ‘viernes”…! Using vetarro and viernes as a way to refer to the father (Viejo), and ‘Con mucho susto’ instead of ‘con mucho gusto’. Hermelinda Linda, 377. 9 As some examples, in issue 364 the main characters go to Chapultepec, a famous park in Mexico, or in issue 370-15 one of the characters is saying where her lover lives mentioning different actual neighbourhoods in the city. 80
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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
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 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 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
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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
Page 290 and 291:
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
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